Nirvana 2017 - Zakir Hussain+6

Attended a concert titled 'Nirvana 2017'. A concert featuring Zakir Hussain, Chris Potter (Saxophone), Sanjay Divecha (Guitar), Gino Banks (Drums), Louis Banks (Keyboard / Piano), Dave Holland (Bass) and Shankar Mahadevan (Vocal) at Dubai duty free Tennis stadium, Dubai, on 27th Jan 2017 with Aditi, Mihika, Jayant, Sucheeta, Amit and Sameer. The theme of concert was Crosscurrents, where Jazz meets Indian Classical music. 

All the artists, except Shankar, started the concert. 1st presentation was a composition by Louis Banks called 'Dove'. Second presentation was also a composition by Louis Banks called 'Shadows'. Chris switched to Clarinet for this composition.  

Shankar then arrived on stage with a round of applause by audience. There were Sawal Jawab between Shankar (who sung Aalap) and Dave on bass. This was slow, delicate and melodious. To be savoured. 

Next item was 57th melakarta Raag Simhendramadhyamam from Carnatic music. He sung 'Rama Rama guna seema' originally composed by Swathi Thirunal Rama Varma. For this concert the Kriti was rearranged with harmony (which is not there in Indian classical music). Shankar used Sargam for the badhat. 

Then he switched to Hindustani semi classical Bhajan 'Ab Radhe rani de daro bansi mori' in Raag Brindavani. Tara Devi, elder sister of Sitara Devi taught it to Shankar. There were Sawal Jawab with Chris on Clarinet.

The trio of Zhakir, Chris (back to Sax) and Dave presented a composition of Chris titled  'Hope'. It was a beautiful piece. Tabla blended with Jazz so well that it did not appear to be fusion. 

Then all of them, except Shankar, presented a Ballad composed by Sanjay Divecha and titled 'Solace'. Shankar re-entered. He sung Sargam and all  of them played their respective instruments. 

'Finding the light' composed by Dave Holland was next. He played it himself with Zhakir. Solo Bass is a very different experience. Coupled with Tabla it's even better. 

Final piece of the concert was a medley titled 'Encounter'. During this when Shankar started 'Breathless' audience went ecstatic. He actually sung faster than the original, but is wasn't exactly breathless. Then there was Zhakir solo with tukdas, paltas, tihais and chakradars. Audience clapped with him. Finally all of them performed together for grand finale. This was very very satisfying. The concert was to end here. 

Organizers announced that San Francisco Jazz has awarded life time achievement award to Zhakirji and he is the first Indian recipient of this award. They also showed a short film on him, sent by his daughter. 

Zhakirji humbly accepted the applause and announced that concert will end. with live music and invited Shankar to do the honors. As soon as Shankar announced that this is dedicated to all mothers, audience knew that it was going to be 'Meri maa'. The song is so good that it became an instant hit. 

Each artist was as good as other. With seven artists, there is a possibility of one or more artists starving for time and space, but miraculously it did not happen today. Everyone got his due. 

Zhakir and Shankar need no introduction. 

Chris Potter was Tenor saxophonist of the year. Sanjay Divecha is Winner of Oscar for collaboration of best original score for movie '127 hours'. Gino Banks is Recognized by Rolling Stones as 'Upcoming drummer of the year'. Louis Banks  is considered Godfather of Indian Jazz. 

Vocal and Saxophone were the star if this concert. Every one performed well, Saxophone was the icing on the cake. 

Chris and Dave, the only non Indians, were wearing Indian kurta for this concert and did not appear in any discomfort. 

There was a problem in stage balance. Left side of stage was sparsely occupied and right was heavily occupied. Thus Louis Banks appeared to have been left alone to his devices. Moreover it was perplexing to notice that Louis' back was towards the audience. He should have been atleast perpendicular. Area of improvement. 

Every artist had a break during one composition or another, except Zhakirji. He played throughout the concert that lasted more than 2.5 hours. 

Every Zhakir Hussein concert I have attended, and that is atleast five, Mujib Dadarkar was in charge of sound. He was in charge of sound today as well. 

Numerous LEDs on the black background were irritating. Three screens were installed in the stadium but the screens did not show stage, only the names and logos of sponsors. Waste of resource. 

Entertainment rating 9.25/10.

Upaj (उपज)' - Zakir Hussain, Taufiq Qureshi and Niladri Kumar

Attended a concert titled 'Upaj (उपज)'. A concert featuring Zakir Hussain, Taufiq Qureshi and Niladri Kumar at Shanmukhanand hall, Mumbai, on 14th Dec 2016. 

Upaj literally means 'harvest' while in Indian Classical music it is a term used for enthralling 'improvisations'. 

Concert started with Raag Shree and with Zakirji and Niladriji on stage. Aalap and jod followed by jhala, Zhakirji joining in. Audience clapped on his first strike on Tabla. The Raag was played for about 50 minutes. 

During aalap and jod, when Niladri was playing very fine, delicate and faint notes, Zakirji had to contain the audience from clapping and urge them to listen. They complimented each other and also played Sawal Jawab. Their playing was very good and so were there excellent pauses. 

Second Raga, rather Ragini, was Bageshwari. Zakirji made a pun about Rageshree and Rageshrimati. Taufiqji joined in for this segment. The two purcussionists joined almost immediately after Niladri started it. 

Taufiqji then played a solo piece for 20 minutes and showed how many variations can be played on a single drum. 

Taufiq and Zhakir then played a composition of guru of their guru (dada guru) for few minutes together. This was a Punjab gharana composition. They also played Jugalbandi. Sitar then joined for grand trio that included solo, simultaneous and Sawal Jawab. 

Concert ended with Niladri playing Zitar, Taufiq playing drum sets and Zhakir on tabla for the grand finale. It was a medley that even included Bhajan 'Raghupati Raghav' with drums. They jammed. This section, though good, appeared out of sync with the concept of concert and seemed like an appendage. It was the first time I attended a proper classical music concert with drums. 

Zakir Hussain is the best known Tabla player in the world. He belongs to Punjab gharana and is a disciple of Ustad Allarakha. He is a contemporary legend. His effortless Tabla play won the audience. He also anchored the program with his light hearted commentary. 

Niladri Kumar is the prodigal Sitar player from Maihar gharana. He is disciple of Katick Kumar and Pandit Ravi Shankar. He has created an instrument called Zitar. His hands are a blurr on Sitar and he can play anything and everything. 

Zhakirji and Niladriji together and all three have superb understanding between them. They enjoyed and consequently so did the audience. They matched each other stroke by stroke. This was my third concert of the pair and second of the trio. 

Taufiq Qureshi, who also belongs to Punjab gharana, is well known and innovative purcussionist. He has also composed background scores for numerous films. He is disciple of Ustad Allarakha and Vikku Vinayakram.

Concert started about half an hour late. But still there were many latecomers disturbing the aalap. Auditorium was clean, chill and had good acoustics. 

Entertainment rating 9/10.

 

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.