Showing posts with label male vocal. Show all posts
Showing posts with label male vocal. Show all posts

Wednesday, May 4, 2011

Madurai Mani Iyer - Ganakaladhara
EMI India - 33 ESX 6058,  - P.1974



Side A

A1 Thaye Yeshoda - Thodi
A2 Kapali - Mohanam
A3 Orajoobu - Kannadagowla
A4 Dhunmargasara - Ranjani

Side B

B1 Parimalarangapathe - Kamboji Ragampallavi
B2 Suki Evvaro - Kanada
B3 Maye - Tharangini



You have no idea how happy I am! More Madurai Mani Iyer and most likely 78 rpm's of old stock transferred to vinyl in the early seventies. It does not get so very much better than that!

Just a little while ago some more fruits from the latest excursion in Tamil Nadu by my good friends Costis and Arvind arrived! Since this record is by one of my absolute favourit singers I will post it right away without any delay whatsoever so we can all share this music as soon as possible. I am listening to the first tracks myself as I post this. Thank you both for this wonderful record!


Saturday, March 12, 2011

Madurai Mani Ayyar - Classical Sanskrit Vocal



Madurai Mani Ayyar - Classical Sanskrit Vocal
EMI Columbia - 33 ESX 6010 - P.1967



Side A

A1 Thathvamariya (Reethigowla) 4'11
A2 Nija Marmamulanu (Umaparnam) 3'52
A3 Maa Janaki (Khambodji) 13'43

Side B

B1 Sarasa Sama Dana (Kapi Narayani) 6'53
B2 Saarasamukhi (Gowda Malla) 5'48
B3 Eppo Varuvaaro (Jonpuri) 3'49
B4 Note & Madhyamavathi 4'18

I see no over saturation of Mani Iyers music anywhere on the net, so here is the LP that came after the one I just posted yesterday. The preservation and digital likeness is this time a joint venture of the "south indian vinyl trinity" like we had before with an LP of the Sulamangalm Sisters. The good Arvind spotted it, secured it, and passed it on to good Costis who got down and made a real nice digital likeness that he in turn passed on for me to fiddle with a bit. Photos and rip are his! Twiddle and fiddle are mine. Slight de pop editing and slight photo editing. The music is for everyone who has heart and ears!

I like to point out the last piece on the B-side "Note" that goes into the Madhyamavathi. It is of course the least typical of the Carnatic repertoire and always stands out and seems still to be rather popular. It is a rather amusing and enjoyable relic of the British rule in South India. "Notes" can often be heard in Nagaswaram music and some vocalist like Madurai Mani Iyer did nurture the tradition of "notes" or "English Notes" as they were also called. The wonderful clarionet player A.K.C. Natarajan also has a very nice repertoire of "notes".

The influence from annotated english music, like march or dance tunes is obvious and speak of a time when indian musicians would have to also include western tunes in their repertoire to satisfy the English Raj. Some were played for formal functions and ceremonial reasons some for pure entertainment. Originally they were simply English tunes played on traditional South Indian instruments. In fact, some are simply Western tunes with Indian lyrics, but even though you can still sometimes here tunes like "God save the Queen" and "He's a Jolly Good Fellow", oftentimes it is however futile to look for the "english original" as there is none! Many "Notes" were composed by Indian composers and musicians in the vein of, or to resemble the original Notes. These are compositions often in the raaga shankaraabharaNam and created with swaras (some also have saahitya=lyrics).
Read some more about western influence on Indian Classical Music here...





Monday, March 7, 2011

Chembai Vaidyanatha Bhagavatar - Carnatic Classical Vocal in Telugu & Sanskrit


Chembai Vaidyanata Bhagavatar - Carnatic Classical Vocal - in Telugu & Sanskrit
EMI Columbia - S/33ESX 6027 - P.1969


Side A

A1 Rakshamam — Gambeeranaatai 5'44
A2 Bantureethi — Hamsanadham 4'08
A3 Manavyala — Nalinakanthi 4'16
A4 Enthavetukondu — Saraswathi Manohari 7'01

Continuos tracks as on the LP, total time 21'10

Side B

B1 Manasayetulo — Malayamarutham 8'36
B2 Ramaniyada — Karaharapriya 12'27
B3 Narayaneeyam — Slokam 1'27

Continuos tracks as on the LP, total time 22'55


Here is some more great singing by Chembai who came from a family that was in the musical tradition for more than 500 years. Born in 1895 and performing for the first time already 1904 when he was only nine years old. By 1920 he was one of the top singers and T. Chowdiah the famous violinist adored him and for a long time they were a great combination together. When he was at his peak he was considered one of the three pillars of Carnatic Music along with Ariyakkudi T. Ramanuja Iyengar and Maharajapuram R. Visvanatha Iyer.
In 1932 he cut his first disc for Columbia and went on to record a great many "plates" for them, also this LP is on that same label. He was said live very frugal and to have been very generous spending most of his earnings supporting the temple of Guruvayurappan after a wow he had taken when an ayruvedic doctor had restored his voice there. Many were the musicians who got their first break with him and among the ones he helped along the way was two mridangam players first Phalgat Mani Iyer and later Palani Subramania Pillai both went on to become very famous. The latter may very well have been saved by Chembai as he was left handed and had a very hard time getting concert engagements because of the traditional placement of the musicians on the stage. Very few violin vidwans would accept to sit on the left side of the stage counted from the audience as neither their bow technique nor their visages would be on a favourable display.

Chembai had indeed a very long career and this record is from his last period when he came back after a longer retreat from recording and poor health only allowed him a few more years to live. He died on October 16, 1974 in Ottappalam where he had given his first temple concert. On the last day of his life too, he gave a superb concert, comprising his favourite songs in the same temple. At the end of this, as he sttod in the sanctum an admirer is said to have remarked that the Bhagavatar should live for 125 years, Chembai turned around and said that it was a matter between him and his Maker and that it had already been decided. Having returned to his place of stay he sat down for his evening prayers and passed away during the meditation. His grieving wife followed him six months later.
(Most of the above info culled from Indira Menon and Sriram V.'s writings on Carnatic Music)







Monday, January 24, 2011

Bhimsen Joshi - Ragas Lalit Bhatiyar - Kalashree


Bhimsen Joshi - Classical - Ragas Lalit Bhatiyar , Kalashree
EMI India - EASD-1501


Side 1


Raga Lalit Bhatiyar
- O Kartar - Teen Taal

Side 2


Raga Kalashree
- Dhan dhan mangal gao - Jhap Taal
- Dhan dhan bhag suhag tero - Drut -Teen Taal









Bharat Ratna Pandit Bhimsen Joshi 1922 -2011 - Rest in Peace...


Bhimsen Joshi - Ragas Malkauns, Maru Behag
EMI India - ECLP-2276 - P. 1962 (rec.1961)
(also EMI-Odeon - MOCE 1029)






Side 1

Raga Malkauns
- Pag lagan de - Bilampat - ektal
- Rang raliya karat - Drut - teental

Side 2

Raga Maru Bihag
- Rasiya ho na - Bilampat - ektal
- Tarapat raina dina - Drut - teental




After a fantastic productive life with an enormous contribution to Indian Classical and devotional music the last living of the older tradition carriers and one of the truly great exponents of the Kirana Gharana Bhimsen Joshi passes away earlier today January 24, 2011 in a hospital in Pune after a long time of weak health. Having listened to his music since the sixties I feel as if someone very close has left us. Although anyone that is dear to us and that moves on does leave us grieving, but one must still remember what a rich life both in experience and artistic achievement that he must have led.

I feel both really sad and in a strange way also very happy, that unlike many others, he was able to share so much of his art and that there are so many recordings that we can listen to as compared to several other artists of his stature.

Let me share a few of his early albums with you and start with one of the very first that I heard. This is his third LP on Indian EMI with beautiful renderings of the ragas Malkauns and Maru Behag. On the back of the LP he is described as: "Probably one of the most promising and talented amongst the younger set of classical singers today! "

It was recorded when he was 39 years old, and had been singing in the AIR concerts already since 1941, when he was only 19 , and since he was born 1922 that makes the year of recording 1961... exactly fifty years ago...


Pandit Bhimsen Gururaj Joshi (Kannada: ಪಂಡಿತ ಭೀಮಸೇನ ಗುರುರಾಜ ಜೋಷಿ, Marathi: पंडित भीमसेन गुरुराज जोशी), (February 4, 1922 - January 24, 2011) was an Indian vocalist in the Hindustani classical tradition. A member of the Kirana Gharana (school), he is renowned for the khayal form of singing, as well as for his popular renditions of devotional music (bhajans and abhangs). He is the most recent recipient of the Bharat Ratna, India's highest civilian honour, awarded in 2008. (from Wikipedia)

Pune, Jan 24 (PTI) The mortal remains of Bharat Ratna Pandit Bhimsen Joshi were consigned to flames this evening with state honours in the presence of tearful mourners ... (link)


Sunday, January 2, 2011

Bade Ghulam Ali Khan - Padma Bhooshan



Bade Ghulam Ali Khan
EMI-Odeon - MOAE-5004 - P.1968



Side A

A1 Gujri Todi - Bhor bhai
A2 Desi Todi - Manwa larze
A3 Bhimpalasi - Be gun aye
A4 Kamod - Chhand de mora
A5 Pahadi - Hari om tat sat

Side B

B1 Kedara - Naveli naar
B2 Jai Jaivanti - Binati ka kariye
B3 Darbari Kanada - Bhaj re har nam
B4 Adana - Jaisi kariye
B5 Malkauns - Mandir dekh dare
B6 Paraj - Latak chale to man



This is an improved reissue of EBLP 1753 with the extra track Pahadi - Hari om tatsat)




Bade Ghulam Ali Khan - Thumri Recitals


Bade Ghulam Ali Khan
EMI-His Masters Voice - EBLP-1751 - P.1964



Side A

A1 Aaye Na Balam - Thumri 3:33
A2 Sainyan Bolo - Pilu Thumri 3:19
A3 Yaad Piya Ki Aye - Thumri 3:20
A4 Prem Ke Phande Men - Bhairav Thumri 3:28
A5 Maran Muthe Yun - Sindhi Kafi 3:26


Side B

B1 Naina More Taaras Rahe - Jangla Bhairavi 3:19
B2 Kate Na Biraha Ki Raat - Pilu Thumri 3:26
B3 Prem Ki Maar Kater - Sohani Thumri 3:23
B4 Tirchhi Najariya Ke Baan - Thumri 3:29
B5 Prem Agan Jiyara - Kajri 3:24



Here is a very nice looking 10' LP that I found huddled together with some other goodies in the shelves in the back on my last visit to the editorial office of Panchamkauns. This time my good friend the critic was indeed at his desk we had a good talk and he graciously lent me this copy to post here.


10' LP


I have included the extra track that appears on the reissue of this record, MOAE 5005.
A1 Kankar Mar Jagae 6:04




Ustad Amir Khan - Hansdhwani, Malkauns



Ustad Amir Khan - Hansdhwani, Malkauns
EMI-His Masters Voice - EASD-1357 - P.1970



Side A

A1 Hansdhwani - Jai maate vilumbh taj de


Side B

B1 Malkauns - Jin ke man ram biraje
B2 Malkauns - Aaj more ghar aaila baalma (B1,B2 are presented as one track)


accompaniment:

Jnan Prakash Ghosh, harmonium
Afaque Hossain Khan, tabla





Saturday, January 1, 2011

Ustad Mushtaq Hussain Khan - Great Master Great Music


Ustad Mushtaq Hussain Khan - Great Master Great Music
EMI-His Masters Voice - ECLP-2608 - P.1980


Side One

A1 Raga Bihag - Khayal & Tarana

Side Two

B1 Raga Desh - Tarana
B2 Raga Sarfarda Bilawal - Tappa
B3 Raga Zila - Thumri

accompaniment:

Shakoor Khan, sarangi
Lalji Gokhle, tabla



The first few posts of this year I decided to dedicate to some little known masters that are more and more falling into oblivion. I hope the high quality of the music will make up for for the sometimes flawed recording techniques and pressings that are made manifests here. If not, the mere scarcity of these recordings might be enough compensation. As usual, the original LP is in perfect condition and has previously been played only a few times.

Mushtaq Hussein Khan of the Rampur-Sahaswan Gharana


Mushtaq Hussain Khan (1880-1964) is considered one of the leading lights of the Rampur-Sahaswan vocal school. He was trained by his father Kallan Khan and elder brother Ashiq Hussain Khan. He also sought taleem from his father-in-law Inayat Hussain Khan, the doyen of the Rampur-Sahaswan gharana, and Senia Wazir Khan.


Mushtaq Hussain Khan was honoured with the President’s Award in 1952 and the Padma Bhushan in 1957.
He trained a number of students.

Reference: Musicians of India (Naya Prokash, 1993) by Amal Das Sharma.





Ustad Abdul Waheed Khan - Great Master Great Music




Ustad Abdul Waheed Khan - Great Master Great Music
EMI-His Masters Voice - ECLP-2541 - P.1976 - (All India Radio recording 1947)



Side One

A1 Piya Nahi Aye - Khayal - Patdeep, Jhoomra
A2 Jako Mana - Khayal - Multani - Jhoomra

Side Two

B1 Gumani Jaga- Khayal - Darbari Kanada - Jhoomra


Abdul Waheed Khan of the Kirana Gharana
Ustad Abdul Waheed Khan (b. 1876? d. 1949) was regarded as the second among the great vocalists of the [Kirana] gharana, but, to some extent, he was overtaken by his cousin Abdul Karim Khan. He used to sing with a full-throated voice and was an unparalleled alapiya. He developed the 'Mirkhandi' style alapa, somewhat similar to that of Karnatak music. Actually, the style is known as 'Khandameru' in our ancient musicology (i.e. swara-prastar-kriya of notes)...The style influenced several musicians. Ustad Amir Khan was one of them, who, though not his disciple, absorbed the individual characteristics of his style to such an extent that Waheed Khan was highly pleased and blessed him. Waheed Khan lived a religious life and was a devotee of Pir Hazrat Ali Nakki. He used to seek the Pir's approval for all his engagements and performances. He left Bombay and settled in Lahore, where he died in 1949. He was a generous teacher and trained...Begum Akhtar, Hirabai, Pran Nath, Shaqur Khan and Sureshbabu Mane.

(quoted from Musicians of India by Amal Das Sharma)


Abdul Waheed Khan forbade recordings of his performances to avoid imitation by other singers, and therefore only three of his performances survived, namely these recordings of the ragas Patdeep, Multani, and Darbari Kanada, accompanied by Ram Narayan on tambura and Chatur Lal on tabla. They were preserved by music producer Jivan Lal Mattoo, who secretly recorded a radio broadcast in 1947, to document Khan's style.

I hope the high quality of the music will make up for for the flawed recording techniques and pressings that are made manifests here. If not, the mere scarcity of these recordings might be enough compensation. As usual, the original LP is in perfect condition and has previously been played only a few times.





Bade Ghulam Ali Khan - Raga Goonkali, Malkauns



Bade Ghulam Ali Khan - Raga Gunkali, Malkauns
EMI-His Masters Voice - EALP-1258 - P.1968?



Side A

A1 Goonkali - Ae kartar pooree karo

Side B

B1 Malkauns - Eree kab avey sajan - Bilampat
B2 Malkauns - Ab yahi bhed hota - Drut