Olya sanjweli (ओल्या सांजवेळी)

Attended a concert titled 'Olya sanjweli (ओल्या सांजवेळी)'. A program of Marathi songs of Ashwini Shende, conceptualized and directed by Jaydeep Bagwadkar. Singers were Jaydeep Bagwadkar, Dhanashree Deshpande & Madhuri Karmarkar. Program was conducted by Abhijit Khandkekar. The music for the program was pre-recorded. The singers sang live. Thus there were no musicians on stage. Program was organized by Maharashtra Mandal Abu Dhabi at Indian Embassy Auditorium, Abu Dhabi on 28th Oct 2016.

Program started with famous title song of a serial 'Sare kalat na kalatach ghadte (सारे कळत नकळतच घडते)'. This was first title song of Ashwini's career. It was followed by 'Aabhas ha (आभास हा)' from film 'Yanda kartawya ahe (यंदा कर्तव्य आहे)' and 'Ek nadi sarkhi wahte mi janu (एक नदीसारखी वाहते मी जणू)' title song of TV serial 'Kulwadhu (कुलवधु)'. 

'Bhijun gela wara (भिजुन गेला वारा)', a melodious but unknown rain song was followed by 'Maziya priyala preet kanena (माझीया प्रियाला प्रीत कळेना)', title song of TV serial of same name, composed by Ashok Patki. This song has a distinction of being first title track of a Marathi serial to be launched as a mobile caller tune. 'Ghan aj barse anawar ho (घन आज बरसे अनावर हो)' a little known rain song was then presented. 

Julun yeti reshim gathi (जुळून येती रेशीम गाठी)' title song of TV serial of same name received a big applause. Audience demanded and got once more for this song. Then Madhuri presented a song from her own album 'Ghardar raho mage nako nako to pasara (घरदार राहो मागे नको नको तो पसारा). I heard it for the first time today and liked it. Feelings of a girl who wants to be free of everything. 

'Jashi asate ga aai (जशी असते गं आई)' title track of TV serial 'Mala sasu hawi (मला सासू हवी)' where a daughter in law tells us what she expects from her mother in law was followed by 'Makhmali he prashna thode (मखमली हे प्रश्न थोडे)' song from film 'Mitwa (मितवा)'. 

Next came 'Saath de tu mala (साथ दे तू मला)' from film 'Mumbai Pune Mumbai 2 (मुंबई पुणे मुंबई २)'. Ashwini has written the script of this film as well. After this 'Tuja vina sakhya re (तुज विण सख्या रे)' title song of TV serial of same name & 'Ekach hya janmi janu (एकाच ह्या जन्मी जणू)' title song of TV serial of same name were presented. 

Then they presented 'Chand matla (चांद मातला)' from film 'Lal ishq (लाल इश्क)'. This is a new song and should not be confused with old song Chand matla matla tyala kashi aawaru. Lyricist has coined a new Marathi word 'funkarware (फुंकरवारे)' for this song.

Towards the end title song of a show 'Mahima Mahalakshmi Balajicha (महिमा महालक्ष्मी बालाजीचा) was presented. I am almost certain that the singer only lip sung the recorded portion of this song that was in a southern (Carnatic) style and live sung rest. It was followed by 'Gondhala ye (गोंधळाला ये)'. This one was not well rehearsed and some words were missed by two singers.

Program concluded with the song on which this program was titled. 'Olya sanjweli (ओल्या सांजवेळी)' from movie 'Premachi goshta (प्रेमाची गोष्ट)'. 

It was a program of songs written by Ashwini Shende. Program of songs of a  lyricist is a unique concept and a good one. Moreover Ashwini is not only a lyricist but also a script and dialogue writer. It also included chat with Ashwini. One should appreciate her not only for her good songs but also for the fact that while talking on the stage she kept the use of English to minimum. Not an easy feat to achieve in today's time. 

Abhijit Khandkekar is a former RJ and well known film and TV personality. His anchoring was fluid and informal. As a result the atmosphere, artists and audience were comfortable. He too did not use too many English words. 

Ashwini and Abhijit were seated on the stage full time and were talking with each other while the songs were going on. That was distracting. Someone should tell them. 

Jaydeep has a good voice. Madhuri was good except the lip singing part. Dhanashree appeared to be straining her vocal chords while singing high notes. 

Lyrics of the song were displayed on the projector on the background. This is a novelty in Marathi programs. It helps in two ways. One audience attention is drawn towards lyrics. Two audience does not sing the wrong lyrics. 

Stage illumination was inadequate. Singers were in partial darkness. Sound system gave trouble occasionally (Mic noise, mic malfunction etc. )

Ironically, the program was titled Olya Sanjweli (which means, On a wet evening), but the program was in the morning. Sub title of the program was 'Shabdancha cafe', why give such a hybrid subtitle?

Although the program was of a lyricist, most of her popular lyrics are title track of the TV serials. Those who expected to listen popular and traditional songs would have been disappointed. Those who do not mind watching something new and different would have liked the program. I felt that it would have become more effective if they had shortened the duration little bit. 

Credit should be given to MMAD for daring to bring a program off the beaten track. Something different. Worth encouraging the artists. 

Entertainment rating 7/10.

  

Swar Ninad

Mandar's concert report

Attended a concert titled 'Swar Ninad'. A program of Marathi songs. Singers Prathamesh Laghate and Mugdha Vaishampaian. Accompanied by Prashant Lalit (Keyboard), Parag Dhadphale (Tabla), Abhay Samant (Pakhwaj), Mahadev Phadte (Side rhythm and Tal). Program was conducted by Vighnesh Joshi who also played Harmonium. It was organized by Maharashtra Mandal Abu Dhabi at Indian Embassy Auditorium, Abu Dhabi, on 27th May 2016.

Prathamesh and Mugdha shot to fame a few years ago when they were the part of fantastic five of TV reality show 'Little Champs'. Prashant is a composer and keyboard player. Vighnesh is a TV actor. Parag, Abhay and Mahadev are UAE's local talent.

Concert started with two naandis (नांदी). First was famous naandis of Balgandharva 'Pancha tunda narrundamaldhar (पंच तुंड नररुंडमालधर)' by both singers and second was 'Jay Shankara (जय शंकरा)' of Pt. Ram Marathe by Prathamesh. Mugdha presented Natyageet 'Khara to prema (खरा तो प्रेमा)'. Prathamesh was then given a choice of presenting any song or songs from famous Sangeet Natak 'Katyar Kaljat Ghusli (कट्यार काळजात घुसली)'.  He presented most famous 'Ghei chand makarand (घेई छंद मकरंद)'. He chose both versions. First slower and then faster rendition. Vighnesh invited farmaish but when one was made for 'Surat piya ki' it was not taken but he promised to present it later. Mugdha presented Sudhir Phadke's 'Jiwlaga kadhi re (जीवलगा कधी रे)'. This song has five Raags in it. It's called Patmanjiri (पटमंजिरी).

Then they presented a medley of songs from immortal 'Geet Ramayan (गीत रामायण)'. It includes 'Kush Luv Ramayan gaati (कुश लव रामायण गाती)',  'Setu Bandha re (सेतु बांधा रे)' & 'Ram jnmala ga sakhe (राम जन्मला ग सखे)'. I would have liked a couple more.

They then moved to Bhakti Ras (भक्ती रस) with Bhimsen Joshi's 'Maze Maher Pandhari (माझे माहेर पंढरी)' followed by 'Padmanabha Narayana (पद्मनाभा नारायणा)'.

The mood then changed to light and rhythmic songs. It started with 'Ali thumkat nar (आली ठुमकत नार)' followed by Lawni (लावणी), 'Ugawli shukrachi chandni (उगवली शुक्राची चांदणी)', 'Anand potat mazya maina (आनंद पोटात माझ्या माईना)' and on demand 'Radha dhar Madhu Milind (राधा धर मधु मिलिंद)'.

Coming true on their promise Prathamesh presented Vasantrao Deshpande's 'Surat piya ki (सुरत पिया की)' and appended it with a power packed Tarana. His tans and Aakar were delightful. This was easily the best song of the program and deservedly received standing ovation.

Concert ended with Bhimsen Joshi's Bhairavi (भैरवी)  'Aga Vaikunthichya raya (आगा वैकुंठीच्या राया)'.

Artists should be applauded for resisting the temptation of presenting relatively recent popular songs, despite having young singers.

Mugdha obviously had throat infection that impacted her voice. Despite it she sung well.

Prathamesh has a very good range and sings very well. He has no difficulty in achieving any note. He amazed the audience with his singing. However it appeared that he prefers forceful singing to delicate singing. Both of them are start in making.

Vighnesh was a surprise package. He entertained the audience with his witty and crisp commentary, that sometimes bordered impertinence, and his Harmonium. He proved his worth as regular Harmonium player. Conducting the program was a delicious topping. He not only played these two roles but also played mentor to the young singers.

Parag, Abhay and Mahadev were good and played their role to perfection. Prathamesh asked audience for a special applause for Parag. There was no separate mic provided for Pakhawaj so sound of Pakhawaj was subdued.

Other than a couple of minor irritations, sound system was good. Temperature in the auditorium was low making it slightly uncomfortable. It was a houseful concert. Some were even standing.

Entertainment rating 8/10.

Milind Raikar (Violin)

Attended a concert of Milind Raikar (Violin) accompanied by Bhushan Rao (Tabla) & Yadnesh Raikar (Violin) organized by Anubhooti at ISC, Abu Dhabi, on 23rd Apr 2016. Attendance to the concert was @65.

Milind Raikar is disciple of Pt. D. K. Datar and Gaansaraswati Kishori Amonkar. Yadnesh is his 15 year old son and disciple.

Raag of the concert was Raag Puriya Dhanashri (पूरिया धनश्री). First he played aalap followed by madhyalay and drut compositions.

Then he presented bandish 'Payaliya zankar (पायलिया झंकार) in same Raag. At times when he wanted to play delicate notes he asked Bhushan to play soft tabla. He and Yadnesh played extremely well. Audience gave them a very long and big applause.

Then he presented a Bandish of his Guru, Kishori Amonkar, 'Sahela re (सहेला रे)' in Raag Bhoop (भूप). It was a treat. Both the violinists were applauded multiple times.

Then Milindji gave audience a choice of either Thumri or Natyageet. Greedy audience (that included me too) demanded both. Milind ji complied.

He presented the immortal Thumri of Bade Gulam Ali Khan 'Yaad piya ki aye (याद पियाकी आए)' in Raag Bhinna Shadja (भिन्न षड्ज). Milindji commented that the bandish he played was the original one without deviation as told by his Guru however what Yadnesh played was the version influenced by Kaushiki Chakraborty, which deviated from the original. Generation gap!

Then Milindji presented Marathi Natyageet 'Yuvati mana zale (युवती मना झाले)'. Audience who knew the song loved it and who did not know liked it nevertheless.

He then presented famous bhajan of Kishori Amonkar 'Mharo pranam (म्हारो प्रणाम)' in Raag Yaman Kalyan (यमन कल्याण). This too was liked by audience.

Concert concluded with 'Bhairavi (भैरवी)'. He played Bhairavi without Tabla. Without Tabla it was much more effective. It created a completely different kind of effect. It gave goose bumps to the audience. Mesmerizing!

Milindji's Violin literally sang. He played slow, delicate, fast. Everything was perfect. He extracted numerous applauses. His rendition touched the heart.

Yadnesh is a very good violinist. His understanding of music is beyond his age. Doubtless, he has a bright future.

The father son duo was a classic example. Father is a perfectionist and traditionalist whereas son is a talented rebel with great respect for father. However both share a great rapport. To top it up humility is in their nature.

Bhushan played Tabla as a pure accompanist. He was very true to lay (लय) and concentrated on basics rather than trying to be flashy. Very good.

There was some trouble with sound system and microphone adjustment, but it was sorted out.

Milindji especially mentioned that he liked idea of children presenting flowers to the performers and introducing artists. He encouraged the anchor, Mihika, by inviting her back on stage and presenting her a flower. He again appreciated Anubhooti for giving opportunity to children after concert.

All in all it was a fabulous concert. The audience was spellbound.

Entertainment rating 9.5/10.

Disclosure: I am a founder member of Anubhooti.

Vidushi Shubha Mudgal (Vocal)

Attended a concert of Vidushi Shubha Mudgal (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla, disciple of Pt. Nikhil Ghosh) and Sudhir Nayak (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Shubha Mudgal (Gwalior, Agra and Jaipur Gharana) hails from Delhi. She is disciple of Pt. Ramashreya Jha, Pt. Vinay Chandra Maudgalya, Pt. Vasant Thakar, Pt. Jitendra Abhisheki & Pt. Kumar Gandharva.

Bada Khyal of the concert was night Raag Abhogi Kanada (अभोगी कानडा) of Kafi That (काफी थाट).

First bandish was 'Kahe gumaan kare gori (काहे गुमान करे गोरी)' in Vilambit Ek Taal (एक ताल). She used Aakar (आकार) for badhat (बढत). Her slow, detailed and clear rendition was appreciated by everyone.

Second bandish was 'Sulzat nahi man (सुलझत नाही मन)' in Teen Taal (तीन ताल). She received a long applause at the end.

She then presented a composition of her Guru Pt. Ramashreya Jha 'Nabha nirakh aj (नभ निरख आज)' followed by 'Ratiya nind na aye (रतिया निंद ना आए)'. Both of these were beautiful and appreciated by audience as well as accompanists.

Last presentation was Chaiti (चैती) 'Ramji ke ban ma pathole (रामजी के बनमा पठौले)'. This song narrates the incidence of Kaikeyi sending Ram to vanvas. Concert was supposed to conclude here but audience did not leave. Since this was the last concert of the festival, they insisted on conclusion with Bhairavi.

So concert concluded with a Bhairavi 'Ajar jharey ras gagan gufa mein (अजर झरे रस गगन गुफाँं में)', a Kabir composition from her album. She sung this song with a lot of emotions and made the audience tender, a combined effect of her soulful singing and conclusion of festival.

It is well known how good a singer Shubha ji is and she sung to her reputation. She impressed one and all. She has unbelievable range. Audience was ecstatic. Even her vocal accompanist and disciple (I missed her name) was very good and was applauded by the audience.

The pair of Anish ji and Sudhir ji always brings liveliness to the concert. They enjoy playing together and the enjoyment spills over to the audience. With Subha ji, they outdid themselves.

It was a full house. Fantastic. Memorable. Fitting conclusion of the festival.

Trivia: Spontaneous poetry (शीघ्र काव्य), on the artists and Raag they performed, by anchor Amey Bal was highlight of this festival. His poetry, at the end of each concert, was frequently appreciated and applauded.

Entertainment rating 9.5/10.

Pt. Harish Tiwari (Vocal)

Attended a concert of Pt. Harish Tiwari (Vocal) accompanied by Abhay Datar (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Harish Tiwari (Gwalior, Shyamchaurasi Gharana of Punjab and Kirana Gharana) hails from Delhi. He is disciple of Thakur Choubey, Ajeet Bhattacharya, Acharya Nandanji and Pt. Bhimsen Joshi.

Raag of the concert was evening Raag Puriya Dhanashree (पूरिया धनश्री) in Purvi That (पूर्वी थाट). He presented bandish 'Sumiro tero naam (सुमिरो तेरो नाम)' in Vilambit Ektaal. It took me long time to decipher the words, but finally I did. When he sung Aakar in higher octaves his voice became very delicate.

Second bandish was the famous drut bandish 'Payaliya jhankar (पायलिया झंकार)'. Everyone enjoyed.

He then asked the audience if they want Thumri or Bhajan. Not happy to choose one audience demanded both. So he complied.

First he sang Thumri 'Piya to manat nahi (पिया तो मानत नाही)' in Raag Mishra Kafi (मिश्र काफी).

Finally he sang bhajan (भजन) 'Roop pahta lochani (रूप पाहता लोचनी)' from Abhangwani. Audience heartily applauded him for singing a Marathi bhajan. Concert was supposed to end here, but public demanded one more and thus he concluded the concert with Bhimsenji's famous 'Tirtha Vitthal (तिर्थ विठ्ठल)'.

Organizers specifically appreciated him for singing Marathi bhajan and he politely replied that an artist belongs to everywhere.

Harishji is an accomplished singer. I particularly liked his Akars (आकार). Influence of Pt. Bhimsen Joshi on his singing was evident even to a non-expert like me. There was no need to tell that he is his disciple.

Tabla and Harmonium matched the singing stroke to stroke and note to note. Niranjan was applauded by audience.

Entertainment rating 9/10.

Vidushi Kalapini Komkali (Vocal)

Attended a concert of Vidushi Kalapini Komkali (Vocal) accompanied by Yati Bhagwat (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Kalapini Komkali (Gwalior Gharana) is daughter of Pt. Kumar Gandharva. She hails from Dewas. She is disciple of Pt. Kumar Gandharva and Vidushi Vasundhara Komkali.

Kalapniji's chosen Raag for the concert was late afternoon Raag Multani (मुलतानी) of Todi That (तोडी थाट).

1st bandish, Bada Khyal, was 'Begi ya (बेगी या)' in Vilambit Tritaal (त्रिताल). Audience listened to her forceful rendition with rapt attention.

2nd bandish was 'Lagi lagi re sawariyan (लागी लागी रे सावरियाँं)' in Madhyalay Tritaal (त्रिताल).

3rd bandish was a fast composition 'Dil bekarar (दिल बेकरार)' composed by Pt. Kumar Gandharva in drut Tritaal (त्रिताल).

Kalapini ji presented three Bandishes non stop. Audience wanted to applaud, but she did not give them a chance until the end of third. Then she accepted a big applause.

Second Raag of concert was Raag Bhup (भूप) She presented a Madhyalay Rachana 'Abeer gulal (अबिर गुलाल)' composed by Pt. Kumar Gandharva.

Concert concluded with a very old traditional Madhyalay tarana, a rarity, as most Tarana are drut lay. Interesting! First time for me.

Concert was to end here but audience wanted another composition of few more minutes. She acceded and presented a Chaiti (चैती) 'Pattiyan (पत्तियाँं)'.

Yati and Niranjan accompanied well and were appreciated by Kalapini ji. Their jugalbandi drew audience applause.

When Kalapiniji was about to start the concert, someone pointed out that the announcement is still balance. She gracefully waited till it was over won the audience by her crisp commentary.

Needless to say that she sung well and powerful singing was appreciated. After the end of concert an old lady approached her and told her that she reminded her of Kumarji. What other compliment does one required. Yours truly happened to witness this exchange.

It was a house full concert.

Entertainment rating 8.75/10.

Aashna Jain (Vocal)

Attended a concert of Aashna Jain (Vocal) accompanied by Mandar Puranik (Tabla) and Siddhesh Bicholkar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Aashna Jain (Kirana Gharana) is only 12 years old and considered a child prodigy. She hails from Mumbai. She is disciple of Pt. Achyutrao Abhyankar and Pt. Tulsidas Borkar.

Bada Khyal of the concert was evening Raag Puriya Kalyan (पूरीया कल्याण) of Marwa That (मारवा थाट). She presented bandish 'Sadarang (सदारंग)'. She displayed that she can sing in lower as well as higher octaves. She used Aakar (आकार) as well as Sargam (सरगम) for badhat (बढत).

She then presented a drut bandish 'Bahut din beete (बहु त दिन बीते)'. The ease with which she sung was amazing.

Chota Khyal of the concert was evening Raag Patdeep (पटदीप) of Kafi That (काफी थाट). Tabalji started on wrong beat. She stopped, corrected him and then continued with her singing. Audience was amazed by her understanding. She presented bandish 'Naina na mane (नैना ना मानें)'.

She then presented another Bandish 'Ajahu na aye Shyam (अजहू न आए श्याम)' composed by Agrawale Vilayat Hussain Khan 'Pranpiya'.

Ashna sang confidently and was at home on the stage. Her music sense and maturity is much more than her age. She knew what she wanted to sing, how she will sing it and executed it perfectly. Considering that she is only 12 years old Ashna is already a rising star. Audience was awestruck.

Tabla & Harmonium were good accompaniment. She proved a good match to them.

Trivia: Siddhesh, apart from being an excellent harmonium player, is also an accomplished Jaltarang player.

Entertainment rating deliberately not allocated. Ye dil mange more.

For more concert reports please visit
Mandar's Concert Reports 
http://mandarconcertreports.blogspot.com/