Chirag Katti (Sitar)

Attended a concert of Chirag Katti (Sitar). Chirag was accompanied by Rajkumar Chaterjee (Tabla). This concert was organised by Kanan Music Circle at the residence of Girish and Sangya on 21st Feb 2019. I attended the concert with Aditi and Jayant.

Chirag, disciple of his father Pt. Shashank Katti, hails from Imdadkhani gharana. Rajkumar is a disciple of Pt. Arvind Kumar Azad of Benares gharana.

Bada Khyal of the concert was evening mishra Raag Puriya Kalyan ( पूरिया कल्याण) of Marwa thaat. He started with conventional Aalap - Jod - Jhala. Some of the audience left after this. He then presented two compositions. Tabla joined in for these. First was in Madhyalay Jhaptaal (10 beat cycle) and second was in Teen taal (16 beat cycle). Chirag and consequently the audience enjoyed the second composition. Finally crescendo when he played very fast, tabalji struggled a little bit to keep up. 

He then played a dhun in late night Raag Khamaj (खमाज) of Khamaj thaat. This raag has been explored more in the lighter forms. This was a familiar tune and everyone connected with it and enjoyed it. 

This was time to end the concert but audience wanted more and Chirag acceded to continue.  

So, Chota Khyal was 26th melakarta raag from Carnatic music, night Raag Charukeshi (चारूकेशी). He presented a short composition. From Charukeshi he moved to Raagmala. Here he played a number of known tunes. Audience liked it because they were able to recognize the tunes. (Marma bandhatli, Dere Kanha, Rasme ulfat etc.). Raagmala and concert ended with Bhairavi.

Chirag gave audience some impromptu lessons about Hindustani Classical Music. He explained how adding or removing one note one raag changes to another and then another (Kalawati to Janasammohini to Gawati to Vachaspati) etc.

Chirag displayed his command over delicate,  forte,  gayaki and jazzy notes. His meends received spontaneous applause from audience. 

I had heard Puriya Kalyan as Bada Khyal in a live concert only once earlier in Alladiyakhan festival. Puriya Kalyan is a blend of Raag Yaman and Raag Puriya.

Chirag is a perfectionist and took his time till the sound system was set to his satisfaction. Audience, sensing the perfectionist in him, waited patiently. 

Music system was decent but could have been sharper, especially, for finer and delicate notes. 

Entertainment rating 8/10.

Shreya Ghoshal

Mandar's concert report

Attended a concert of Shreya Ghoshal. Shreya was accompanied by male singer Kinjal Chatopadhyaya and supported by a number of musicians. Abhishek  (Keyboard), Prasanna (Flute), etc. The program was anchored by Sahil. This concert was organised by India Social and Cultural Center on 16th Nov 2018 at ISC rooftop. I attended the concert with Mane, Patil, Oak families, Priya, Santosh, Aditi and Mihika.

Concert started with Kinjal, who set the stage for Shreya's entry.  He sung three songs 'Tere mere sapne', 'O mere dilke chain' and 'Tuhi re'.

Shreya made her entry with a shimmering silver evening gown. She started with 'Kahate hai diwani Mastani to gayi' from film Bajirao Mastani. She has won Filmfare and many other awards for this song.  She followed it with 'Bahara bahara' from film I hate luv stories,  'Jadu hai nasha hai' and 'Tum mile dil khile'.

She then sung songs of Rahman 'Aja main Bahron mein' and 'Muze sans ayi'. Then they sung 'Manwa lage'  from film Happy New year, 'Main tenu samzawan ki', 'Shukran Allah' from film Kurbaan, 'Tere masta masta do nain' from Dabangg, 'Main wari jawan' and 'Dhire dhire' from movie Tango Charli. To appease majority local audience she also sung two Malayalam songs back to back. 

She then sung 'Rabta' from movie Agent Vinod followed by 'Pinga' from film Bajirao Mastani. Audience enjoyed this song very much. 'Barso re megha' and 'Ye ishq hai'. 'Nagare sang dhol baje' from film Ram Leela was the last song before she took a break. 

Kinjal filled the gap of Shreya"s absence by singing mukhdas of various songs like 'Aj janeki jid na karo', 'Ranjish hi sahi', 'Abhi na jao chodkar', 'Eshan tere hoga muzpar' and 'Kehna hai'.

Shreya reentered with a section dedicated to old songs. It was a medley of 'Chaudhvi ka chand', 'Wo sham kuch ajib thi', 'Kabhi kabhi', 'Aapki nazron ne samjha', 'Ab to hai tumse', 'Kya janu sajan', 'Aa Janejan', 'Piya tu ab to aaja' and 'Dum maro dum'. Speciality of this section was that she started every song unconventionally from antara, not mukhda. Shreya sung this section mostly on chords and audience sung with her. She then reluctantly moved to new songs of her own.

'Zubi dubi zubi dubi' from Three idiots, 'Karle maiden fateh' from Sanju, 'Uh lala' from film Dirty Picture, 'Radha teri chunri' from Student of the year, 'Chikni chameli' from Agneepath and 'Ghoomar' from Padmavat.

She then sung another Malayalam song in seven beats and turned back to Hindi with 'Teri meri meri teri prem kahani' of film Bodyguard. Then she moved back to regional with a Tamil song of Rahman and a Kannada song. 

In the last section she sung 'Tuzmein rab dikhta hai' from film Rab ne banadi jodi, 'Teri ore' from film Sing is king and then Bengali 'Ekla chalo re' of Rabindranath Tagore, 'Lagja gale', 'Sun raha hai' from Ashiqui 2 and concluded the concert with 'Mere dholna sun' from film Bhool Bhulaiya.

Shreya has a beautiful voice and She is an accomplished singer. Although she had the ipad on stand,  she hardly looked at it for lyrics,  she had them by heart. Even the non Hindi ones. Kinjal is also a very good singer and we will see more of him in future. 

Sahil, the anchor, tried to say a number of Shers, but many of them were poorly composed or not really rhyming. They sounded more Gadhe (गधे) than Sher (शेर).

Shreya made a faux pass in the beginning by thanking ISIS instead our ISC, but quickly rectified. She announced names of musicians but we were not able to pick all the names in the melee. Concert was supposed to start at 9 pm, but stated an hour late.

Lights on stage were overdone. Moreover, too many times harsh lights were thrown on audience, hurting eyes. It was irritating. Sound system was good but the audience at the very back complained that they could not hear clearly. 

Seating arrangement left a lot to be desired. We were seated half way down the seating area and the stage was at the same level as us,  so we were hardly able to see the stage relying on screens and ears. A graded arrangement is a must when the audience is more than thousand. 

All the songs were good and popular. Shreya is an excellent singer and musicians were good too. So the concert should have been wow! But somehow,  I felt that something was missing. Can't put a finger on it. Open air did not help either. 

Entertainment rating 7/10.

Swardeep sandhya (स्वरदीप संध्या)

Attended a concert titled "Swardeep sandhya (स्वरदीप संध्या)", a concert of Marathi songs. Vishwajeet Borwankar, Arohi Mhatre, Jeetendra Tupe were the singers and they were accompanied by Amit Gothivrekar (Keyboard), Sachin Bhangre (Side rhythm) and Ratnadeep Jamsandekar (Tabla, Dholki, Dholak and Dhol). The program was anchored by Amit Kakde. This concert was organised by Maharashtra mandal Abu Dhabi on 9th Nov 2018 at Abu Dhabi Islamic Cente. I attended the concert with Thangaokar, Mane, Patil, Sambhaji, Oak, Kamble families, Aditi and Mihika.

Concert started with Ganesh vandana, 'Sur niragas ho (सूर निरागस हो)' from Katyar kaljat ghusli by Jeetendra.

Arohi sung Ali mazya ghari hi Diwali (आली माझ्या घरी ही दिवाळी). Vishwajeet then presented Man mandira (मन मंदिरा) again from Katyar kaljat ghusli. He sung it in his style. Audience applauded and provided clap rhythm for this. Jeetendra sung a very famous song of Sudheer Phadke Toch chandrama nabhat (तोच चंद्रमा नभात). Arohi sung Zulvu nako hindola (झुलवू नको हिंदोळा) and followed it with Brahma Vishnu ani Maheshwar samori basle (ब्रह्मा विष्णू आणि महेश्वर) from film Amhi jato amuchya gava which transformed into Bhakti medley with Khel mandiyela (खेळ मांडीयेला), Kanada Raja pandharicha (कानडा राजा पंढरीचा), Abir gulal (अबीर गुलाल) and Zenda rowila (झेंडा रोविला).

Vishwajeet presented Baglyanchi malphule (बगळ्यांची माळफुले), originally sung by Vasantrao Deshpande, composed by Srinivas Khale and written by Va. Ra. Kant. Arohi then sung Suresh Bhat's gazal Tarun ahe ratra ajuni (तरुण आहे रात्र) composed by Pt. Hridaynath Mangeshkar. This sad song was an odd note in otherwise festive atmosphere. Although the song is excellent and Arohi sung well,  it could have been avoided. To celebrate the occasion of Bhaubij, Arohi presented Wedya bahinichi wedi hi maya (वेड्या बहिणीची वेडी ही माया) on demand.

Adiwasi geet section was the last section before interval. They presented three songs. Jambhul piklya zadakhali (जांभुळ पिकल्या झाडाखाली), Amhi thakara thakara (आम्ही ठाकरं ठाकरं), Lingobacha dongur (लिंगोबाचा डोंगुर). Percussionists got free rein in this section.

First song after interval was famous Lakh lakh chanderi (लखलख चंदेरी). This one was a low key affair. Mala wed lagle premache (मला वेड लागले प्रेमाचे) was next. One very old and one new song.

Concert then moved to masti mood with Ajay Atul section. Vishwajeet and Arohi presented famous song Jeev rangala (जीव रंगला) from film Jogwa. Ajay Atul got national award for this song. Arohi presented my favourite Gorya gorya galawari (गोऱ्या गोऱ्या गालावरी) from film Tuzya mazya sansarala ani kay hawe. This was probably the best song of the concert. Mauli mauli (माऊली माऊली) drew immense audience applause and audience co-sung the chorus. Attach baya ka bawarle (आत्ताच बया का बावरलं) was presented next.

Then they presented a unique song. Awdhoot Gupte's qawwali of Ganapati bappa in movie Morya. This is first ever Ganapati qawwali. Vishwajeet sung this qawwali. I had not heard this qawwali earlier. It was good.

Concert of Marathi songs can not be complete without Lawni. Lawni was imperative. Ratnadeep got his 5 minutes of fame in the opening Dholki piece. It was followed by percussion sawal jawab followed by immortal Tuzya usala lagal kolha (तुझ्या उसाला लागल कोल्हा). Four ladies and little girls from audience danced impromptu on this rhythmic lavni. This set in motion various dance performances by audience including yours truly.

It was gents' turn to display their dancing skills on song Navri natli (नयरी नटली). Ladies joined in too, then how can children remain behind?

This was followed by rapid fire Gondhalala ye (गोंधळाला ये). Theme song of movie Jogwa. Another song of Ekveera Devi. Baghtoy rikshawala (बघतो रिक्शावाला) and Mhawryacha laglay naad (म्हावऱ्याचा लागलाय नाद). Audience gave way to their natural instinct of dancing,  even if they did not know how to dance. It was an enjoyable moment.

Concert ended with the Marathi song that has become a national hit, Zing zing zingat.

Vishwajit is a good singer. The firat in his voice and his classical training is evidenced in his singing.

Jeetendra involved the audience by encouraging them to clap,  wave hands,  wave mobile torches etc. He also sung well.

Arohi started on very shaky ground. She appeared rusty and out of touch. I was worried, but she gradually caught up as the concert progressed.

Purcussionists and key board player provided the accompaniment aptly. Ratnadeep packed away Tabla at interval and played dhol and dholak mostly. Ajay Atul effect!

Amit Kakde did a decent job as anchor.

In general first half was dedicated to melody and second to fast and rhythmic songs that make you shake a leg.

Temperature in auditorium was chilly. Audience got first hand experience of what it would feel in a refrigerator.

All in all an enjoyable evening.

Entertainment rating 7.5/10.

Awaz ki duniya (आवाज की दुनिया)

Attended a concert titled "Awaz ki duniya (आवाज की दुनिया)", written,  produced and directed by Ashok Hande and performed  by his troupe of artists. This concert was organised by Maharashtra mandal Abu Dhabi on 19th Oct 2018 at Abu Dhabi Islamic Cente. I attended the concert with Thangaokar, Mane, Patil, Sambhaji, Oak, Kamble families, Aditi and Mihika.

 

Ashok Hande, Pramod Sohoni, Sachin Mule, Smita Joshi, Rasika Joshi & Preethi Warrier were the singers. Satyajit Prabhu & Karan Bawre on keyboard, Avinash Mayekar on Tabla, Bhavesh Patil & Nana Salunkhe on side rhythm, Shashank Hadkar on Octopad formed the music ensemble. Mahesh Khanolkar was on mandolin, violin & Swaralin. He was also the music arranger.

 

This was a program of Hindi film songs starting from old ones and gradually moving to the new and newer ones. Theme of the program at the start was rural life & celebration and then moved to independence,  advent of radio and current songs. 

 

Concert started with Ae malik tere bande hum (ऐ मालिक तेरे बंद हम) followed by Jago Mohan pyare (जागो मोहन प्यारे), Mousam bita jaye (मौसम बीता जाए), Barkha dulhaniya (बरखा दुल्हनीया), Sawan ka mahina (सावन का महिना) - audience applauded as soon as this song started. Then came Hariyala sawan dhol bajata aya (हरियाला सावन ढोल बजाता आया), Dukh bhare din beetere bhaiya (दुख भरे दिन बीतेरे भैया), Julmi sang ankh ladi (जुल्मी संग आँख लडी), Nain lad gaye hai (नैन लड गए है) and Ude jab jab zulfe (उडे जब जब जुल्फें). Audience demanded once more for this song and the request was duly fulfilled.

 

They then presented O gadiwale gadi (ओ गाडीवाले गाडी), Zumka gira re (झुमका गिरा रे), Pan khae saiyan hamaro (पान खाए सैंयाँ हमारो), Chalat musafir (चालत मुसाफिर), Sakhi saiyan to khubhi kamat hai (सखी सैंया तो खूबही कामात है), Nazar lagi Raja (नजर लागी राजा) - don't know why they did not use dholki in this song and used Tabla instead. Salaam-e-ishk (सलाम-ए-इश्क) & Inhi logon ne (इन्ही लोगोंने).

 

Then there was a medley of Holi songs. Khelenge hum holi (खेलेंगे हम होली), Rang barse (रंग बरसे), Holi khele raghubira (होली खेले रघुबीरा), Ayi holi ayi re (आई होली आई रे), Are jare hat natkhat (अरे जारे हट नटखट). Artists gave themselves a once more on the dance for this song. The medley concluded with Mera rangde basanti chola (मेरा रंगदे बसंती चोला).

 

This song served as bridge between holi and desh bhakti. So the next two songs were Vande matarm(वंदे मातरम्) - the fast tune and Ae mere watan ke logon (ऐ मेरे वतनके  लोगों). The singer started in very high scale but corrected immediately. This was interval @ 1947.

 

First song post interval was Kuhu kuhu bole (कुहू कुहू बोले) followed by Laga chunari mein daag (लागा चुनरी में दाग). As expected tarana got a once more and the request was happily fulfilled. He sung Tarana well, but I felt the energy level was bit low. 

 

While emphasizing the importance of radio in propagating music they presented medley of mukhdas of Main banki chidiya (मैं बनकी चिडीया), Babul mora (बाबुल मोरा), Awaz de kahan hai (आवाज दे कहाँ है), Dil jalta hai (दिल जलता है), Aega ane wala (आएगा आने वाला), Aa chlke tuze (आ चलके तुझे), Yad kiya dilne (याद किया दिलने) and even life bouy jingle.

 

This was followed by Jo wada kiya wo (जो वादा किया वो), Pyar hua ikrar hua (प्यार हुआ, इकरार हुआ), Dil-e-nadan (दिल-ए-नादाँ), most famous Qawwali Na to karwan ki (ना कारवाँ की),  Damadam masta kalandar (दमादम मस्त कलंदर), Lambi judai (लंबी जुदाई), Dariya kinare ek bunglow (दरिया किनारे एक बंगलो), Main to bhool chali (मैं तो भूल चली), Muttukkodi kawwadi hada (मुत्तुकोडी कव्वाडी हडा) and Sun mere bandhu re (सुन मेरे बंधु रे). The singer imitated the original voice of SD ditto. 

 

Comparison of old and new was then presented in another medley. Hawa mein udta jaye (हवा में उडता जाए),  Sexy sexy sexy muze log bole (सेक्सी सेक्सी सेक्सी मुझे लोग बोले), Ruk ja o jane wali (रुकजा ओ जाने वाली), Piya tu ab to aja ( पीया तू अब तो आजा) - this one was very good. Once more was inevitable. Audience danced without inhibition on this song. Medley continued with Yaylare ladki mast mast tu (यायलारे लडकी मस्त मस्त तू), Aji ise pyar kahenge (आजी इसे प्यार कहेंगे), Najrein mili mere dhadka (नजरें मिली दिल धडका), Ichak dana (ईचक दाना), Amma dekh tera munda bigda jaye (आम्मा देख तेरा मुंडा बिगडा जाए) and Dum maro dum (दम मारो दम).

 

They then presented top ten medley. Manwa lage lagere bawre (मानवा लागे लागेरे बाँवरे), Ghoomar (घूमर), Nirma jingle, Mere rashke qamar (मेरे रश्के कमर) - this song was not part of the program it was introduced a few hours before the program on public demand and singer prepared and sung well within short time, Chalao na nainon se ban re (चलाओ ना नैनोंसे बाण रे),  Leila main Laila (लैला मै लैला) - a local artist danced on this song, Mere desh ki dharti (मेरे देशकी धरती), Ab tumhare hawale watan sathiyon (अब तुम्हारे हवाले वतन साथियों) and Jinhe naz hai Hind par wo kahan hai (जिन्हे नाज है हिंदपर वो कहाँ है).

 

Concert ended with last section of immortal Mile sur mera tumhara (मिले सुर मेरा तुम्हारा). I thought they ought to have sung the full song. That would have made a lasting impact. 

 

The program was conceptualized very well.  There was an emphasis on dhamal enjoyment. The group presented a lot of medley's. Pure full songs were few. Audience was bombarded with one song after another. They did not give any time for audience to think or get bored. Audience also applauded almost every song and danced when the rhythm allowed and lost track of time. 

 

They made good use of screen, although the opportunities were limited. Use of screen, especially, for the song in bullock cart was fantastic. 

 

They made very effective use of chorus. A large number of songs had chorus provided by other singers and it was very good, enriching the experience.

 

There were a few dances by local artists on selected songs.  Dancers and singers had one practice season before the concert. 

 

Although the sound system was good, acoustics of the auditorium were not very good.

 

All the musicians wore plain whites and singers wore colourful dresses. Ashok changed dresses more than 20 times. Mahesh Khanolkar played three instruments. It was first time I saw Swarlin being played. They say that only 2-3 people can play this instrument in India. It is a rare instrument. 

All male singers were above middle age. They also indulged in a bit of acting and antics. Words of Pramod were obfuscated. Was it the singer or Mic? Preethi was the best singer of night. She was versatile, sung with smiley face and enjoyed her performance resulting in audience enjoying it even more. 

 

Ashok won the hearts by acknowledging contribution of and inviting on stage his artists, local artists, MMAD members etc. However, he did not forget to mention that they have compromised on lighting, sound system and number of artists to make this program happen. 

 

Entertainment rating 9/10.

 

 

Gaanaamrutham

Attended a concert titled "Gaanaamrutham", performed by local Abu Dhabi artists. This concert was organised by Ragamalika as part of 13th Annual festival 'Swara Raga Sudha 2018' on 4th May 2018 at Sudanese club Abu Dhabi. I attended the concert with Jayant. 

The singers were Raga Mayuri, Shalini Kumar, Poornima Iyetal, Radhika Duggirala, Urmila Santosh, Mruduvani, Divya, Sharanya, Subha Harish. Shriram Sundaram on Mridangam and Sujith Warrier on keyboard accompanied the ladies. 

They presented following songs:

1. 'Jaya jaya swamin' in Raag Nattai and Aadi tal composed by Narayana Theerthar in Sanskrit. 

2.  'Devi Neeye Thunai' in Raag Keeravani and Aadi tal composed by Papanasanm Sivan in Tamil.

3. Kriti 'Ayye methakadinam' in Ragamalika and Aadi taal in Tamil.

4. 'Rakshchu rakshimchu' in Raag Shanmukhapriya and Aadi taal in Telgu.

5. Annammacharya krithi 'Meluko sringara raya' in Malayamarutam in Telgu.

6. Purandaradasa's 'Nara janma badhaga' in Raag Kapi and Aadi taal in Kannada.

7.  Tillana in Raag Hamsanandi and Aadi taal.

8. Purandaradasa's 'Hanumantha deva' in Raag Poorvikalyani in Aadi taal in Kannada.

The concert was supposed to have ended there. But upon request by the organizers, the group sang famous and my favourite 'Bhagyada lakshmi' in Raag Madhyamavati and Aadi taal to conclude the concert. 

If one reads through carefully,  the common theme of the concert was Aadi taal (Aadi talam), which is the most common taal and has Trital as it's twin in Hindustani music. 

All the ladies sang all the songs in chorus. They created good sound waves and positive energy. It was very pleasing to ears and created a divine atmosphere.

These ladies are presenting Gaanaamrutham for last 13 years in the same festival. It's a great achievement and deserves applause. One or two of them were good enough to be given a chance to perform solo. 

It goes without saying that Abu Dhabi has got talent.  

Entertainment rating 8/10 

Shashank Subramanyam (Flute)

Attended flute recital of Kalaimamani Sri. Shashank Subramanyam (Flute). He was accompanied by H. N. Bhaskar (Violin), Jayachandra Rao (Mridangam) and Ojas Adhiya (Tabla). This concert was organised by Ragamalika as part of 13th Annual festival 'Swara Raga Sudha 2018' on 3rd May 2018 at Sudanese club Abu Dhabi. I attended the concert with Jayant. 

Shashankji asked the audience what they would like to hear. Someone from first row suggested (I could not hear) and he started the concert. Concert started with Flute and Violin. Mridangam joined in soon after and shortly Tabla followed suit. 

Second composition was a known composition. Flute and Violin played beautiful solo pieces at the start. Tabla and flute concluded this composition. 

Now it was violin's turn. Bhaskar played with Mridangam. Flute and Tabla then joined in. Then they played in alternating combinations of  Flute-Tabla and Violin-Mridangam. Violinist played very well. Shashankji played very well too. I especially liked when he played alternate notes in komal and teevra octaves seamlessly. It appeared as if two flute players were playing. 

He then gave audience a choice between Raag Nasikabhushani and Dharmavati. Audience chose 70th Melkarta raag  over 59th. So it was Nasikabhushani. He played some very delicate and stable notes and received audience applause. He then played  some solo very fine, fluid and fast as well as slow flute. It was followed with Violin solo. Flute then took over again. There was neither Mridangam nor Tabla for this Raag.

He then presented Tyagaraja composition 'Mara vairi ramani' again in Raag Nasikabhushani.  It has two variations. One in Adi taal and another in Rupak. He chose Rupak taal. Here Violin-Tabla and Flute- Mridangam played in combinations. 

He then presented a short composition in Raag Dhenuka. It wad a beautiful composition and sounded very similar to Bhairavi.

He then presented Raag Mohanam. He played Ragam Tanam Pallavi (RTP). He changed his Flute to a longer one that provided richer tone initially.  This Raag sounded like Bhoop Raag.

He then made a fabulous demonstration. First he played in two octaves alternately and then he played in two octaves simultaneously. Amazing! Don't know how! Tabla and Mridangam joined in for Pallavi 'Mana mohana'. Ojas got some freedom to play during this composition. The crescendo was so good that they got standing ovation. 

It was followed by 'Tani avartanam',  a section designed for the Purcussionists to show their prowess. This time, though it was a Carnatic concert,  it was a rare occasion to watch Mridangam Vs Tabla. Both of them are masters and displayed what they can do given freedom. Paltas of Ojas were very good today. One of them was simply awesome. He won the audience with this brief opportunity.  Both off them merged in Mohra and played Korvai together. Audience clapped with the Percussionists. Rani avartanam came towards the end of concert. 

There was a short break to felicitate the artists. The power went off during felicitation. So the break extended but audience remained. There was dinner after the concert,  which I didn't partake,  as incentive. :) This break was uncalled for and broke the flow of the concert. 

Concert ended with three short compositions played by all the artists together. 

I have heard Shashank earlier in duet concert with Kushal Das. This time it was solo. He is an amazing flutist. He flew from Los Angeles for this concert and was flying back after. 

Violinist sass good and applauded his cci artists. Rap and Ojas were also excellent. 

Every year thus festival is house full. Today the hall was not full. It may be because of a combination of working day and current market situation. The hall has good acoustics.

The stage had a backdrop of a temple. This  is the image of the temple that will be  built in Abu Dhabi and will open in 2020.

A good concert. 

Entertainment rating 8.75/10 

'Tarangini (तरंगिणी)

Attended an instrumental fusion concert titled 'Tarangini (तरंगिणी)' by band 'Shanti fusion (शांती फ्यूजन)' anchored by Dr. Girish Oak (गिरिश ओक) and led by Pt. Yograj (पं. योगराज), disciple of Utd. Shahid Parvez. Pt. Yograj (Sitar), Sargei Gudinho (Base Guitar), Surjit Thali (Tabla), Vishnu Shirodkar (Keyboard) and Santan Carvalho (Octopad ) were the performers. This concert was organised by Maharashtra Mandal Abu Dhabi as part of the Annual General Gathering on 20th April 2018 at Hotel intercontinental, Abu Dhabi. I attended the concert with Thangaokar family, Oka family, Mane family, Patil family and Chitrao family.

Concert started with a small piece in Raag Yaman kalyan (यमन कल्याण). Dr. Girish Oak explained his role in the concert in an interesting way. He said he was the khboos that is needed to eat hummos. The Arabic connection.

The band presented a composition in Raag Jhinjhoti (झिंझोटी). 'Norwegian wood' by George Harrison of Beatles was based on same Raag. They then presented another composition in same Raag and ended with song 'Koi humdrum na raha (कोई हमदम ना रहा)'. Anchor then presented a famous poem of Mangesh Padgaokar 'Tumche Kay gele (तुमचं काय गेलं)'

They next presented a composition in Raag Ahir Bhirav (अहिर भैरव). It had some similarity with Arabic folk and keyboard was the predominant instrument. They continued to song 'Ye sham mastani (ये शाम मस्तानी)' from film Kati Patang. Anchor presented a  week known poem of Kusumagraj 'Prem kar bhilla sarkhe (प्रेम कर भिल्ला सारखं)'

Next composition was based on Raag Hamsadhwani (हंसध्वनी) and continued into song 'Ja tose nahi bolun sanwariya (जा तोसे नाही बोलूं सावरीया). Girishji then presented famous poem of Shankar Vaidya 'Chatri (छत्री)'. 

The band then presented Marathi song 'Konacya khandyawar (कोणाच्या खांद्यावर)' based on Raag Natbhairav (नट भैरव). Girishji then presented a Marathi gazal of Vinda Karandikar titled 'Sathi (साठी)'.

They then presented A.R. Rahman composition 'Tu hi re (तू ही रे)'. Pt. Yograj played this excellent composition, almost without accompaniment, equally well. Wow!  This was the best piece of the concert. Audience demanded 'Once more' but the wish was not granted. Girishji then presented a poem of Mangesh Padgaokar 'Mi tila wicharle (मी तिला विचारलं)'.

They presented another composition on Raag Alhaiya Bilawal (अलहैया बिलावल) and continued into song 'Hum the jinke sahare (हम थे जिनके सहारे)'. Girishji presented his own poem in muktachand 'Pananche prakar (पानांचे प्रकार)'. This was a very good poem and enumerated so many types of pan (leaf) in staccato burst that audience enjoyed it and applauded him. Infact his poem drew more applause than that of great poets. 

They then presented medley in Raag Pilu (पिलू), which is favoured by cinema music, of 'Suramayee akhiyon mein (सूरमयी अखियों में)' and 'Ae jindagi gale lagale (ऐ जिंदगी गले लगाले)'.

Concert ended with a famous composition  based on Raag Tilak kamod (तिलक कमोद) that i have heard before. 

I liked the format of the concert. A Raag based composition followed by a film song based on same Raag so that general audience can connect and identify with it. However, they did not announce the name of all Raags.

Dr. Girish Oak was sort of an odd man out in a instrumental fusion concert. However, he managed his role decently with the help of his wit, poems, presence of mind and his star value. 

Pt. Yograj and Vishnu were outstanding. I would like to listen Yograj play solo classical. Other musicians supported them ably. The coordination between them was noteworthy. 

Audience, however, was not attentive. Some were interested and listened carefully. Others were in festive mood and were chatting in the back rows.  Children were running around. Girishji subtly expressed his displeasure but no avail. If the audience had been keen, out would have turned out to be much more enjoyable. 

A good concert in a wrong setting.

Entertainment rating 8/10