Kadri Gopalnath (Saxophone)

Attended a concert titled 'Grand saxophone concert' by Dr. Kadri Gopalnath (Saxophone) accompanied by V.V. Ravi (Violin), K.M.S. Mani (Mridangam), Rajendra Nakod (Tabla) & Venkatachalam, a disciple of Kadri Gopalnath on Talam on 6th April 2018. This concert was organised by Consulate general of India, Dubai in association with Indian fine arts, Dubai as part of 'India @ 70'. The concert was in the Indian Consulate auditorium, Dubai & I attended with Jayant & Sameer.

Concert started with a composition of Papanasanam Sivan in raag Tilang (तिलंग). I think it was Sri Ganesh charanam in Adi taal. He then presented a kriti of Tyagaraja. I missed the name. Next was a composition in Raag Hamsadhwani in Rupak taal. Was it Pavanaguru?

He then started next composition without announcing it. Nevertheless, it was good. I think he said it was Raag Senavati. He then played a composition in Raag Dhenuka.

Composition of Tyagaraja in raag that I could not get was the next presentation. Was it Karaharpriya? V.V. Ravi then played a solo piece without accompaniment. It was good. 

This was followed by light music. Audience welcomed it with rhythmic clapping. This section also contained Sawal-Jawab. Tabalji new exactly what Kadriji will play note by note and played Tabla beat-by-note. This is possible only by long association. This was followed by Mridangam solo and Tabla solo alternatively followed by Sawal-Jawab between them. Tabaji played very good relas. Percussionist enthralled the audience with their skills in this section. 

Kadriji then presented a composition of Raag Ahir Bhairav. It was followed by another composition, the name and Raag  was again lost.  It sounded like raag Pilu. It was followed by another composition. He then played a movie song and another composition.

Concert ended with my favourite Bhairavi and to to it up famous and another favorite of mine 'Bhagyada Lakshmi'. Needless to say there was a long standing ovation.

Kadriji plays every note very clearly but does not speak clearly. He mumbles. So it was difficult for someone like me, who does not know Carnatic music and raags, to catch and understand words. So if I have written name of some raag wrongly, kindly excuse.

Tabla and Mridangam accompaniment (together) is not very common in Carnatic music concerts.  Here we had that combination. The effect was excellent. V.V. Ravi played very well and supported the main instrument aptly. Kadriji plays very well, we all know it. To see him play was an opportunity. Concert lasted more than two hours. 

Credit to consulate for starting the  program at 7.30 sharp. Although consulate has a good auditorium, the seats are not fixed, chairs were placed. It's not a  sloping arrangement, so people at the back could not see the artists seated on stage clearly. It is not a wonder that there was a full house. Additional chairs were placed and yet some were standing. These are real rasiks. Attendance was more than 375.

Sound system and acoustics of the auditorium were excellent. Volume of Tabla should have been a bit low, at times it masked finer notes of main instrument.

Saxophone and Violin Are western instruments now well entrenched in Indian classical music. Idea of playing Carnatic music on Saxophone is exotic. Watching such a concert live is rare. Watching this living legend perform is bliss. We enjoyed it thoroughly. It was worth the 300 km travel. 

Entertainment rating 9/10 

Amjad Ali Khan (Sarod)

Attended a concert of titled 'The Sarod  master: Amjad Ali Khan'. Ustad Amjad Ali Khan (Sarod) was accompanied by Vijay Ghate (Tabla) and Sridhar Parthasarthy (Mridangam) on 25th March 2018 in Emirates Palace auditorium. This concert was part of Abu Dhabi festival 2018 presented and organized by ADMAF. I attended the concert with Jayant.

A beacon of cross cultural understanding, Abu Dhabi festival 2018 unites, empowers and inspires humanity. Each year Abu Dhabi festival brings audiences together to share unique experiences that testify to our shared humanity and deep bonds we share.

The word Sarod comes from Persian word Sarood which means melody. Sarod is a present day modification (made by Ustadji's ancestor) of the Rabab, a folk instrument from central Asia. The Sarod has a steel fingerboard and a belly covered with goat skin. Over this are placed 19 strings, 11 out of them are not played directly. The body is made of teak.

Amjad Ali Khan is sixth generation musician from Senia Bangash gharana. His sons continue the tradition. 

Concert started with a melody as homage and tribute to Sheikh Zayed, founding father of U.A.E. it was a composition played in Arab style and lasted for about 7 minutes.

He then presented Raag Durga (दुर्गा) in 16 beats. It is a very famous composition and lasted another 7 minutes.

Amir Khusru, 13th century Sufi poet, created 'Tarana (तराना)' a form of singing that does not require language or words. Ustadji presented two Taranas. First one in Raag Telang (तेलंग) in 9 1/2 beats. Second was in Raag Bahar (बहार) in 16 beats.

He then played a composition in Raag Darbari (दरबारी) in tritaal. It was followed by a folk based composition of Rabindranath Tagore, the very famous, 'Ekla chalo re (एकला चालो रे)'.

 He then played Melody in Raag Charukeshi (चारूकेशी). It comes from Carnatic music. It had Jugalbandi of Tabla and Mridangam. It also included Sawal-Jawab. Both of them displayed fine percussion. Parthasarathy was too good. Concert ended with a three way Jugalbandi and three way Sawal-Jawab.

Ustadji thanked Abu Dhabi government for agreeing to Prime Minister Narendra Modi's request to build a temple in Abu Dhabi.

Concert started 40 minutes late. It was a short concert that lasted about one hour without a break. 

Emirates Palace auditorium is a beautiful and spacious auditorium that seats around 800 to 900. It had excellent acoustics. However, volume of Purcussionists was on lower side. Photography was not allowed in the auditorium, so no photos of the program.

The concert was probably designed for non Indian audience (Although most of the audience was Indian) with short  compositions rather than traditional Bada Khyal and Chota Khyal. The build up,  the development,  the peeling of layers of Raag and it's rendition, aalap, jod, jhala was missing. 

So although it was a good performance, I did not feel content at the end of concert.

Entertainment rating 6.5/10.

Sukhan (सुख़न)

Attended a concert of titled 'Sukhan (सुख़न)'. Jaydeep Vaidya, Mukta Joshi, Abhijit Dhere (Vocals), Ketan Pawar (Tabla), Mandar Bagade (Dholak & Sarangi), Devendra Bhome (Harmonium), Apoorva Petkar (Harmonium and Santoor) Nachiket Deosthali and Om Bhutkar (Anchoring and Shero-Shayri). The concert was organized by  Maharashtra Mandal Abu Dhabi and ISC at ISC, Abu Dhabi on 1st Mar 2018. I attended the concert with Aditi, Mihika, Sucheeta, Jayant, Prakash, Swati, Vijay, Jyoti, Sameer, Rucha and Pooja.

It was a program that can be termed as a melange of Urdu Shero-Shayri, Stories, Poetry, Gazal, Najm and Hindustani music.

Concert started with song 'O husna (ओ हुस्ना)' that explores similarities between Pakistan and Hindustaan. 

Om Bhutkar and Nachiket Deosthali then presented some Sher (शेर) and narrated an interesting story of a Deemak (दीमक) and it's commentary on Urdu Shayari written by Mujtaba Hussain. Nachiket narrated a good Hindi Gazal.

Mukta presented 'Aapki yaad aati rahi raatbhar (आपकी याद आती रही रातभर )'. Om and Nachiket presented more Shero-Shayri.

Jaydeep and Abhijit presented a qawwali 'Hai kahanka irada (है कहाॅका ईरादा)' and 'Janejan dil dukhana buri baat hai (जानेजां दिल दुखांना बुरी बात है). That was interval. 

Mukta started post interval session with Abeeda Parveen's very famous 'Chhap Tilak (छाप तिलक)'. It's not an easy song. Her's was a softer version as compared to Abeeda.

Jaydip and Om then presented 'Sare jahan se accha' in an interesting confluence of prose and song. Om and Nachiket engaged audience in more Shayri. Nachiket then sung a song with only tanpura to accompany. 

Jaydeep presented Sargam followed by 'Raat bhi neend bhi (रात भी निंदा भी)' with only tanpura to accompany. Om narrated Magloob Poonawala's gazal. Nachiket presented Jan Nisar Akhtar's gazal 'In jakhmonse sharmaye Kya (इन जख्मोंसे शरमाए क्या)' followed by his Nazm 'Dhundle saye (धुंदले साएॅ)' presented by Om.

Program ended with a qawwali 'Sadgiko hamari jara dekhiye (सादगीको हमारी जरा देखिए)' by Abhijit and supported by other two singers. There was a very long applause that did not die easily as well as standing ovation at the end. 

They presented compositions of Nida Fazli, Allama Iqbal, Amir Khusru, Faiz Ahmed Faiz, Mirza Galib, Sahir Ludhianvi, Javed Akhtar, Magloob Poonawala etc.

Om and Nachiket's passion for Shayri was evident and they did a good job of holding the program together. Their diction was very good. It was also Om's 27th birthday. 

It was first time I saw an artist (Mandar) playing a string instrument and percussion instrument in a concert. He was very good. 

Stage and seating arrangement was good with anchors in center, singers on either side, Purcussionists behind and Harmonium wallas elevated in two corners. However, elevation of Purcussionists should have been increased as most of the time they were obscured by the artists in front. 

Sound system was flawless. Lighting was mostly realized with focus or spot lighting. Entire stage was lit for very limited time. 

There was a melancholy of regressing Urdu in India in this program and also its celebration. It reminded me a statement made by Aatish Taseer in one of his book where he argues that with partition, India handed over Urdu to Pakistan whereas more people spoke Urdu in India than Pakistan. 

It was a very off the track program. It not only demonstrated the various aspects of Urdu but also was a step in preserving and revitalizing the receding language. The program has created it's own niche. Artists deserve an applause for the effort. 

Entertainment rating 8.5/10.

The magic of fusion - Vikku Vinayakram

Attended a concert of titled 'The magic of fusion'. Team Saptakshara was lead by Vikku Vinayakram (Ghatam), U. Rajesh (Mendolin) and Selvaganesh Vinayakram (Kanjira / Drums). They were accompanied by N. Ramakrishna (Mridangam), Umashankar Vinayakram (Ghatam), Mahesh Vinayakram (Vocal), Pravin Narayanaswami (Tabla), A. Ganeshan (Morsing), N. Rajaraman (Gethu vadyam) and Swaminathan Selvaganesh (Kanjira). The team had three generations of Vinayakram family. 

The concert was organized by Asthika Samaj events at ISC, Abu Dhabi on 8th Feb 2018. I attended the concert with Jayant. The concert was publicized as once in a life time experience. 

An AV, a song (Guruvandana) on U. Srinivas, the Mandolin maestro, was played before the concert started. Vikkumama (75) received a warm standing ovation when he made an appearance on stage. 

Rajesh, Umashankar, Pravin and Ramakrishnan started the concert with Ganapati prayer 'Vatapi Ganapati (वातापी गणपती)' in Raag Hamsadhwani (हंसध्वनी).  I have heard this song many times. This was a different rendition. 

Selvaganesh and Mahesh joined in for a song sung by Mahesh. Since I don't understand the language, the words were lost on me. 

'Love within' composed by U. Srinivas was the next peshkash. Sawal-Jawab in this section were very good. Ramakrishnan then played solo. Umashankar then attached pickup mic to a stack of three paper cups and played on them with Selvaganesh. He then continued with Ghatam solo. This Ghatam performance sounded very sweet. He even played Ghatam from inside. Now it was Pravin's turn to play solo.  He played a number of Tukdas. It is not easy to play with stalwarts but he did well and created a small niche for himself. 

This was interval. Audience was getting restless as the main attraction was still missing. 

Vikkumama, Selvaganesh, Ganeshan, Rajaraman and Swaminathan started after interval. Vikkumama played with four Ghatams. It was like Ghatam tarang. They played 'Shiv Tandav (शिव तांडव)'.

Selvaganesh then demonstrated language of rhythm. He involved audience in the game of rhythm and made his point. He and his son presented vocal syllable beat. Ganeshan played Morsing solo beautifully. I did not know that so many sounds can come out of Morsing. Rajaraman then played Ghetu vadyam (I hope i have got the spelling right) solo. This curious instrument looks like a Tanpura, but is kept horizontal and played with sticks like Santoor. There are only two musicians in India who have kept this tradition alive.

Vikkumama them played Ghatam tarang. His dexterity, variations and demonstration of finer nuances won the audience. He made audience clap to the rhythm. Audience got so immersed that after one point of time there was no need to guide them. The claps came in rhythm volunterely. He got another standing ovation. 

Same ensemble then played another piece followed by solo Kanjira of Swaminathan followed by Selvaganesh solo. Selvaganesh then played sound of train in normal coach, in AC coach, on bridge, in a tunnel etc. on Kanjira.

All the artists who went away after interval, returned on the stage for final composition. It was a composition in Aaditaal (आदी ताल) and Raag Sindhubhairavi (सिंधू भैरवी). Although this was also good, it did not reach the peak. 

This ensemble was a family affair. Except Rajesh and Pravin all others were from the same family. What a talented family!

It soared as of these were two different concerts. One before interval and one after with Selvaganesh being the common thread. Thus it did not appear homogeneous. 

It was an event where entry was only by invitation. This ensured that only the really interested were present. The auditorium has a capacity of 1000, but it was only half filled. 

Organizers had announced that concert will start at 7 pm sharp. But it started 45 minutes late. Was it because of lack of audience (working day) or something else?

Once during the first half of concert, the microphone emitted a shrill noise. Rajesh, who also anchored the first half, showed presence of mind by taking the opportunity to introduce the sound engineer and thanking him for reminding. Vikkumama's ear piece kept troubling him in the second half that was anchored by Selvaganesh.

Umashankar's hilarious moves, Rajesh's presence of mind, conductor Selvaganesh, legend Vikku, rhythmic clapping of audience & very good music by all the players. These were the highlights of the show. 

It was a good concert. It was a special occasion to watch the legend Vikku Vinayakram. But I left with a feeling that there was not enough of Vikkumama.

Thanks to Asthika Samaj for bringing a rare program to Abu Dhabi. It gave me a chance to watch Vikku Vinayakram live.

Entertainment rating 8.5/10.

A. R. Rahman

Attended a concert of A. R. Rahman titled 'The journey, celebrating music'. 

Singers of the concert were Neeti Mohan, Jonita Gandhi, Harshdeep Kaur, Javed Ali, Arman Malik, Hari Charan & Benny Dayal. Accompanying Artists were  Sanket Naik (Tabla), Elin Sandberg (Base guitar), Ranjit Barot ( Drums), Keba (Acoustic Guitar), Asad Khan (Sitar), Gulraj (Keyboard) etc. The concert took place at Dubai Parks on 26th Jan 2018. I attended the concert with Aditi, Mihika, Ravi, Akshata, Pooja, Sameer, Rucha, Prakash, Swati Gauri, Gargi, Priya, Santosh, Vijay, Jyoti, Pratyush, Sucheeta and Jayant.

Concert started with a grand instrumental medley of all his famous songs. First song of the concert was 'Oh nadan parinde ghar aa ja (ओ नादान परिंदे घर आजा)' from film Rock Star. Ranjit's drums were fabulous.  It was followed by 'Mukkala mukabla Laila (मुकाला मुकाबला लैला)'. Neeti Mohan joined Rahman for this song. Neeti, in a stunning red evening gown, then presented 'Chandralekha (चंद्रलेखा)' from film Thiruda Thiruda. I found this one more refined than Anupama's original. ARR then played piano and Jonita Gandhi, in shining blue flowing top and black slacks, sung 'Dil hai chhotasa (दिल है छोटासा)' from film Roja with Neeti.

Rahman then sung 'Dilse re (दिलसे रे)'. He was accompanied by Sitar for this song. This was followed by 'Sathiya (साथिया)'. Hari Charan, in black shirt, white jacket white black floral design,  joined him for the song. Neeti sung her own song  'Jiya jiyare jiyare (जीया जीयारे जीयारे )'. Benny Dayal, in a white shirt, black hat and huge shades, then sung medley 'Kaise muze tum mil gaye (कैसे मुझे तुम मिल गए)' and 'Tuhi meri dost hai (तुही मेरी दोस्त है)'. 

Jonita sung 'Gar tum sath ho (गर तुम साथ हो)'. Rahman then presented 'Inna sona kyun (इन्ना सोणा क्यूं)'. Arman Malik, in black jacket, sung 'Tuhi tu (तुही तु)' from film Dilse. A belly dancer graced the stage with her sensuous dance moves. It was followed by ARR and Jonita's 'Tere bina (तेरे बिना)'. Arman, in stylish red sweat shirt presented medley of 'Matargashti (मटरगश्ती)' and 'Masakkali (मसक्कली)'. Arman and Jonita then sung 'Tuhi re, Tuhi re (तुहीरे, तुहीरे)' from movie 2.0. I heard this song for the first time. 

He asked if audience wants to hear a Malayalam song? Some said yes, some no.  It was presented nevertheless. The song was 'Padakali' from the film Yodha. Benny and Hari sung this duel song originally sung by Sreekumar and Yesudas. Although I did not understand the words, it was very enjoyable and audience loved it. It was the highlight of the concert.

Neeti presented 'Maiya maiya (माया मैया)' from film Guru. Sitariya  then played the theme music of film Slumdog millionaire. A medley titled 'Time machine' was presented. It consisted a mukhda of 'Kehna hi kya', 'Pyar ye jane kaisa hai', 'Kismat se tum', 'Tu bin bataye', 'O bhanware', 'Ye hasin wadiyan', 'Kehne ko jashn-e-bahara', 'Chanda re Chanda re', 'Saans me teri', 'O re chore', 'Ae ajnabi', 'Jiya jale jaan jale', 'Awara bhanware', 'Ghanana ghanan ghan', 'Mitwa sun mitwa', 'Rang de', each. There was a drums jugalbandi in this medley. 

Harshdeep Kaur presented 'Ik omkar', a prayer from Rang de Basanti. It was followed by Qawwali medley. ARR presented 'Phool Khile bagiyan mein (फूल खिले बगियनमें) of Amir Khusru followed by Javed Ali's 'Maula maula (मौला मौला)' and 'Kun faya kun (कुन फाया कुन)'.  Then they presented 'Kwaja mere khwaja (ख्वाजा मेरे ख्वाजा)'. Although this section was good, the tempo of the program was lost. Probably it's position in program was wrong. They should have started the program with this. 

Harshdeep Kaur presented 'Tinga linga linga (टिंग लिंग लिंग)'. Rahman  then presented 'Patakha guddi (पटाखा गुड्डी). 'Tanha tanha (तनहा तनहा) from film Rangeela was presented by Jonita, now in red evening dress, next. 

Neeti, now in black attire, presented 'Rangeela (रंगीला)' in her own style.  This rendition was different from original of Asha Bhosle, but it was very good.  I liked it. Rahman presented 'O humdum suniyo re (ओ हमदम सुनियो रे)'. Rahman presented 'Mustafa (मुस्तफा)'. He forgot one line in this song but recovered quickly. He made the audience sing the vocables in perfect tune, at the end of this song. He then sang 'Hamma hamma (हम्मा हम्मा)'. This appeared to be an impromptu addition. He then sung 'Urvasi (ऊर्वशी)'.

Audience demanded Vande Mataram and he complied by singing the final song of the concert 'Ma tuza Salam (माॅ तुझे सलाम)'. All the audience was on their feet for the grand finale, entire song. 

The concert audience must be more than 10000. Audience went ecstatic when Rahman did anything, even announcement and whenever he began a new song and during the song. In the later part of concert fog joined-in to watch Rahman perform, obscuring view of the audience. Return journey was bad as visibility was about 10-15m due to heavy fog. 

Although it was publicized as 'All Hindi' concert, ARR could not stay away from a couple of songs from other languages. But no one seemed to mind. It was an extravaganza with laser graphics, that hurt the eyes some times, dances and music. We were sitting so far away from the stage that the only way we could recognize the artists was from the strategically placed video screens. Our position did nor allow us to enjoy the dances. 

Names of singers, musicians and back stage staff were displayed in an AV one after another, they were not introduced. So I missed some names. 

It was a very good concert with two flaws. Qawwali should have been at the start and length should have been 15-20 minutes shorter. All the performers were good, Rahman was excellent but Neeti and Ranjit were the stars of the night.

Entertainment rating 8.5/10.

Kay Kay or KK

Attended a concert by Kay Kay or KK titled 'Mesmerizing KK'. Accompanying Artists were Rinku Rajput (Keyboard), Jaydeep Tirumalai (Base guitar), Lindsey Demello ( Drums), Kalyan Barua (Guitar), The concert was organized by  India Social and Cultural Centre as part of their Golden Jubilee Celebrations on their roof top on 21st Dec 2017. I attended the concert with Aditi, Mihika, Pooja, Sameer, Rucha, Neha, Prakash, Swati Gauri, Gargi, Priya, Santos, Ashok, Savita, Saanvi and Ishanvi.

This open air concert was originally scheduled on 8th Dec but was cancelled at last moment due to bad weather and shifted today. 

KK (Krishnakumar Kunnath) is considered one of the most versatile singers in India. He has never undergone any formal training in music. He sung more than 3500 jingles before breaking into Bollywood and has sung numerous hit songs.

Concert started with 'Kya muze pyar hai (क्या मुझे प्यार है)'. Audience instantly responded and sung with him. It was followed by 'Dil ibadat (दिल ईबादत)' and then 'Sach keh raha hai diwana (सच कह रहा है दीवाना)' from film RHTDM.

He then sung 'Tuzko jo paya (तुझीको जो पाया)' composed by Pritam followed by 'Labon ko labon pe (लबोंको लबोंपे)' and 'O humdum suniyo re (ओ हमदम सुनियो रे)'. Then he sung 'Sung hoon tere (संग हूं तेरे)'. I had never heard this song before. 

He sung a song dedicated to all beautiful ladies 'Akhon mein teri ajabsi (आखों मे तेरी अजबसी)' and made them sing. 'Abhi Abhi dilki suni hai (अभि अभि दिलकी सुनी है)' and 'Tuhi meri shab hai (तुही मेरी शब है)' followed suit. 

His famous song 'Yaron dosti (यारों दोस्ती)'. He told how he recorded a song solo while on vacation in Australia, upon urgent request of composer Pritam. He sung that song from film Bajarangi bhaijan 'To jo mila (तू जो मिला)'. It was followed by fast song 'Hai junoon (है जुनून)'. This was interval. 

After interval he narrated a story of how he came to sing one of his most famous songs and then sung it 'TadapTadap ke (तडप तडपके)' from Him dil de chuke sanam. He sung this song with only keyboard and then guitars to accompany.  No rhythm. He sung it with his heart. 

'Hum rahe ya na rahe (हम रहे या ना रहे)' a slow and delicate song was followed by faster 'Khuda jane ke mai fida (खुदा जाने के मैं फिदा)'. He played a small trumpet piece by mouth during this song. 'Jarasi dilmein de jagah tu (जरासी दिलमें दे जगही तू)' followed thereafter. 

The mood changed to rhythmic beats for dancing in the final segment of concert. He sung 'Tune mari entriyan (तूने भारी एंन्ट्रीयाॅ)'. He started with Bengali version and them switched to Hindi. Audience entered the pit and danced, all our kids included. Then came title song of remake of film Don 'Main hun Don (मैं हूं डाॅन)'. He removed his jacket for the next song 'Dus bahane karke (दसरा बहाने करके)'. It was immediately followed by 'Desi boys (देसी बाॅईज)' and 'It's the time to disco (इट्स द टाईम टु डिस्को)'

'Koi kahe kehta rahe (कोई कहे कहता रहे)'.In the Josh, he went out of tune in this song. He introduced the musicians and gave each of them 2 minutes of fame. He concluded the concert with same song. 

It was an experience of re-education Ann's revelation for many. Song is known. Oh! It is sung by KK!

KK, clad in black suit, entranced the audience. To gauge the audience involvement he sometimes missed a line and kept quiet but the audience sung instead and carried the song forward for him to pick up.  Audience needed no urging to sing along. KK's voice has a special quality. His unpretentious attitude won the audience instantly. 

Being a Mallu by origin and the program being in The Gulf, it's commendable that he resisted temptation of singing a Malayalam song. 

All the musicians were good. A concert with just four musicians is a rare deal. But no instrument was found wanting. 

Audio system was very good. Strobe lights from stage on audience were source of eye irritation. Program would have been better without them. 

Audience's sing-along was unprecedented. Audience mostly sang vocables and I realized how many of his songs have liberal dose of vocables. This was one concert where I found it most. 

Entertainment rating 8.5/10.

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D# Fusion: From strings to soul...

Attended a concert titled "D# Fusion: From strings to soul...". Today's performing artists were Troily Dutta (Sarod), A. Rajesh (Ghatam), Jay (Keyboard and Vocal) and Soumen Hazra (Tabla). Aryaman and Aritrika were the child singers who made a brief adherence. The program was organized by  D# Fusion in Embassy of India auditorium on 9th Dec 2017. I attended the concert with Jayant.

As the title suggests, it was a fusion concert. However, it was not the fusion of east and west but the fusion of Indian classical music, contemporary music, Indian folk music and Bollywood classics. It was fusion with a difference. 

Concert started with 'Divinity' a composition in Raag Yaman (यमन). They presented song 'Aadi pujit pad pankaj' followed by a bandish 'Zid na dharo', where Ghatam joined in.  Singers sung good Sargam during this Bandish. 

Second composition was in Raag Maru Bihag (मारू बिहाग) (Attributed to Ustad Alldiya Khan, founder of Jaipur-Atrauli gharana). They presented song 'Pia tora kaisa abhiman' from film Raincoat. Then they played fusion with drums, however, it was a pre recorded track for drums. 

Next they presented a Symphony in Raag Tilak Kamod (तिलक कमोद). The combination of Ghatam, Tabla and Sarod sounded very good. It was a char taal ki sawari with Vilambit in 11 beat cycle and Drut in 16 beat cycle. This included very enjoyable Sawal-Jawab between Ghatam and Tabla.

Here there was a break of 5 minutes that lasted 15 minutes. It broke the flow. I thought it would have been better to skip the break. 

First composition after break was titled 'Serenity'. It was an improvisation of Raag Hemant (हेमंत). Raag Hemant was created by Ustad Allauddin Khan. They presented famous song 'Ye hausla kaise jhuke' from film Dor. Soumen played electronic drums for this song. 

Medley of folk numbers from Rajasthan, Assam, Maharashtra and Bengal was next on agenda. This included Raag Mand (मंद), Dhun probably in Mishra Khamaj (मिश्र खमाज) and Bhairavi (भैरवी).

Concert concluded with a composition 'The eternal joy' based on Raag Hamsadhwani (हंसध्वनी).  They presented 'Bavra man dekhne chala ek sapana' from film 'Hazaron khwahishe aisi' followed by famous Carnatic composition 'Vatapi Ganapati'. There was Sawal-Jawab between Sarod, Percussionists and Vocal during this. 

At this point Sarod chords snapped. It was a difficult moment. But rest of the performers showed presence of mind to continue with Vatapi Ganapati until she restored the chords. This one was real impromptu. Then they took up where they had left and reached crescendo to conclude inn a high note. 

Why the name D# Fusion? Sounds different! Well, D# for D Sharp note and D'Fusion of music. Creative and Innovative!

Concert started almost one hour late. Previously declared Ghatam player, Kadir, could not participate due to unforeseen reasons, so Rajesh was flown in from India for this concert. He is a professional artist and obviously played well. 

Soumen used two Tablas. However, rather than changing, he arranged both in front of him and played the one he required. He also played drums and demonstrated his versatility. 

Jay, the vocalist, used keyboard for chords. If he had played keyboard it would have become more profound.

Triolee plays Sarod very well. She had to under play to stay with the group. She has potential more than what was on display. I would like to see her play pure classical solo Sarod. 

Audio system was very good. A guy was taking photos of artists throughout the program, disturbing them. Attendance was about 75.

Local artists have shown that they can create content at par with others. Encouragement is due. Well done!