Kusumanjali (कुसुमांजली)

Attended a musical program titled 'Kusumanjali (कुसुमांजली)'. A program featuring singers Prajakta Gokhale, Sujata Bachal, Shrikant Bhat and Girish Pande. They were accompanied by Prafulla Soman (Tabla) and Sarita Kulkarni (Harmonium). Prashant Kulkarni read the poems. Vidya Bhat, Gauri Kulkarni, Prashant Kulkarni and Nilesh Ambikar anchored the program.  The program was conceptualized, written & directed by Prashant Kulkarni and organized & produced by Nilima Wadekar.

This was a thematic program organized by 'Grantha tumchya Dari (ग्रंथ तुमच्या दारी), Abu Dhabi chapter'. Grantha tumchya Dari is an initiative of Kusumagraj Pratishthan (कुसुमाग्रज प्रतिष्ठान) to encourage Marathi book reading culture. I attended this program at residence of Nilima and Gaurav Wadekar on 26th May 2017.

Vi. Va. Shirwadkar (Pen name Kusumagraj - कुसुमाग्रज) was a very wee known Marathi poet, author and play write. His work is read and studied widely. He was awarded India's highest literary award, 'The Dnyanapeet puraskar (ज्ञानपीठ पुरस्कार)' and Padma Bhushan (पद्म भूषण). His contribution to Marathi literature is unmatched.

Program started with a video clip on Kusumagraj that elucidated his life, literary contribution, social work and personality.

Program started with very famous revolution poem and song 'Garja jayjaykar (गर्जा जयजयकार). Prashant presented two beautiful poems 'Kana' and 'Premyog'. Prajakta presented 'Hasra nachra (हासरा नाचरा)'. Sarita's harmonium was appreciated. Sujata presented 'Sarveshwara shivsundara (सर्वेश्वरा शिवसुंदरा)', curiously, without music accompaniment.

Girish presented 'Kahi bolayache ahe (काही बोलायाचे आहे)' and was applauded instantly. Prajakta then presented an unknown love song of Earth 'Yuga maguni (युगा मागुनी)'. She sung melodiously. Anchors presented a hilarious story 'Patras Karan ki (पत्रास कारण की)'. The story and presentation was too good.

Prashant presented 'Prem kar bhilla sarkhe (प्रेम कर भिल्लासारखं)'. It was followed by 'He surano Chandra wha (हे सुरांनो चंद्र व्हा)' from the play Yayati-Devayani by Prajakta and Girish. Tabalji struggled little bit.

Nilesh read out excerpt of Shirwadkar's interview of how he conceived and wrote Natsamrat (नटसम्राट). Prashant also presented three immortal passages from the same play.

Prajakta and chorus presented Samargeet 'Vedat Marathe veer daudale saat (वेडात मराठे वीर दौडले सात)' that tells the story of Prataprao Gujar and his six generals. Sareeta played well. Audience demanded once more and joined the singers while singing.

Program ended with his prarthana to the lord of world for the humanity 'Sarvatmaka Sarveshwara (सर्वात्मका सर्वेश्वरा)'.

Program started half an hour late. Sound system was good. For a large living room and small program it was ideal. Artists were not introduced at the beginning or during program, only at the end when memento was presented.

Four anchors for this program (when there were only four singers) was a bit skewed. But they carried the program well. All the artists were amateur artists, none professional. All of them performed well, however, Nilesh stood out. It was announced that the artists got only 10 days to prepare for the program. In that case it was a commendable effort.

Program was attended by more than 50. This program can be classified as well attended and a success. It lasted for little less than two hours. It was neither lengthy nor cramped. The variety and length made it crisp. Organizers expressed their intention to do more such programs. It's a very good initiative.

Grantha tumchya Dari should be applauded for conceptualizing and presenting this unique program. It's not very often that you get to attend such programs.

A very good program.

Entertainment rating 8.75/10.

I have given extra points for the concept, variety and to the fact that it was more literary than entertainment.

Garjate Marathi (गर्जते मराठी)

Attended a concert titled 'Garjate Marathi (गर्जते मराठी)'. A concert featuring singers Sawani Ravindra, Kartiki Gaikwad and Aniruddha Joshi. Chinmay Udgirkar was the anchor. They were accompanied by Bhushan Rao (Tabla), Shrirang Urekar (Keyboard & conceptualization), Parimal Joshi (Synthesizer & music arranger) and Abhay Ingle (Percussion pad & Side rhythm).

This program of Marathi songs was organized by MMAD in Embassy of India auditorium on 19th May 2017.

There was a traditional start of the program with a Nandi (नांदी). 'Panchtunda nara runda  (पंचतुंड नर रुंड)' of Bal Gandharv. So many programs have started with this Nandi that it can easily be called the most famous Nandi.

First section was filled with Bhaktiras (भक्तीरस). Sawni presented Abhangwani in medley. 'Sundar te dhyan (सुंदर ते ध्यान)', 'Are are Dnyana zala (अरे अरे ज्ञाना झाला)', 'Jaydev Jaydev jai jai Shivraya (जयदेव जयदेव जय जय शिवराया)'.  Kartiki presented 'Indrayani Kathiawar (इंद्रायणी काठी). Aniruddha then presented 'Maze maher pandhari (माझे माहेर पंढरी)'. He sung it faster than the original of Pt. Bhimsen Joshi, thereby not allowing time to enjoy. However, he sung very well and deservedly got 'once more'. Idea of Percussion pad rhythm to abhang was interesting. Then 'Man suddha tuza (मन सुद्ध तुझं)' was presented by Kartiki with perfect old style singing.

Program then moved to Balgeet (बाल गीत) genre. Sawani presented medley of 'Gori Gori paan (गोरी गोरी पान)', 'Nach re mora (नाच रे मेरा)',  'Zuku Zuku Zuku Zuku agingadi (झुकु  झुकु झुकु झुकु आगीनगाडी)'. All the little children danced spontaneously (upon encouragement by performers) on this song.

Program then moved to Veer ras with Powada (पोवाडा) composed and sung by Aniruddha for movie Sangharshayatra. He sung it on pre-recorded music. It was a good composition. Sawani then presented the song that introduced her to Maharashtra. Romantic song from TV serial Honar sun mi tya gharchi 'Nahi kal'le kadhi (नाही कळले कधी)'. Sawani then sung title song of serial 'Pasant ahe mulgi (पसंत आहे मुलगीi'. She sung it on pre-recorded music. Aniruddha sung 'Gajryacha gandha (गजऱ्याचा गंध)'. Kartiki then sung her most famous song 'Ghagr gheun (घागर घेऊन)'. As expected she got 'once more'. This song was a testament of transformation of a little girl to a young lady.

Program then moved to romance with Arun Datey's 'Shukratara mand Vara (शुक्रतारा मंद वारा)' by Aniruddha and Sawani. Sawani presented a 'Lagin geet', my favourite, 'Gorya Gorya galawari (गोऱ्या गोऱ्या गालावरी)'. Chorus plays a very important part in this song. Aniruddha sung it alone excellently and gave goose bumps. Once more was not respected for this song.

Then they moved to a unique speciality of Marathi music, 'Natyageet (नाट्य गीत)'. Kartiki presented 'He surano chandra wha (हे सुरांनो चंद्र व्हा)'. Aniruddha then presented famous 'Surat piya ki (सुरत पिया की)' from Katyar kaljat ghusli (कट्यार काळजात घुसली). He topped it up with a very good Tarana.

Sawani and Aniruddha presented 'Amhi thakar thakar (आम्ही ठाकरं ठाकरं) from movie Jait re Jait (जैत रे जैत). Probably they did not practice this song together.

Then the program moved to Lavni (लावणी). Kartiki presented 'Kasa Kay Patil bara hai ka (कसं काय पाटील बरं हाय का)'. Curiously it was played on Tabla and Dhol instead of Dholki. Sawni then presented 'Wajle ki bara (वाजले की बारा)'. Audience needed no invitation to dance in the open space in front of stage.

Final segment of program was rhythmic songs and Koli geete in medley. They presented 'Hil Hil Pori hila (हिल हस पोरी हिला)'. Aniruddha missed the beat to start the song and purcussionists had to play again for him to pick the beat. This was followed by Ekveera aai tu dongrawari (एकवीरा आई तु डोंगरावरी). Sawani came down in the dancing audience to sing this song. Kartiki presented 'Chandana Chandana (चांदनं चांदनं)' and Aniruddha presented 'Navri natali (नवरी नटली)'. 

Grand finale of the program was Swatantryaweer Savarkar's 'Jayostute Jayostute (जयोस्तुते जयोस्तुते)' sung by all three. 

Bhushan Rao, a local talent, played professionally and matched others beat by beat. Other musicians were good and played aptly. All the singers also sung well.

Chinmay speaks correct Marathi fluently. He is smart, was wearing a stylish saffron kurta but the torn and patched up jeans struck a discordant note. On a number of occasions he prompted the audience to clap rather than allowing them to do it spontaneously. He came down into the audience several times and even danced with them displaying his humility. This was Chinmay's first time to anchor a program but he anchored with finesse.

Sound system created frequent humming noise that had to be quelled. There was echo in the sound system so words were not clear. Overall the sound system was a disappointment.

Garjate Marathi (Roaring Marathi) a very good title for a program that displays the variety, range and rich heritage of Marathi songs and music. From the name of program, I also expected that there will be a theme that shows the transformations of Marathi language or Marathi music. But there did not seem to be any theme. I also expected that there will be anecdotes demonstrating richness of Marathi. But it too wasn't there. A bit of effort on this was called for.

All in all a decent program.

Entertainment rating 8/10.

I have given one extra mark for successfully involving the audience.

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.