(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 It will undoubtedly remain a historical document of utmost import whenever the Raga is looked back on.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.
Komal Rishabh Musings 