Dazzling Maharashtra (डॅझलिंग महाराष्ट्र)

Dazzling Maharashtra (डॅझलिंग महाराष्ट्र)

Attended a concert titled Dazzling Maharashtra (डॅझलिंग महाराष्ट्र). Singers were Chaitanya Kulkarni, Sharayu Date, Juili Joglekar, Anandi Joshi, Adarsh Shinde & Rahul Deshpande. Musicians were Nilesh Parab, Prasad Padhye, Krishna Misal, Vijay Jadhav on rhythm. Satyajit Prabhu, Mangesh Bhadkamkar on keyboard. Manish Kulkarni, Kishore on guitar. Other instruments Datta Tawde, Bharat, Nagesh. Mangesh was also the music arranger. The program was conceptualized by music director Rahul Ranade. Anchors of this program were Sachin Khedekar and Mrunmayi Deshpande. This concert was organized by Government of Maharashtra and GMBF at Grand Hyatt, Dubai, on 19th Nov 2021. I attended with Aditi, Dada and Kamble, Patil, Thangaokar families.

This concert was arranged on the occasion of Expo 2020 as a celebration of Marathi art, culture and cinema. It was attended by Maharashtra ministers Subhash Desai, Amit Deshmukh and Aditi Tatkare. So, there were multiple breaks for speeches of politicians and officials during the concert. 

Concert started with 'Deva Shri Ganesha (देवा श्री गणेशा)' sung by Chaitanya. Then Sachin Khedekar recited Mudra of Shivaji Maharaj but conveniently omitted "Go brahman pratipalak". Sad!

The sequence of songs started with Marathi film industry and Prabhat and V. Shantaram's Rajkamal. Sharayu Date presented 'Latpat latpat (लटपटत लटपट)'. Chaitanya Kulkarni then presented 'Sanga Mukund Kuni (सांगा मुकुंद कुणी)' from movie Amar Bhupali and followed it without a pause with 'Are ja re hat natkhat (अरे जारे हट नटखट)' with Sharayu. Juili Joglekar sang 'Lagli kunachi uchki (लागली कुणाची उचकी)'. Sharayu and Chaitanya presented 'Shola jo bhadke (शोला जो भडके)' and 'Ina Mina Dika ( ईना मीना डीका)' back-to-back.

Chaitanya presented 'Shoor amhi Sardar (शूर आम्ही सरदार)' composed by Anandghan a.k.a. Lata Mangeshkar from movie Maratha tituka melwawa. What started with Dholki jugalbandi by Krishna and Nilesh, and a very good one at that, transformed invariably into kadak Lawani 'Resmachya reghani (रेसमाच्या रेघांनी)' by Anandi. This Lawani lacked thaska (ठसका) and appeared soljwal (सोज्वळ). Audience demanded once more for Dholki jugalbandi and got it.

Adarsh and Anandi presented 'Malyachya malyamandi (माळ्याच्या मळ्यामंदी)' and 'Hil Pori Hila (हिल पोरी हिला)' back-to-back commemorating Dada Kondke. Rahul Ranade and Juili paid homage to RD Burman with 'Piya tu ab to aaja (पिया तू अब तो आजा)' and 'Duniya mein logonko (दुनिया में लोगोंको)'. Juili was very good and Rahul only had to sing in strange voice of RD. That was interval. 

Post interval concert started with Rahul Deshpande. He presented 'Ravi mi (रवी मी)'  from Sangeet Manapman (मानापमान) followed by 'Dil ki tapish (दिल की तपिश)', probably least famous song of movie Katyar kaljat ghusli. He then capitalized his popularity of internet by presenting unplugged 'Woh sham kuch ajeeb (वो शाम कुछ अजीब)' and 'Jhuki hui nigah mein (झुकी हुई निगाह में)'. That was the start and end of Rahul Deshpande. More like a guest appearance. 

Commemorating Mangeshkar's, singers presented nonstop 'Kata laga (कांटा लगा)' by Anandi, 'Mungla (मुंगळा)' by Sharayu and 'Ai mera dil (ऐ मेरा दिल)' by Juili. Then Anandi presented 'Jambhul piklya (जांभुळ पिकल्या)'. Then Adarsh presented 3 lokgeete nonstop 'Khandobarayache (खंडोबारायाचं)', 'Doke firlaya (डोकं फिरलया)', 'Awaj wadhaw DJ (आवाज वाढव डीजे)'.

Two songs from Natarang were sung by Anandi and performed by Sonalee Kulkarni (now settled in Dubai). They were 'Apsara aali (अप्सरा आली)'. She danced without ghongroo. Her movements were fast and graceful. In fact, her dance on stage was better than in movie. This was followed by 'Wajle ki bara (वाजले की बारा)', sung by Sharayu and performed by Sonalee. Two continuous dances took their toll and she slowed a little bit and the second dance was a little easy.

Last two songs of the concert were by Chaitanya. First 'Zingat (झिंगाट)' where he went in audience while they were dancing without inhibitions. Audience loved the dhamaal so much that once more was inevitable. Concert ended with 'Mauli (माऊली)' again by Chaitanya.

Sharayu has a sweet voice. When Chaitanya sang Marathi songs his voice was on the forefront and music in background. But when he sang Hindi songs, his voice fell short and words were not clear. Nothing wrong with sur and taal. He carried bulk of the workload. Decked in Blue kurta a and ble dhoti, an unusual combination that suited him. Juili and Anandi were good. I was expecting more from Adarsh. Rahul was the guest artist. Saw him singing, while standing, for the first time. 

Chorus was very good. I should make a special mention of them. There are some songs that sound good only if the chorus is good. This chorus was up to the mark.

Many of the musicians were known faces from TV shows (as were the singers) and all of them were good. TV shows have given recognition to the otherwise faceless musicians. 

It was a good concert. Enjoyable. A fresh breeze after the Covid gloom.

Deeparang (दीपरंग)

Attended a concert titled Deeparang (दीपरंग). Singers were Aniruddha Joshi and Rasika Joshi. They sang on pre-recorded tracks. This was a concert organized by Maharashtra Mandal Abu Dhabi (MMAD) at India Social and Cultural Center (ISC), Abu Dhabi, on 5th Nov 2021. I attended with Mihika, Aditi, Dada and Mane, Patil, Thangaokar, Oka families.

Concert started with vitthal nam. It was 'Abeer gulal (अबीर गुलाल)'. Aniruddha added his own variations while singing. It was followed by 'Maze maher pandhari (माझे माहेर पंढरी)' of Pt. Bhimsen Joshi. Aniruddha sang it in faster tempo compared to original. Rasika presented famous song composed by Lata Mangeshkar 'Airanichya deva tula (ऐरणीच्या देवा तुला)' from movie Sadhi Manse. It was followed by one of the most oversung song 'Mendichya panawar (मेंदीच्या पानावर)'. She went out of tune once in this song. Aniruddha then presented 'Khel mandal (खेळ मांडला)' from movie Natrang. Anuruddha drew applause the moment he began. Ajay Gogawle (of Ajay-Atul) had received best playback singer for this song in 2010. It was courageous to select this song, but Aniruddha did well and audience demanded once more although he didn't accede. 

They suddenly switched genre to Hindi. He first presented Sonu Nigam's  'Abhi muzmein kahi baki thodisi (अभी मुझमें कहीं बाकी थोडीसी)' from film Agneepath, composed by Ajay-Atul. It's a difficult song that he sung well. This time he agreed for once more but rather than playing track he asked audience to clap and provide rhythm. Rasika then presented Monali Thakur's 'Sawar lun sawar lun (सवार लूॅ सवार लूॅ)', composed by Amit Trivedi. She then jumped to Geeta Dutt's vintage 'Ae dil muse baat de (ऐ दिल मुझे बता दे). 

Aniruddha then sung the career defining song of Swapnil Bandodkar 'Radha hi bawari (राधा ही बावरी)'. Audience sang the mukhda of this song impromptu. Rasika and Aniruddha  then presented title tracks of Marathi TV serial 'Phulala sugandh maticha (फुलाला सुगंध मातीचा) and 'Online shubhamangal (ऑनलाईन शुभमंगल)'. They are the original singers of these tracks. Aniruddha then sang modern soofi song  'Mitwa (मितवा)' from film Kabhi alwida na kehna  originally sung by Pakistani singer Shafaqat Amanat Ali. Rasika presented 'Ruperi walut (रुपेरी वाळूत)' originally sung by Asha Bhosle and composed by her son Hemant Bhosle. It was followed by Lawni 'Reshmachya reghani (रेशमाच्या रेघांनी)' sung by Asha Bhosle and composed by Lata Mangeshkar. Ladies from the audience danced on this song. They presented a dhamaal duet 'Ashwini ye na (अश्विनी ये ना)' from film Gammat Jammat. Shantaram Nandgaokar had penned this special song without ळ and च, so that non-Marathi Kishore Kumar can sing it. Aniruddha yoddled well in this song. 

Sandeep Khare's Ganesh stawan in Kawwali, 'He lambodar gajmukh (हे लंबोदर गजमुख)' composed by Awdhut Gupte and sung by Farid Sabri was presented next. Towards the end of concert there was dhamal dance masti with a 15 minute medley of all kind of rhythmic songs. Audience enjoyed shaking a leg. 

Penultimate song was 'Deepawali manayi suhani (दीपावली मनाई सुहानी) because the concert was organized to celebrate Diwali. Grand finale was 'Mauli mauli (माऊली माऊली)' from film Lai Bhari sung by Ajay Gogavale.

Singers were good, song selection was good, however organization was lacking. The songs were not sequenced with any theme like time period, type, language, subject, mood etc.. They jumped from one kind to another as follows. Abhang - Old film song - new film song - new hindi songs- marathi song - marathi serial title tracks - modern soofi - again marathi romantic - kawwali - Diwali - Abhang. It appeared as if they were drawing chits and singing the song written on the chit. The thought process, theme, flow was lacking. Had this been properly thought and planned concert would have become even better.

All in all the singers (Aniruddha and Rasika) were well prepared. The music track did not have a glitch (Atul and Karim). The background visuals (Prachi) were pleasing. The two anchors (Akshay & Shreya) did their assigned job well and the script (Prashant) was well written and provided some unknown insights. If the anchors had recited Pu. La. Deshpande's 'Sanskruti mhanje kay', rather than reading, it would have been more impactful. 

Aniruddha interspersed his singing with small anecdotes about famous personalities. He also involved audience while singing and made the program interactive. He won hearts of audience. 

This program was special because it was a program after almost two years due to Covid. Members met after a long time so they took time socializing (while maintaining social distancing) causing inevitable delay of half an hour, but it was worth it.  

Aniruddha is winner of SaReGaMaPa and Sur nava dhyas nava. Rasika is also winner of multiple awards. 

A good concert. 

Disclosure: I am current trustee of MMAD.

Anoushka Shankar (Sitar)

Attended a concert of Anoushka Shankar (Sitar). She was accompanied by Ojas Adhiya (Tabla), Prashanna Devraja (Mridangam, Ghatam & Morsing), Danny Keane (Cello & Piano), Somdutta Basu (Tanpura) and Ravichandra Kulur (Bansuri & Kanjira). I attended this concert at Dubai Opera on 20th Dec 2019 with Jayant, Sucheeta, Sameer, Rucha, Pooja, Deepa and Nandu.

Concert started with 'Voice of the moon' in midnight Raag Kirwani. This was one of the early compositions of Anoushka.

She then played a piece titled 'Jannat' which she composed more than 10 years ago. She candidly confessed that she tried to include it in various albums but it was rejected. However, she likes to play it live. There was Sawal-Jawab between Tabla and Mridangam in this composition.

It was followed by piece titled 'Red Sun' from her album 'Rise'. This was a curious piece. Cello gave the chords and purcussions were provided by bol.

Main piece of the concert was 'Shiraz'. It was a musical rendition of a 1920s silent film by same name, a fictionalised account of love story that led to building of Taj Mahal. The composition started in Raag Bihag. It was an interesting concept of narrating a story through music. There was Kanjira-Ghatam jugalbandi, Cello-Morsing jugalbandi, Tabla solo (Ojas simply dazzled everyone with his dexterity and won a long applause), Mridangam solo, Tabla-Mridangam jugalbandi, Piano solo and all of them playing together. This piece concluded with a thunderous applause. 

Then they ask got up, did Namaskar to audience,  took a bow and left.  Just like that the concert was over. Audience was flabbergasted. They could not believe that the concert was over in just 1 hour 20 minutes. Finally reality sunk in and audience reluctantly left Dubai Opera. 

Piano and Cello player had musical notes in front of him while Tabla, Mridangam and Bansuri played improviso and so did Anoushka.

This was not a typical Hindustani Classical music concert. There was no build up of Raag with Aalap-Jod-Jhala. Concert was made up of various pieces composed by Anoushka. Five instruments were playing at the same time. So it was like a cross over concert. 

Participation of Ojas was a surprise because he was married only two days ago. Hats off to his dedication and thanks to his new wife. 

Anoushka in wine red evening gown and long earrings looked gorgeous. Colours of kurtas of accompanying musicians were also chosen carefully to not disturb colour coordination, except the chilly of sari of lady on Tanpura. 

Dubai Opera is a fantastic auditorium. Very impressive. Seating is very well laid out. Everyone gets clear view of stage without obstruction. Acoustics are also excellent. Auditorium enhances the experience. 

I left the concert with a feeling of dissatisfaction. We went for the concert from Abu Dhabi to Dubai but felt that she should have given more time for the audience.

 A good concert, but too short. 

Shankar - Ehsan - Loy (शंकर एहसान लाॅय)

Attended concert of 'Shankar - Ehsan - Loy (शंकर एहसान लाॅय)'. Apart from the trio, musicians were: Soumya Shringarpure on keyboard, Abhay Sharma on Saxophone, Deepak Bhat on Dhol and purcussions, Manoj Sapre on drums, Anupam Ghate on Congo, Prasad Malelkar on dhol and side rhythm, Shyam Pinto electric guitar, Dibya Jyotinath acoustic guitar, Ashish Saxena sound. Accompanying on vocals were Raman Mahadevan and Shrinidhi Ghatate. Joe Mohan was Emcee. Shankar also played the anchor. 

This concert was organised on 28th Nov 2019 by ISC Abu Dhabi as part of annual India Fest. I attended it with Mihika, Aditi and friends. We were seated in the third row right in front of the stage. 

Concert started with Ganesh vandana 'Ekadantay vakratunday', a perfect start. He immediately went into masti mode with 'Dil Chahta hai', 'Rock on' and 'Pretty woman'. He then sung melodic 'Sajda' from film My name is Khan. Next was a Malayalam song that sounded like 'Piccha viccha nal'. It was a sweet sonng that has got Shankar Kerala state award. He also had sawal jawab with saxophone in this song. 

Then he presented 'It's the time to disco' followed by 'Baware baware baware' based on Rajastani folk and 'Bumro Bumro' from film Mission Kashmir based on Kashmiri folk. Then there was a section of percussionists,  where he also introduced the drummer, Congo player and dhol players to the audience. He also had sawal jawab with percussionists. Vocal and percussion sawal jawab was a novelty and audience enjoyed it thoroughly. I thought this would be interval,  but they skipped it and Shankar sung 'Uff teri ada'.

Then he presented a mash up of various songs including a Tamil and a Malayalam song. Request for Marathi song fell on deaf ears due to numerical inferiority of Marathi community. He also had a jugalbandi of akar with audience where he sung a taan and audience followed. Audience did pretty well and Shankar appreciated it. This knack of involving audience kept the audience always engaged and excited. He also had sawal jawab with Saxophone. To entice the audience into masti mode, he also played VVIP against back benchers, ladies against gents etc. 

Next was 'Tu dhup hai' by Raman from film Tare zamin par. Raman has sung the original song as well. Loy then played a solo keyboard piece that transposed into one of their very favorite song 'Har ghadi badal rahi hai'. Shankar then presented one of the most emotional song 'Meri ma' from Tare zamin par. Upon Shankar's recommendation entire audience was waving their mobile torches for this song. It appeared as if literally they were tare zamin par. What a sight! The song is so beautiful and touchy that it brought tears to Aditi's eyes. It was followed by 'Mere man ye bata de tu' and then a small section for Indian classical music lovers that contained variations in sargam.

As the concert approached the end he sung the sing that waltzed Shankar into limelight many years ago; 'Breathless'. Although it was very good, he could not conceal breath. Was it age? Probably he did not get enough rest before this song. Perhaps a break and then this song immediately after break would have done the trick. Last song was Galla gudiyan.

All the songs were either composed by the  trio or sung by Shankar. Shankar encouraged and applauded young talent like Shrinidhi and Abhay.

Shankar presented many variations that are not in the original soundtracks. In some songs he took additions customized for the city. Shankar's maliflous voice ke kya kehne? Everything is possible and nothing seems difficult. It was bliss!

Concert lasted 2 hours. This felt inadequate because of short duration and because you never get satisfied with Shankar. Moreover, I thought that the end was little abrupt and did not reach peak. In my opinion either Breathless or Meri ma should have been the last song. Ye dil mangta raha more.

There were no speakers at the back. Although audience did not mind, had the arrangement been made, it would have enhanced experience for all. A drone was filming the concert and audience.

A special acknowledgement for organizers and artists for starting the concert 4 minutes before time. It was a pleasant and welcome surprise. The open air seating arrangement was comfortable and not cramped. Parking arrangement was also good. 

They had installed multiple LED scenes in the background of stage. In the digital age, the background graphics were very good and designed for each song.

 A very good concert. 

Amhi duniyeche raje (आम्ही दुनियेचे राजे)

Attended a concert titled 'Amhi duniyeche raje (आम्ही दुनियेचे राजे)'. The program was conceptualized, written & directed by Devendra Bhome. He was also the music arranger. The program was anchored by Abhijit Khandkekar and Gautami Deshpande. 

Singers were Jaydip Vaidya, Ashutosh Mungle, Mukta Joshi and Shruti Athavle. They were supported by Ketan Pawar on Tabla and percussion and Devendra Bhome on Keyboard and Harmonium. Lighting was handled by Tejas Devdhar. Kushal Khot was the manager.

This concert was organised on 25th Oct 2019, on the occasion of Diwali, by Maharashtra Mandal Abu Dhabi at Indian Islamic Center. I attended it with Mihika, Aditi, Sameer, Pooja, Jayant, Sucheeta, Prakash, Swati, Ashok and Savita.

Concept of this concert was unique. The idea was to present old melodies in contemporary styl,  somewhat like Coke Studio. Although creator dies, good creation doesn't die. The music, the words and tune remains the same but it is presented using contemporary instruments, style, musicians and singers. 

Concert started with the title song by Jaydip 'Amhi duniyeche raje (आम्ही दुनायेचे राजे)' which transformed seamlessly into 'Lakh lakh chanderi (लख लख चंदेरी)'. Mukta made an entrance with 'Rimzim paus (रिमझिम पाऊस)' & 'Saptapadi hi roj chalte (सप्तपदी ही रोज चालते)'. Ashutosh presented initial song of Pu La's 'Batatyachi chal (बटाट्याची चाळ)'. He presented it without music and was excellent. Shruti was the fourth singer and she started with 'Hi kuni chedli taar (ही कुणी छेडिली तार)'.

Jaydeep presented 'Shabdanchya palikadale (शब्दांच्या पलिकडले)' followed by Ashutosh's mukhda of 'Tu ashi jawali raha (तू अशी जवळी रहा)' and his two duets with Shruti 'Shukratara (शुक्रतारा)' & 'Jadu ashi ghade hi (जादु अशी घडे ही)'. Mukta came up with 'Raghupati Raghav gajari gajari (रघुपती राघव गजरी गजरी)' and 'Ye ga ye ga Vithabai (ये गं ये गं विठाबाई)'. Then came Shruti with 'Kausalyecha Ram (कौसल्येचा राम)', one of the best songs of this program. Last song before interval was Jaydip's 'Ghana Ghana mala nabhi datlya (घन घन माळा नभी दाटल्या)', an excellent rendition.

Post interval session started with Ashutosh singing 'Lajun hasane an (लाजून हासणे अन्)'. There was a technical issue with pre recorded music. He sung this song with chords and Tabla. Mukta presented sweet song 'Chanda tuza majla ka Mukunda lawiyala (छंद तुझा मजला का मुकुंदा लावियला)'.

Then it was Lawni time when Mukta and Shruti presented 'Ghatle bilwar, ghatli nathani (घातले बिलवर, घातली नथनी)' and 'Jigar khol'lyabigar aj jau naka (जिगर खोलल्याबिगर आज जाऊ नका)'. Both these lawnis were very good but unpopular. These were the only two songs I had not heard before. Then Mukta presented 'Padarawarti jartaricha (पदरावरती जरतारीचा)' written by GaDiMa. This song was greeted with a huge applause. Then she presented Sudhir Phadke's 'Mala lawkar gharakade jaudya (मला लवकर घराकडे जाऊद्या)'. Lawni session concluded with the evergreen 'Tumhawar keli mi marji bahal (तुम्हावर केली मी मर्जी बहाल)' by Shruti. Although this season was good, Dholki was sorely missed. Tabla simply can't replace Dholki.

Jaydip presented 'Sanga Mukund kuni ha pahila (सांगा मुकुंद कुणी हा पाहीला)' of Honaji Bala. This was the best song of the night. He demonstrated why he is a highly rated and sought after singer. All singers then presented Sudheer Phadke medley 'Janata ajanata (जाणता अजाणता)', 'Tocha chandrama nabhat (तोच चंद्रमा नभात)', 'Rupas bhal'lo mi (रूपास भाळलो मी)' and 'Dhundi kalyana (धुंदी कळ्यांना)'.

As the concert came towards conclusion, Mukta presented 'Neej mazya Nandalala (नीज माझ्या नंदलाला)', also one of the best songs of the concert. It was followed by Shruti's 'Zulwu nako hindola (झुलवू नको हिंदोळा)'.

Concert concluded with a bandish 'Dekho more saiyan (देखो मोरे सैंया)' and 'Aga vaikunthichya raya (आगा वैकुंठीच्या राया)'. End of concert did not have a crescendo and was a bit abrupt. 

Concept of this concert was innovative. It's like presenting the compositions (gem - हीरा) in new setting (कोंदण) without disturbing the soul. All the selected songs were basically presented in slow cadence with only essential music. Some songs were with live music, some with pre recorded music and some with a combination of both. While singing Sudhir Phadke songs his signature pronounced sha (ष) was missing. 

Interestingly, they did not restrict themselves to start the song from beginning. Some times they started from Mukhada, sometimes from start of Antara, sometimes from second or even third line. This was novelty and appealed to me as original. It also had a special effect.

Although the program had two anchors, singers and musicians contributed in narration through informal discussions interspersed with anecdotes and tales of music, musicians, song writers.

I went to the program hoping that it will not be marathi zankar beats and expecting something new. The program did not disappoint me. 

This was the 1st international performance of Amhi duniyeche raje. A little more finesse would help (like movement of the artists on stage), but it would come with more shows. Overall pace of the program appeared to be on slower side and it slowed down further during narration. Some attention required on this aspect. 

Ashutosh, Mukta, Shruti and Jaydip are very good singers. Their performance was flawless. Although assisted by pre recorded music, Devendra and Ketan were a good match for the singers. Anchors provided the star power and performed the task of the thread that binds the quilt. In short, all the singers were excellent, musicians were good, anchors did well, however, somehow,  overall effect of the program was not greater than sum of it's  parts. 

The concept of program is bold. There will always be a section of audience who does not approve deviation from the original. MMAD committee deserves credit for daring to go for this program instead of a traditional one for Diwali.

Trivia: Gautami is a qualified engineer and has worked as a professional in corporate world before entering show biz. She is also younger sister of Marathi actress Murnmayee Deshpande.

All the artists are very nice and cordial when not in limelight. They are not pretentious.

Sachin Patwardhan (Spanish Veena)

Attended a concert of Sachin Patwardhan (Spanish Veena) accompanied by Parag Dhadphale (Tabla) organized by Anubhooti at Embassy of India, Abu Dhabi, on 11th Oct 2019 with Aditi and Mane, Patil, Thangaokar, Oka families . Attendance to the concert was @ 90.

Sachin is a disciple of Utd. Amjad Ali Khan of Bangash Gharana. Parag is disciple of Pt. Suresh Samsnt and Pt. Sudhir Mainkar.

Spanish Veena is an instrument invented by Sachinji by adding strings to Spanish Guitar and making it suitable to play Hindustani classical music.

Sachin started the concert with bada khyal. It was late morning Raag Charukeshi. This is 26th melakarta raag from Cathartic music and is adopted into Hindustani classical music. He started with Aalap, Jod, Jhala. The base was created in this phase. Then he elaborated the raag with three bandishes. First bandish was in Rupak taal, second one was in Madhyalay Teen taal and last one was in Drut teen taal. He played Charukeshi for about 1 hour 15 minutes. 

Audience demanded a chota khyal. So it was another late morning Raag Gujri Todi of Todi thaat. This raag is very effective in producing karun rasa. He presented a composition in Teen taal. The crescendo of this raag was especialy good. 

Concert ended with my favourite Bhairavi. He presented Bhairavi first without Tabla. This was too good. Then he continued Bhairavi with Tabla and concluded the concert on a high note.

Sachin played Spanish Veena with ease. He displayed his dexterity in playing fine as well as strong notes, slow as well as fast lay and was applauded frequently. Sachin is also a very down to earth person, no ego.

Parag got his 5 min of fame 3 times and made good use of it. He too was encouraged by audience to play freely.

It was evident that these two artists were playing together for the first time. They were tentative initially but the stated to gel and the association grew as the concert proceeded. 

Sachin is the musician of new generation.  He is tech savy. He had his Macbook connected and had earphones plugged to one ear to get direct sound feedback. His Spanish Veena sound output was given directly to sound system so there was no microphones in front of him.

The concert lasted for 2 hours. Sound and lights were good. Embassy of India awarded certificates of appreciation to the artists. This was Anubhooti's 14th concert. 

Trivia: Sachin ji is originally a Sarod player and also plays violin. He is also an MBA. Parag is an engineer. A highly qualified duo. 

It was a unique concert because he is the only one who plays Spanish Veena.. 

Disclosure: I am a founder member of Anubhooti.

Shruti Gokhale (Vocal)

Attended a concert of Vidushi Shruti Gokhale (Vocal). Shrutiji was accompanied by Bhushan Rao (Tabla) and Meghan Shrikhande (Harmonium). This concert was organised on 21st Sep 2019. It was a home baithak organized by Triveni Sangeet Sabha.

Shruti ji, disciple of Mrs.Shubdha Paradkar and received guidance from Pt. Arun Kashalkar. She renders Gwalior, Agra and Jaipur Gayaki with proficiency and ease. Bhushan is a disciple of Giridharprasad Jaypurwale of Dilli gharana. Meghan is a disciple of Pt. Jitendra Abhisheki. Ruta Deshmukh provided vocal accompaniment. 

Although it was a little late (5.30 pm) for the raag, selected raag of the concert was afternoon Raag Bhimpalasi (भीमपलासी), a raag for Bhaktiras, of Kafi (काफी) thaat.

First she presented a bandish (बंदिश), 'Par na payo (पार ना पायो)', composed by Tansen Ramtanu Mishra, in madhyalaya teental (तिन ताल). Shruti ji created foundation, built on it and used alap and sargam for badhat.

It was followed by famous bandish 'Biraj mein dhoom machayo Shyam (बिरजमें धूम मचायो श्याम)' in drut Teen taal. Audience liked this short rendition of known song. 

She then presented sampoorna-sampoorna midnight raag Kafi, of course of Kafi thaat. Raag Kafi has direct lineage with folk music of India. Srinagar is principal rasa of this raga. 

She presented Thumri (ठुमरी) 'Kaisi ye dhoom machai (कैसी ये धूम मचाई)' made famous by Begum Akhtar and Girija Devi.

Next presentation was a Bandish 'Guru mata (गुरू माता)' composed by herself on her Guru Shubhada Paradkar in serious raag Bibhas (बिभास) of Bhairav (भैरव) thaat in Ada Chautal (आडा चौताल). Although it was not designated time of this raag, she sung it upon farmaish. It was a pleasant composition. 

Second half of the concert was dedicated to light music. She first presented a bhajan 'Chitarya chitre kadhi bhintiwari (चिताऱ्या चित्रे काढी भिंतीवरी)'. It was a composition of Bhajanbhushan Gajananbuva Patil in raag Shivaranjani (शिवरंजनी). Audience joined in as chorus for this and subsequent bhajans.

Based on audience response she chose another abhang of Gajananbuva Patil. It was 'Kela maticha pashupati (केला मातीचा पशुपती)' in raag Bageshree (बागेश्री) and Abhogi (अभोगी). This was a meaningful song by Sant Tukaram and it was a beautiful rendition. Shruti ji got emotional by remembering Gajananbuwa.

She then presented another Bhajan 'Ram Krishna Hari (राम कृष्ण हरी)' of Gajananbuwa based on Raag Bahar (बहार) in Teen taal (तिन ताल). Iit was followed by Gajananbuva's Gawalan 'Bai tuza ladka kanha (बाई तुझा कान्हा)' of Sant Eknath, based on raag Mishra Kafi.

Final rendition if the concert was 'Tu akash mi bhumika (तु आकाश मी भूमिका)' of Sant Namdev composed by Gajananbuva Patil. It was a Bhairavi (भैरवी), my favourite.

She presented a number of sweet compositions of Bhajanbhushan Gajananbuva Patil. I have become curious about this artist. Unfortunately not many recordings of his exist.

Shruti ji is a very down to earth person, no ego.  Her taans are very good and laykari is very good too. Her voice appeared to be strained. Especialy during bhajans she was struggling with her voice. Probably effect of yesterday's concert in Dubai?

Bhushan ji and Meghan ji, both local talents, ably provided apt accompaniment and were encouraged by audience.

Around 50 rasiks attended the concert. Bose sound system was good for the size of hall. 

It was a good home baithak.