When the Sitar sang: Raga Khamaj with Ustad Vilayat Khan

(This article is part of our ongoing series, Ragas to Riches, a collection of my favourite Ragas. The rest of the articles in the series, although unrelated to this one, can be found here)

Khamaj, the raga that we will enjoy together today, is not one to be dissected technically. A raga, vast, majestic and quite unfairly relegated to the Kshudra Prakriti ( Lighter nature ragas), Khamaj is arguably the king of romance. Hence, we will not discuss the jati, the vadi/samvadi, aur any other mundane details of the raga. To do so is akin to butchering the spirit of flavourful romance of Khamaj and we won’t be doing any of that. Although for those still interested, technicalities of the raga can be found here.

We will be listening to Ustad VIlayat Khan’s regal rendition of Khamaj from his performance at the Berlin Fest(Year unknown). Khan Sahab appears to be at the peak of his prowess, as attested by the clarity of notes and the extraordinary virtuosity of his diction.

The Aftab-e-Sitar, as he is reverently called, starts with a delicate alaap. At 2:05, the alaap is marked by signature Vilayat Khan style , full of feeling and surrender. What strikes me the most in his alaap over the years, is that the phrases are always telling a story. There is a circularity to them, with seemingly independent phrases actually being inter-connected, as if woven by the same piece of thought. Simultaneously, at a deeper level, there is a progression to them, as if these circular and yet independent phrases are marching towards a common crescendo.

The sudden infusion of low notes at 3:15 for a second or two, as if used to complement the higher notes of the alaap confirm why he was the maestro and the novel creator of the innovative Gayaki Ang (a style aiming to replicate the nuances of the human voice on the instrument, as opposed to the Tantrakari ang, which retains the instrumental touch). It hadn’t been done with this ease before him and after him, the style is undoubtedly ubiquitous.

At 5:06, he takes a signature Khamaj phrase, puts a break for about 5 seconds, and completes the phrase with a quick and clear progression of notes that takes one’s breath away. I want to bring your attention to the most musical part of this sequence- the 5 seconds sans any music. The legendary Ustad Alladiya Khan Sahab used to say that the silence between two notes is also musical- that’s where the real music happens. I have seen several musicians iterate this, but Ustad Vilayat Khan applies this to the max. At 6:30, he takes another sets of notes and ends with a meend (glide), that is so characteristic of Sitar playing today, but was nearly explored when he was doing it half a century ago.

By the time, he moves on to the faster sequence of notes, he has managed to completely establish Khamaj’s aesthetics.  He moves on to show his skill and command over the instrument as he moves along the scale of the raga with supreme ease. That’s why Vilayat Khan is the supreme maestro. He can do what he did with the alaap with his sheer imagination and sense of story telling and then he can also surprise you with his unparalleled command over the instrument and clarity in speed. At 16:00, he comes back to the former with some beautiful slow phrases.

At 18:10, he takes the popular Khamaj phrase- “Pa Dha Sa Re Ga Ma Ga.”, starting from the middle octave and ending at the higher octave. The next few minutes where he strolls leisurely around the higher notes aren’t just musically perfect, but also a testament of his inventiveness with the Sitar. He created the “Vilayatkhani Sitar”, changing the tonal texture through sheer ingenuity, removing the top gourd, reshaping the bottom gourd for more resonance, and increasing the curvature of the frets . The latter helped him achieve voice-like range with the Sitar, especially in the higher notes. The next few minutes are a testament to this.

After a few minutes of an energetic jhala, he present a gat in drut Teentaal. The gat is fresh, authentic and carries the essence of Khamaj’s fragrance. The gat is every bit as exquisite as the alaap, jod and jhala that precede it. After a few minutes of light layakari around the structure of the gat, Khan instructs the tabla accompanist to increase the laya (pace). Thereafter, Khan proceeds to display breathtaking taans along with an impeccable sense of timing of sam, the first beat of the 16-beat cycle. He finishes his recital with a swift tihaai, followed a rapturous applause from an enthusiastic audience.

As I wrap up, still mesmerised by the rendition, I cannot help but let my mind wander into a different tangent of thought. I have always thought of this blog as my way of giving back to Hindustani Classical music, especially because this music has given me so much. But then there are days like these, where I get immersed in music as soothing and heavenly as this. On such days, I stop at every juncture of the rendition I am writing about to describe it to you, the reader . In the process, as I appreciate the music more and more, I find myself closer to the true essence of it all. At that very moment, the mind and music is one. And that’s when I realise- this blog is not my way of giving back to Music, it is Music’s way of giving me even more, like it always has.

Raga Gorakh Kalyan: A galaxy enchanted

(This article is part of our ongoing series, Ragas to Riches, a collection of my favourite Ragas. The rest of the articles in the series, although unrelated to this one, can be found here)

I have always wondered what my favourite Raga is. Amidst the ecstasy of losing myself while listening to a masterpiece, I have consciously tried asking myself this question- Is this the Raga that I can consider to be closest to me? I have never been able to give myself a conclusive answer.

Having said that, I do come close to a definitive answer whenever I listen to Gorakh Kalyan. I am still unsure whether it is my favourite, or whether there is even a need to have a favourite Raga but Gorakh Kalyan has me confused, surely.

Gorakh Kalyan, as some suggest, was developed by the mystical Saint Gorakhnath from the town of Gorakhpar in Uttar Pradesh, India. While the origin story is debatable, the Raga has a mystical element to it which further adds to its charm.

A late evening raga, Gorakh Kalyan has gained popularity over the last few decades. A quick delve into the Raga and one would realise that it has nothing in common with the Rest of the Ragas in the Kalyan family- no presence, let alone trace of the Teevra Madhyam. The literature of the Raga is readily available online but is not the subject of our discussion today. A discussion on a Raga as hauntingly beautiful as Gorakh Kalyan shouldn’t be relegated to the confines of Aroh, Avroh and nyasa. It should flow freely, much like the Raga.

The first piece on the list today is perhaps the most iconic recorded pieces available in public domain- performed by the legendary duo Ustad Salamat Ali Khan and Ustad Nazakat Ali khan in 1951. It will undoubtedly remain a historical document of utmost import whenever the Raga is looked back on.

Ustad Rashid Khan’s Gorakh Kalyan from 2001 is also one that needs to be mentioned. He sings the same drut bandish as the aforementioned might Ustads, but let us not do him the injustice of comparison. As a bonus, you get to enjoy a tarana in Desh and some Pahadi as dessert as a part of the scrumptious meal. Ustad Mehmood Dholpuri’s harmonium accompaniment is as always impeccable and rich, and he does absolute justice to Khan’s vocals.

Pt. Rajan & Sajan Mishra like performing Gorakh Kalyan a lot and why shouldn’t they when they are able to bring out such a nice fragrance to the Raga. The mood set by slow bandish “Kahe Gumaan kare” is taken a couple of notches hire by the amazing drut bandish “Kajrare Kaare ati sukhware”. Singers from Benares have always given some outstanding bandishes to the Hindustani classical music fraternity, and this one is no exception

Pt. Bhimsen Joshi’s Gorakh Kalyan is what drew me to this raga years ago and remains a majestic rendition. The drut bandish fills one with a rich and ambrosial sweetness, that stays back hours after one finishes listening to it. It might be a matter of personal preference but Joshi has that unique ability to linger in one’s mind, long after you’ve finished listening to him.

Notable mentions that would have made the list, if you had as much free time as I do are renditions by Pt. Jasraj’s and Pt. Jitendra Abhisheki. Look them up on YouTube and let me know any other wonderful renditions that you liked.

Carnatic Concomitance- Chapter III: Krishna nee Begane Baro

(This article is a part of our ongoing series on Carnatic Music. Although the article can be read on its own, the previous parts can be found here)

Continuing close to where we left in the last part of the series, we pick up with Ragam Yamuna Kalyani. The parallel in Hindustani music can be found in the form of the evergreen and omnipresent Raga Yaman Kalyan.

Similar to Raga Bihag which we explored in part 2, the Hindustani Raga Yaman Kalyan uses both Madhyams. While the Teevra (sharper) variant is used sparingly in Bihag, Yaman Kalyan is mostly reliant on the teevra Madhyam and uses the shuddha (flatter) Maddhyam only to create a sense of surprise a beauty. There is an old saying that compares the flat Madhyam in Yaman Kalyan with the beautiful face of a veiled woman that comes out of the veil at times but goes right back in the veil instantaneously.

The piece we will listen to enjoy Yamuna Kalyani is “Krishna nee Begane”. Composed by Vyaasaraaya about five centuries ago, the version most people would be familiar with is the one by Colonial Cousins. But that’s not the version we will dive into today.

 

The first rendition is by Vijay Prakash. Refraining from overdoing the effect of western instruments in the background, Prakash renders the delicate composition with precision. Starting with an alaap with the piano and light percussions in the background, Prakash sets the tone of the piece well. At 1:03, he demonstrates the familiar descent of yaman (Ga Re Ni Dha) in the word Begane.  By this time, the percussions step in lightly but do not register their active presence, resulting in an extremely soothing output. As he steps into the subsequent stanzas, he doesn’t lose steam even as some of the instrumental interludes drag a bit or seem misplaced. He caps the performance off with a couple of alaaps with efficient use of the higher notes. Overall, Prakash combines his deep and sonorous voice with a good command over phrases in Yaman to deliver a solid performance.

I found two beautiful translations here and here:-

Oh, Krishna, please come quickly!
Come quickly and show your face!

With beautiful anklets on your feet, sapphire armlets,
Oh blue-hued one, come with dancing steps!

Waistband with bells adorns you! Rings on your fingers!
The divine Vaijayanthi necklace garlands your neck!

Sacred saffron cloth from Kashi covers you! A flute in your hands!
The sandal paste applied on your body exudes fragrance.

The one who who revealed the whole universe in your mouth to your mother!
That saviour of the world, our Udupi Shri Krishna!

The second rendition, and my favourite by far, is by the popular, and at times controversial and outspoken singer, TM Krishna. Regular readers would be able to dissect by now, my bias towards Krishna and they wouldn’t be wrong. . He is accompanied by the ever so smiling Akkarai Subhalakshmi on vilion, whom he shares impeccable chemistry with, Arunprakash Krishnan on Mridangam and Guru Prasad on Ghatam.

He starts off with a detailed and passionate alaap which Subhalakshami skilfully recreates on violin. At 2:18, he effortlessly plays around with close musical phrases to render the word Begane. At 3:19, the extent of Krishna’s passsion and heart is evident. The percussions enter at this point but it is as if they are invisible. By nearly taking them out of the equation, Krishna converts the whole rendition into one long ardent alaap. This reminds me of another rendition of the same song by another Carnatic Maestro, which is superb in its own right but it feels as if the percussions bring the whole effect down. This is the exact opposite, and the imperceptible and soft effect of the Mridangam and the Ghatam elevate the performance manifolds.

At 5:46, he delivers a phrase that his skilled accompanist on violin replicates with perfection. This draws a visible and surprised appreciation from Krishnan. Many such small moments make up the wondrous chemistry between the duo across their performances. This reminds of the equation the Hindustani violinist Kala Ramanath shares with famed vocalist Pandit Jasraj. But that’s a story for some other time.

Krishna is adept at modulating his voice, going softer when the music demands it and reversing if requiring. Towards the end of the piece, at 9:56 he does the former, adding to the meditative atmosphere. He ends the piece with similar soft and meditative phrases, amplifying the Bhakti Rasa, evoking a sense of devotion in the listener. A maestro in every right, Krishna displays that with correct control and a sense of musical aesthetics, one can do wonders. Well, he can do wonders.

 

Carnatic Concomitance- Chapter II: Raga Behag with T. M. Krishna

(This article is a part of our ongoing series on Carnatic Music. Although the article can be read on its own, the previous parts can be found here)

To kickstart our journey into Carnatic Music, we pick a raga that makes my job easier. Having no background whatsoever in Carnatic and a reasonable background in Hindustani music, I have picked a Raga which is a direct import from Hindustani. The popular Hindustani raga Bihag when borrowed by our Carnatic brethren becomes Behag. Largely used for short pieces and light songs sung at the tail end of the concerts, the raga has been increasingly gaining popularity in the Carnatic circles.

The Hindustani Raga uses the following scale predominantly:-

Aaroh (Ascending):- Ni Sa Ga ma Pa Ni Sa

Avroh (Descending):- Sa Ni Dha Pa Ma Pa Ga ma Ga Re Sa

The phrases Pa Ma Pa Ga ma Ga which beautifully plays around the distinctive signatures of the two Madhyams (Ma being the teevra Ma- the higher/sharper variant while ma being Shuddha Ma-the lower/flatter variant).

Now, before we get bogged down by the technicalities of it, let us get straight down to the music. The piece I have selected is a rendition of the Raga by popular vocalist T. M. Krishna. Krishna is accompanied by the brilliant and cheery Akkarai Subhalakshmi on vilion, Manoj Siva on Mridangam and Anirudh Athrey on Kanjira. It is a part of a full length concert from 2017 where Krishna was in sublime form. I am hoping to pick up some more pieces from the concert as we get deeper into the series.

The song that Krishna sings has been penned down by famed Kannada author/poet DV Gundappa and is called “Ene Shukabhashini”. He wrote a series of 60 songs in awe of the beauty of sculptures and architecture of the temples of Belur. Each song is associated with a specific sculpture and the published book has the photograph of the particular sculpture alongside each song. DVG, as he was popularly known as, went to the extent of suggesting the Raga and Tala (beat cycle) of these songs as well.

I found the following translation and the image of the sculpture here:-

“What are you up to ? Oh! Beautiful, the one who speaks with the parrot !
What’s the news, Oh! the one who brings rejoice to the soul ?

Who are cursing and to whom are you praising ?
What secrets are you sharing with your beloved parrot ?

Are you sharing your worries ? or your delightful thoughts ?
What secret happiness are you sharing with the bird ?
What is the Love message that you are sending to your beloved (Kanta)?
Oh! Beautiful, tell me, I am being perturbed !

Why do you trust this wild parrot ?
Why would you tell it your inner most secrets ?
Don’t you trust anybody else to convey your message to Chennakeshava ?,
The Wise who could describe your Beauty ?”

At 0:50 when Krishna moves around the scale to start presenting the Raga, his mellifluous voice hits you. His chemistry with the violinist is stuff made of dream and hooks you in to the performance. At 1:19, he hits with you a series of well-crafted and pleasant musical phrases. At 1:34, he beings the song which uses a series of simple note sequences, just how DVG had envisioned in his subsequent editions of the book. With every passing minute in the piece, one can admire the skill of the smiling violinist and her equation with Krishna.

The composition continues to remain beautiful, but the part at 3:24, the last sentence of the Sthayi ties the whole thing back to the first line in splendid fashion. Whenever I listen to the piece, I can’t resist rewinding 10 seconds to get a second sip of this wonderful cocktail of notes. A similar thing happens in the second stanza around 4:55 when a similar note sequence draws an involuntary appreciative “aah!” out of me every time.

At 5:30, he opens his bag of tricks to display a meend (glide of notes) which is a distinctive marker of the Hindustani Raga Bihag. At 7:02, he plays around a combination of lower notes that adds to the happy and romantic flavor of the Raga. He ends the piece without any major improvisations or decorative phrases, keeping the listener longing for more. The listener is me is certainly longing for more. What about you?