Please support the artist as he does tour the USA regularly and has several CDs out. The first piece, presented in 3 movements, was a raga I had not heard him play before and has quickly become one of my favorites.Īccompanying on tabla is Yogesh Samsi, a disciple of Taranath Rao (who taught at Cal Arts) and Alla Rakha who is Zakir Hussain's father). I had been after Pandit Ghosh for a long time to get me a quality recording of the last two pieces of this collection and in Houston he not only played them but gave an inspired performance. "I am seeding a CD's worth of material that I listen to all the time consisting of material from Houston, TX (June 30, 2001) and Austin, TX (July 1, 2001). Pandit Ghosh learnt vocal and tabla from his father, Padmabhushan Pandit Nikhil Ghosh. Indian music is based on playing vocal compositions. Of the three, his playing is the most soulful and conveys a high-level of emotion. "N ayan Ghosh is one of the best amongst is his generation of sitar players that include Shahid Parvez Khan and Buddhaditya Mukherjee. Any commercial use is prohibited and will result in the copyright holder pursuing legal action against the violator(s). "Terms of use: These files are intended for non-commercial use for music lovers and may be freely traded or given away provided that (a) all the files including this one are included and (b) they are not converted to any lossy format such as mp3. The original seeder's notes (presented as a courtesy to the taper - his opinions are his own): Of somewhat more interest is that he has a dual career as both a sitarist and a tabla player. Nayan Ghosh happens to be the nephew of legendary flautist Pannalal Ghosh. Soundboard (straight from the mixing board) recordings Stephen O'Malley, March 2018, Paris, France It's filled with tranquility, contemplation, pathos and spiritual yearning. A deep knowledge of Yaman gives a key for understanding many other ragas. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students.
Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release SOMA028 Ragas Abhogi & Vardhani was recorded) at the end of his last tour of the United States. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on.
#CLICKREPAIR FLAC FILES ARCHIVE#
Over time we developed a friendly and educational exchange, including access to a massive archive of recordings and developed these two paired titles for my label. In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).
It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance. Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.ĭhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form".
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