Ustad Raza Ali Khan, Raag Gurjari Todi, part 2

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  • Author: kishoriray

Tags: ali  classical  gharana  gurjari  indian  kasur  khan  music  patiala  raza  todi  ustad 

Vilambit bandish in EKTAL"Ab daya karo mope"Tabla-Pt.Nayan GhoshHarmonium -Santosh PanditSarangi-Ud. Anwar Hussain KhanThe concert was given on the Independence day 15th August 2007 [and birthday of his father, Ustad Munawar Ali Khan] ustad_ali2003@gmail.comUstad Raza Ali Khan, was born on August 8th 1962. He is the grandson of Ustad Bade Ghulam Ali Khan and son of Ustad Munawar Ali Khan. [video sound and pictures are not running synchronic, kindly oversee this...] The legendary Khalifa of Kasur-Patiala Gharana Ustad Raza Ali Khansahab's tallm started when he was a child from his grandfather Ustad Bade Ghulam Ali Khan. After Bade Khansahab's demise, he was trained by his father Ustad Munawar Ali Khansahab. Ustad Raza Ali Khansahab is one of the bright shining stars of Indian Classical music today. As the foremost exponent of Kasur-Patiala Gharana he has entertained millions with his superb performance throughout the Globe.Ustad Raza Ali Khan will perform at the Pran Ganga Festival,at Bhavan"s Cultural Centre , Andheri on the grand occasion of the Opening of MP Theatre .He will be accompanied by Ustad Wasi Ahmed on the Tabla & Lalit Verma on the Harmonium .His concert will begin at 6-30 p.m. on 26th Oct. After Khansahab Dr.N. Rajam ,Pt. Birju Maharaj& Pt. Ulhas Kashalkar will perform respectively. http://www.esnips.com/web/kasurpatiala/

Ustad Bade Ghulam Ali Khan - Raag Bihag, drut, teental

  • Length: 10:13
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Tags: Ali  Bade  Bihag  classical  gharana  Ghulam  india  indian  kasur  Khan  maestro  music  patiala  Ustad  vocal 

A Thumri.Ustad Bade Ghulam Ali Khan can be described as an artiste who has had the maximum impact on the 20th Century Hindustani Classical Music scenario. Born in 1902 into a great musical lineage from Kasur in the Western Punjab, this great savant amalgamated the best of four traditions; his own Patiala - Kasur style, sculpturesque Behram Khani elements of Dhrupad, the intricate gyrations of Jaipur and finally the robust behlavas (embellishments) of Gwaiior. But what actually characterised Bade Ghulam Ali Khan was an effervescent melodic quality which was concertised in a masterly flow of ideas which were delivered with a unique sense of alacrity, aided by one of the most pliable and dextrous voices ever heard in living memory in this land. Bade Ghulam Ali Khan had a relatively short career span. He blazed the trails of Calcutta in 1938 and in the 1944 All India Music Conference in Bombay, was virtually anointed Lord of all he surveyed in the field of Indian Music. But 24 years later, he was dead, prematurely at 66, having given the World less of himself than it would have wished to have. The maestro's approach to khyal was essentially traditional - as seen in the medium pace of his vilambit Khayal presentation and his style of straightforward sthaibharana avoiding permutations. The character of his Gayaki was derived from an inclination towards looking beyond the traditional method of intoning a Swara to discover unchartered facets of beauteous melody, often achieved by very subtle inflexions of notes. This approach was bom of a mind which always strove to find that beauty in Indian Music which went beyond the Raga itself. For Bade Ghulam Ali Khan, 'Taleem' was but a means to a greater end where sheer melody and freedom of movement became unified His music was the joyous expression of an unfettered musical psyche. In 'Thumri', Bade Gliulam Ali Khan looked beyond the tradition of bol-banav where verbal and musical expressions are unified. He saw in Thumri an avenue for playing with notes with even greater abandon than was possible in the raga-restrained Khayal. From this perspective was born the now well-established Punjab-ang of Thumri.

Ustad Bade Ghulam Ali Khan - Mian Ki Todi, Bihag, interview

  • Length: 10:23
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a part of an interview enveloped by Raag Mian Ki Todi and Raag BihagUstad Bade Ghulam Ali, one of the greatest singers of all times, was capable of weaving a magic spell with his swaras and taans. He had once said: "My throat is like a paint brush and I paint on the waves of wind with my voice. The swaras -- thenotes of the raga -- are my colours. It is like a painting created in the air, which is my canvas." He inherited the formidable musical parampara (tradition) of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song) is sung even today, was buried in Kasur, Ghulam Ali's birth place. The shepherds, wandering in the hills, sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indianragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulaniand Quratulain Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music (Patiala gharana); he taught the young Ustad simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the 'Dilli Darbar'. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncle's baton. Later after a brief acquaintance with Lucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice) on the banks of the river Ravi. Singing all night not only developed his stamina, but also gave him the rare sensitivity to gauge the externalresponse. In 1932, he lost his wife Allah Jiwai. His grief, poured into melody, gave birth to the immortal thumri: Yaad piya ki aye, reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. I've Allah in my mind when I sing these words...Different people in the world have different names for the Supreme Being who is 'One'. In 1947, he visited Afghanistan at the invitation of King Zahir Shah and re-established the splendidrapport in music between the Afghans and Indians, where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabl; Sitar meaning seven strings and Dilruba being a longer version of Sarangi. The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi: Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship and sing at concerts all over thecountry. According to the cognoscenti, earlier the Ustad's singing was like the sound of the waterfallstriking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say: Maharashtrians are great connoisseurs of classical music, with their approachbeing technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature! It is in Kolkata that he took young Malti Gilani (singer and later hisbiographer) as his gunda-bund shagird (committed disciple). She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the traveller and food distributed to the rich and the poor alike! In this respect, theSufis of Islam, the Bhaktas if the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot,Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on theeastern seaboard of India. That he always took his listeners onan inward journey of musical understanding and fulfillment remained true to his last day. This biographyprovides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history ofIndian classical music at large. ***Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi;Price Rs. 1200/

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