Omkarnath Thakur - Raga Lalit - In Concert

Omkarnath Thakur 
• Raga Lalit - In Concert
Music India - 2393950 - P.1983




Side A

A1 Raga Lalit - Raien Ka Sapna - Badha Khyal in Vilambit Ektaal

Panditji starts the Vilambit Khayal ‘Raien Ka Sapna’, unfolds the raga by aakapchari in the Poorvang and goes on to complete the Antra.

Side B

B1 Raga Lalit - Raien Ka Sapna - Badha Khyal in Vilambit Ektaal
B2 Raga Lalit - Piyu Piyu Ratat Papihara - Chhota Khyal in Teentaal

Panditji continues the Vilambit Khayal with the Upaj-ang and goes on to make varied Taan patterns. He concludes his exposition with the Chhota Khayal ‘Piyu Piyu Rotat Papihara’ where he shows the varied aspects of Shuddha Madhyam - the main Nyas-swara of Lalit.

Pandit Omkarnath Thakur  (1897 - 1967)

17 years ago, a musical giant left for the heavenly abode leaving behind a rich treasure of his work and research in the field of Hindustani Classical Music. ‘Sangeet Martand’, ‘Padmashree’, late Pandit Omkarnath Thakur occupies a position of rare eminence amongst the classical musicians of India.

His years of research on Maharishi Bharat's ‘Nat ya-Shastra’ along with a thorough study of varied systems prevalent in the North Indian as well as Carnatic music, led him to propound thought provoking theories and write volumes of authoritative books on the subject. A worthy disciple of a great scholar-musician Pandit Vishnu Digambar Paluskar, Omkarnathji made it his life's mission to propagate India's musical heritage amongst the classes and the masses alike.

Panditji was a musician with a difference. A strict disciplinarian, Panditji was known as much for his arrogance as for his musical genius. Keeping in tradition with the norms of the majestic gayaki of the Gwalior Gharana, Panditji evolved a style uniquely his own. His Regal Persona, his marvellous command over Sanskrit and Urdu alike, his thorough insight into every raga-exposition and his unique ability to communicate with his audience through his emotionally packed renditions left the listeners spellbound. His concerts were invariably reflective of his interpretation of the ‘Nav-Rasa’. In fact, he would often demonstrate different Rasas in the cheez (song) by singing one phrase in several other ways.

Not many of Panditji's works are available to the musical ear anymore. Music India has excavated a rare recording to share with aficionados of classical music. On the occasion of his 17th death anniversary, we pay our humble tribute to Panditji and take immense pride in releasing on this record his full rendition of Raga Lalit sung sometime during the early sixties. Opportunities to hear rare recordings of this nature are few to come by.



Music ▼ +

Omkarnath Thakur • Desi-Todi, Bhajans - 1971

Pandit Omkarnath Thakur
• Sangeet Martand, Desi-Todi, Bhajans
EMI Columbia - 33 ECX.3301 - P.1971

Side A

A1 Mare Dere Ajo - Desi Todi 17'24.aif

Side B

B1 Main Nahin Makhan Khajo - Bhajan (Surdas)  20'48




Here is a very good record by a remarkable artist who I appreciate very much. I have only a few more records by him that I will post shortly. Look out in the following days for at least two more recordings with him! Hope you enjoy




Omkarnath Thakur (1897–1967) 


Omkarnath Thakur was an Indian educator, musicologist, and Hindustani classical singer. He is famously known as "Pranav Rang", his pen-name.
Thakur was born 1897 in a village in the Princely State of Baroda into a poor military family. The family moved to Bharuch in 1900 and in circa 1909 Thakur and his younger brother began to train in Hindustani classical music in the Gandharva Mahavidyalaya, a music school, under classical singer Vishnu Digambar Paluskar. Thakur and his brother were sponsored by a wealthy Parsi and Thakur became an accomplished singer in the style of the Gwalior gharana.

Thakur was made the principal of a Lahore music school of Paluskar's Gandharva Mahavidyalaya in 1916, became acquainted with the Patiala gharana, and started his own music school in 1919. During the 1920s Thakur worked for the non-cooperation movement of Mahatma Gandhi on a local level and in the 1933 became one of the first Indian musicians to perform in Europe, which included a private concert for Benito Mussolini. Thakur's wife Indira Devi died the same year and he began to concentrate exclusively on music.
Thakur's work as a performer and musicologist led to the creation of a music college at Banaras Hindu University that emphasized both and he wrote books on Indian classical music and its history. Thakur's work is criticized in contemporary music literature as ignorant of the contribution of Muslim musicians, which he blamed for deteriorating classical music. Thakur performed in Europe until 1954 and received the Padma Shri in 1955 and the Sangeet Natak Akademi Award in 1963. He retired in 1963 and was awarded honorary doctorates from Banaras Hindu University in 1963 and Rabindra Bharati University in 1964.

snipped from the Wikipedia here

It is now four years since the sweet roar of the giant amongst vocalists of Indian classical music was stilled forever. Those who had the good fortune to listen to him in person will forever remember his Regal Personality and his inimitable style. Disciple of Late Pandit Vishnu Digambar Paluskar, his profound knowledge and scholarship won him high praise and tributes not only in India but even in foreign countries. He, like his great Guru, catered classical music to masses. While performing, he poured his very personality in his exposition, thereby transferring his emotionally packed rendering on to the listeners, and holding them spellbound in a celestial trance. Lovers and followers of his music are spread far and wide. On this disc is presented a very rare and scintillating performance of the great maestro.

In bringing out this number on the solemn occasion of his 4th death anniversary, we pay our humble homage to his great memory and hope connoisseurs will listen to the performance with nostalgia.


Side I - Desi—Todi


This is a morning melody and it has a mood of fervent appeal. The burden of the composition 'Mare Dere Aao' - 'Please, come to my abode' — an invocation by a beloved to her lover-sets the artiste in the proper frame of mind-of entreaty-appeal — and he goes on weaving the melody into diverse and attractive musical patterns. While doing so he scrupulously conforms to the traditional norms of exposition of a Raga. The rhythm employed is Ek Taal - consisting of 12 beats.


Side II - Main Nahin Makhan Khayo

This is the Piece De Resistance. It narrates a story — an episode in the colourful life of Lord Krishna in his childhood. He is accused by the milkmaids of Brindaban of stealing their butter. Caught red handed, his chubby face smeared with the loot, the culprit boy is taken to his mother by the offended milkmaids. A court of enquiry is held. The presiding judge is Yashoda — the divine mother of Shrikrishna — the accused.

The dramatic trial opens — with the denial of the charge by the accused ‘Maiyya-Main Nahin Makhan Khayo’— He did not have any legal luminary to represent him — so he decides to defend himself. His defence is presented on this skie in a musical form by the maestro in such a convincing manner that, towards the close, Shri Krishna is acquitted honourably and absolved of all the charges levelled against him.

This entire drama is musically enacted by the maestro with a virtuosity which he alone was capable of.

Repertoire By Courtesy: Vijay V Porecha.

quoted from the backside of the record sleeve

Here is a little more to read

Music ▼ +

Latafat Hussain Khan • Miyan ki Todi, Gara Kanada

Latafat Hussain Khan 
• Miyan ki Todi, Gara Kanada
Polydor - 2392 016 - P.1972 • Music India - 2393 923 -  P.1983



Side A

A1 Miyan ki Todi (19.00)


Side B

B1 Gara Kanada (19.16)




Sultan Khan, sarangi
Mohammed Ahmed, tabla
Zakir Hussain Khan, harmonium

Latafat Hussain Khan (12 Dec 1920- 11 Dec 1986)

Ustad Latafat Hussain Khan belonged to the tradition of Khandani musicians, who held aloft and carried forward the torch of musical learning and excellence. Both as a performer and as teacher he had the unmistakable mark of a gharanadar musician. Deeply religious, self effacing and unassuming by nature, he was always willing to give - qualities that were very clearly reflected in his music and in his approach to the performance and teaching of music.

Born on December 12, 1920, Latafat Hussain Khan was the youngest son of Altaf Hussain Khan of the Agra gharana.

He was initiated into the rigours of music by Tasadduq Hussain Khan. Then followed an extended training period under his eldest brother Ustad Khadim Hussain Khan in Bombay. Sometime in the early forties, he went to Baroda to stay with his uncle, Ustad Faiyyaz Khan and receive rigorous taleem. He also took advanced taleem from his gharana elder, Vilayet Hussain Khan.

Latafat was musically a successor to Ustad Faiyyaz Khan. He was particularly known for his powerful voice, his crisp nom-tom alaps, and his effervescent delivery. With his masculine voice, dhrupad based alap, he was in the mainstream of the Agra gharana. In voice production, he was close to Ustad Faiyyaz Khan — a deep penetrating voice with tremendous control on swar and shrutis, a voice that delibera" tely created broken nuances while singing the "rangila phrases made famous by his ustad. His alap was rich and his raga portrayal was sublime. Latafat Khan composed hundreds of bandishes under the pen name of "Premdas".

Like most exponents of the Agra style, Latafat Khan was a scholar musician, ever true to the ancient tenets of classicism and very concerned with what was "correct" and "pure" and very disdainful of compromises made all too often by younger musicians who sometimes sacrificed authenticity for easy popularity. At the same time, like many others of his famed gharana, he gave great importance to the entertainment value of classical music. This was achieved by the judicious use of "layakari", the choice of colourful bandishes and the clever utilization of tans.

Latafat Khan was honoured by Sur Singar Samsad in Bombay and was also the recipient of a host of other awards. In 1978, Latafat Khan joined the Sangeet Research Academy of the I. T. C. at Calcutta as a Guru and trained several pupils. Even though his health was giving him trouble and his voice was losing its grit and quality possibly due to his asthmatic trouble, he was a greatly revered and respected musician. Those who came into contact with him will never forget the warmth of his nature. ITC Sangeet Research Academy raised Latafat Hussain to the national level again through concert appearances in all parts of India.

Latafat Hussain died in Kolkata on December 11, 1986.

snipped from ITC Sangeet Research Academy

Music ▼ +

Mallikarjun Mansur • Sings Rare and Complex Ragas

Mallikarjun Mansur 
• Sings Rare and Complex Ragas 
INRECO  - 2411 5040 - P.1978




Side A


Raga Khat: Khayal Vilambit Jhaptaal
- Vidyadhar guniyan 20'54


Side B

Raga Nat-Bihag: Khayal Vilambit Tritaal
- Jhan jhan jhan payai baje 21'35



Raga Khat, is one of the most difficult and controversial morning ragas, representing a unique blend of six “ragas”. It takes “panchama” as its “vadi swara” and “shadja” as the “samvadi swara”, and is “sampurna” in character. The maestro renders this “raga” in “vilambit”. set to “jhaptaal”, a rhythmic cycle of 10 “matras”.

Raga Nat-Bihag, is a night melody difficult of delineation but known for its bright, vivacious mood. It embodies a subtle fusion of two "ragas", namely. “Nat” and “Bihag”. It takes “panchama” and “shadja” as its “vadi” and “samvadi swaras”, respectively. The “raga” is rendered here in “vilambit”. set to “tritaal”, in 16 “matras”

Mallikarjun Bheemarayappa Mansur, (1910–1992) Indian classical singer of the khyal style in the Jaipur-Atrauli gharana. He received the three national Padma Awards: Padma Shri in 1970, Padma Bhushan in 1976, and Padma Vibhushan in 1992.

read some more on Wikipedia here

Ustad Alladiya Khan, who pioneered what has now come to be known as the “Atrauli gharana”, was a many-sided genius. He set a new and significant trend in classicism which marked a radical departure from several “khayal gharanas” then in vogue. With its equi-proportional fusion of “swara” and “laya” the style displayed an immaculate sense of construction and architectonics reminiscent of Himalayan grandeur. The intractable vocalism was equally notable for its rich and varied repertory of well-known and rare melodies and their complex “bandishes”. Kesarbai Kerkar, Moghubai Kurdikar. Ustad Manji Khan, Lakshmibai Jadhav and Bhurji Khan, to name but a few, are among the celebrities of this hallowed tradition.

Pandit Mallikarjun Mansur, who presents two of the most complex melodies of the “gharana”, is its reigning maestro today, and its only performing exponent from the older generation.

Panditji, who was born at Mansur. a village in Oharwar district, Karnataka State, had his initial training in vocal music from Pandit Neelakanth Buva Alurmath, a disciple of Pandit Balkrishna Buva Ichalkaranjikar, a maestro of the Gwalior tradition. Later, after six years. Mansur had the benefit of further guidance from Ustad Manji Khan and Ustad Bhurji Khan, the illustrious sons of Ustad Alladiya Khan. They gave the talented youngster a winsome command of technique and excellence of presentation. To these virtues he added his own rigorous practice and indomitable determination.

The result is the emergence of a musical personality whose unquenchable urge for self-expression, at 67, symbolises the triumph of the spirit over the body. The “Khayals” in “Khat” and “Nat-Bihag”, heard in this disc, come as an emphatic re-affirmation of Panditji's pre-eminence in the field. His vibrant voice, accurate intonation, amazing breath-control, uncanny “layakari” and his fervid expression, at his age, are something which put him in a class by himself, an unrivalled master. Which is why Pandit Mansur still continues to enjoy a large following all over the country. Even today, no major musical event is complete without his participation. He has also been a regular broadcaster for the last several decades. He has also lent his services to All India Radio as music adviser for ten years.

The President of India has honoured him with the National Award for Hindustani vocal music while the University of Karnataka has conferred on him the honorary degree of D. Litt. in recognition of his distinguished services to the cause of music. He is currently honorary director of the Institute Music and Faculty of Fine Arts of the university.

Rajashekhar Mansur, who provides vocal support in this disc, is Panditji's son. Young Rajashekhar, who teaches English at Karnataka University, reveals himself as an up-and-coming performer in his own right.

snipped from the notes on the record sleeve

Music ▼ +

Rasiklal Andharia • Marwa, Darbari Kanada 1985

Rasiklal Andharia 
• Marwa, Darbari Kanada 
EMI India - ECSD 2991 - P.1985



Side A

Raga Marwa [21'05]
- Piya More Anat Des - Khyal Vilambit - Jhoomra Taal
- Aeri Ae Maan Aawan Ke Sajan - Khayal Drut - Triltal


Side B

Raga Darbari Kanada  [23'04]
- Ae Mori Aali - Khyal Madhyalaya - Jhaptal
- Piya Ab Nahin Mane - Khyal Drut - Ektal


Shashikant Mulye, tablas

There will surely be many more posts on the Dagar family a few more are waiting in line but lets have something else for a change. Here is a singer I enjoy very much. Unfortunately like so often there is very little to find in ways of recordings. This is the only vinyl I know of and it is another find from one of the excursions in the murky recesses of the back room of the Panchamkauns editorial office. This and a also a CD titled Nirmal, and some clips on youtube are all I have heard.  if there are some more that you know of maybe you could tell me in the comments where to look and for what!

It is very hard to even turn up any information about him on the web so you are more than welcome to help! Apart from the recurring statement on various sites "info needed" these two items below are the only ones I have come up with and unfortunately this time there is virtually nothing to be learned from the record sleeve!

Rasiklal Govindji Andharia,  (b. 13.10.1931-) from Bhavanagar, Gujarat of the Kirana gharana, had his musical training from his father Babulal Andharia. Rasiklalji started his concerts at the age of 16 and captured many musiclovers hearts with his mellifluos voice.
(I am sure panchamkauns will love the "no frills, yet captivating wording here!)

Andharia, Rasiklal Govindji, b. 13.10.1931, 
M.Mus. Vocalist: Hindustani, khayal of Kirana Gharana.
Studied with Babulal G. Andharia.
Address: "Prerana,"
Plot No. 551-B, Sir Pattani Road,
Bhavanagar (Gujarat)


From "Who's Who of Indian Musicians" - 2nd edition (1984)


Fortunately my good friend Arvind, who has better skills and more patience sifting through the webs of the net, found this information for us!

The late Pt. Rasiklal Andharia came of a music-loving family from Gujarat. He was actively encouraged by his father in his musical pursuit. It was, however, his elder brother, Pandit Babulal Andharia, a scholar-musician, who gave the initial lessons in Classical Music. Thus Rasiklalji, in the manner of a true artiste gifted with talent and genius, forged ahead on his own. In this sense he can well be regarded as a self-taught musician. Even so, Rasiklalji's music bore the clear impress of the gayaki of the late Ustad Amir Khan. This is reflected in the way he could blend a plenitude of melodic and rhythmic virtues in his singing. What is more, his rich, sonorous voice had an uncanny emotional depth and enduring appeal - all of which often reminded the listener of the great Ustad.

The above is from this HMV Cassette of his music:

HMV/RPG STC 850312 

AIR Recordings 

Recorded 20/10/1974 

Shripad Nageshkar (tabla) 

Vasanti Mhapsekar (harmonium) 

Thank you very much Arvind!

Music ▼ +

D.V. Paluskar - some more of his plates reissued on LP

D.V. Paluskar • Some more glorious 78 rpm's 
HMV EMI India - EALP 1295 - P.1966



Side A


A1 Are Manram Nam - Lalat - Vilambit Teental 3'33
A2 Kaisku Marua - Bibhas - Teental 3'15
A3 Nike Ghunghariya - Bilashkani Todi - Teental 3'31
A4 Barhaiya Lao Lao Re - Asawari - Teental 3'22
A5 Piyu Palan Lagi Mori Ankhiyan - Goud Sarang  - Teental 3'12

Side B


B1 Surja Rahi Ho - Hameer - Teental 3'36
B2 Koelia Bole - Tilak Kamod  -  Teental 3'36
B3 Jake Kana Re - Kedar - Jhaptal 3'36
B4 Aai Samdhin - Miyan Ki Malhar - Ektal 3'27
B5 Nand Ke Chhalia Dhit - Malkauns - Teental 3'16

A very promising career was cut short suddenly and prematurely when D V Paluskar, a celebrated son of a celebrated father, died on 26th October 1955 at the early age of 34 years. And Indian classical music suffered a loss that cannot be made good.



The only son of the illustrious musician Pt. Vishnu Digambar Paluskar, who was known for his virtuosity in the classical field throughout the length and breadth of the Indian subcontinent, young D.V. Paluskar was deprived of paternal grooming ï the art of singing at a very early age on account of his father's death. His musical heritage however helped him to pursue his art under the tutelage of various well known musicians notably Prof. Narainrao Vyas and Pt. Vinayak Rao Patwardhan, both pupils of his father Gradually he evolved a style of his own in marked contrast to that of his contemporaries and ultimately attained a place amongst top-ranking musicians of the day He was a frequent broadcaster from All India Radio stations and was a prominent member of a cultural delegation that visited China in 1955 at the instance of the Indian Government.

For some more music and info about D.V. Paluskar see previous post here

I still of course have no excuse for posting so few Hindustani female singers, and there will be many later on but I also have to go with my main interests to keep myself happy. There will also be some good compilations of thumri and even ghazals but first some more of the more serious and profound music, the music that makes you want believe in our species, that makes you want to belong to mankind without any remorse and associate with the one force that can purify the mind and hopefully purge the greed from those that have gone astray and do not see where true wealth is. It is here in this music! I hope you will all feel the benevolence emanating from the truly human sounds of D.V. Paluskar...



Music ▼ +

D.V. Paluskar • Raga Shree and some plates reissued on LP

D.V. Paluskar • Raga Shree and some 78 rpm's
HMV - EMI India - EALP 1263 - P.1962



Side A

A1 Raghupati Raghav Rajaram
A2 Jab Jankinath
A3 Thumak Chalat Ramchandra
A4 Payo Ri Maine Ram Ratan
A5 Chalo Man Ganga Jamuna Teer

Side B

B1 Raga Shree - Hari Ke Charan Kamal



Pandit Dattatreya Vishnu Paluskar (May 28, 1921 - October 25, 1955), was a Hindustani classical vocalist. He was considered a child prodigy. D.V. Paluskar gave his debut performance at the Harvallabh Sangeet Sammelan in Punjab at the age of fourteen. He inherited the Gwalior gharana and the Gandharva Mahavidyalaya, but he was always open to adopting aesthetic features of other gharanas and styles.


He had a very sweet and melodious voice. His alap clearly outlined the raga he sang; this was followed by the bandish embellished by beautiful taans in an effortless enchanting style. He was a master at presenting an attractive and comprehensive picture of a raga in a very short duration. He cut his first disc in 1944 and visited China as a member of the Indian cultural delegation in 1955. Besides pure classical music, he was also a great bhajan singer. He introduced the famous bhajan "Payoji Maine Ram Ratan Dhan Payo" to the modern generation. He is also famous for an unforgettable duet with Ustad Amir Khan in the film Baiju Bawra. The only other film he sang for was a Bengali film called Shaap Mochan.

snipped from Wikipedia

D. V. Paluskar was gifted with a rich and melodious voice and the recorded performances he has left behind are replete with many a graceful pattern of skilful workmanship. On one side of this record is offered a classical exposition entitled "Raga Shri" which the artiste recorded barely three weeks before his death and which remains the last recording of his brilliant though shortlived career. The other side comprises of selections from his standard records on different themes all devotional in character and rendered in a light classical style.

from the liner notes on the back of the sleeve

So, I said that there was a severe shortage of D.V. Paluskar here, as he was not even represented on this compilation here earlier with all sorts of other greats, it is really a shame! But here is a more comprehensive collection and together with the next post it will at least make up for some of my previous negligence.

Also, I feel I must explain to the more hardline ICM listeners and the veteran rasikas that I really intend this place to be some kind of archive for music that is about to fall into oblivion at least among the many that maybe even never were touched by this wonderfully rich traditions.

So, I will keep on posting some records you already have, or have already heard . I find it impossible to post only extremely rare recordings because it would not do justice to this increadibly rich music tradition. There is no shortage on rare records to post but to the many even this D.V. Paluskar is rare, even in India.

Also, if I can make some of the "dub steppers" and "drum and basers" and "hip-hoppers" and "shufflers" (there are two of those in my house) or anyone else of the younger generations, to get in the slightest interested in any of these recordings, well, then at least a part of my mission is done. Especially now when they have discovered vinyl records and think tube amplifiers and open reel tape recorders are really cool ;-)

I hope that those of you that already have this record have not forgotten how wonderful the voice of Paluskar is, and still would consider giving it a spin (or a decoding as the case may be), and that those of you younger kids that maybe just thinks he has a funny hat, will still stop for a moment and listen.

I hope you enjoy!




Music ▼ +

Fayaz Khan Sahib • More Ragas from 78 rpm's

Fayaz Khan Sahib • Ragas from 78 rpm
Lalit, Ramkeli, Deshi Dhamar, Bhairavi, Khamaj Dadra
EMI India - EALP 1292 - P.1965




Side A

A1 Tarpat Hun — Lalit 3:16
A2 Unsang Lagi Ankhia — Ramkeli 3'14
A3 Garwa Main Sang Lage — Todi 3:12
A4 Ari Mero Nahi — Deshi Dhamar - Hori 3'21
A5 Baju Band Khul Khul Jaye — Thumri Bhairavi 3'15
A6 More Jobanoa Par Aai — Khamaj Dadra 3'12

Side B

B1 Jhan Jhan Jhan Jhan Payel Baje — Nat Behag 3'00
B2 Nayan Se Dekho Ek Jhalak — Sughrai 3'09
B3 Kheyal — Darbari 3'01
B4 Man Mohan Brij Ko Rasia — Paraj 3'09
B5 Phool Banki Gendan — Jaunpuri 3'13
B6 Chalo Kahe Ko Jhuti — Bhairavi Dadra 3'08



Here are some more stately music for an elevated taste. Unfortunately not enough have been reissued of these old plates by Fayaz Khan Sahib. There are some more collections on CD's but with mostly overlapping repertoire. Any extra supply is most welcome. Hope you enjoy!


Ustad Fayaz Khan (born at Sikandara near Agra in 1886, died 5 November 1950 in Baroda, he
is considered to be one of the most important exponents of the Agra Gharana and one of the most influental vocalists of last century.

From the backside of the sleeve we can add to our gleanings the following information...

Ustad Fayaz Khan was born towards the close of the last century in a family of musicians belonging to ‘Rangeela’ Gharana (School). Owing to the death of his father while he was a child, the responsibility, for his upbringing fell upon his maternal grandfather who initiated him into the art and as he was staying at Agra, Faiyaz Khan got the training of both the Rangeela and the Agra Schools. He started giving public concerts at the age of 15 and soon got recognition as the most outstanding exponent of the Agra Gharana and even today fifteen years after his demise, he is remembered and revered for the brilliance of his performance.

He had a very massive voice, deep and robust, and his presentation was spell-binding. Although kheyals were his forte, he was equally impressive in the renderings of Dhrupad, Dhamar, Thumri and even lighter modes like Dadra and Sawaree. About the year 1915, the late Sayajeerao Gaikwad of Baroda appointed him a court musician in his Durbar and he held that position till his death in 1950. He was also awarded the title 'Aftah-e-Mauseeqi' by the Maharaja of Mysore for his meritorious performances.

On this disc is offered a selection from recordings made by him years ago. Listening to them even today is a thrilling experience, so divine, so sublime is the quality of their presentation.

Music ▼ +

Kesar Bai Kerkar - LP reissue of old plates - P.1963

Surshri Kesar Bai Kerkar 
- Raga Lalat - Raga Malkauns
EMI India - EALP 1278 - P.1963 



A1 Ghatan Lagi Rain - Lalat - Teental 4'19
A2 Haan Re Daiya - Todi - Teental 3'23
A3 Devi Durge - Kukubh Bilawal - Jhaptal 4'33
A4 Mare Dere Aao - Desi - Teental 4'38
A5 Jaat Kahan Ho - Bhairavii - Deepchandi 3'31

B1 Preeetam Saiyan - Lalita Gouri - Teental 4'43
B2 Nevar Baju Re - Nat Kamod - Teental 4'22
B3 Maan Na Kari - Goud Malhar - Teental 4'23
B4 Main San Meet - Malkauns - Teental 4'10




There are so many wonderful artists I would have loved to post already and after the comment I made in previous post it sometimes feels as if they are all overdue. It will come as a surprise to no one that one of my first loves of Hindustani female vocal was Kesarbai introduced to me by a very good friend who passed on already long ago. I may have mentioned her already in one of my first posts. Yet, I have not had the decency to post anything by her so far. This record, or at least the music on it, may already be in possession by most of you, and so it should, but in case of an unfortunate possibility that it has still been missed by one or two, this shortcoming has now at long last been remedied.

This is one of the very first records I heard of any Hindustani vocal and that I have played the most in seventies.  Very soon, I also just have to fix the flagrant Paluskar deficiency we have been suffering from here.

Kesarbai Kerkar
(b Goa, 13 July 1892; d 1977).

North Indian vocalist. She was attracted to devotional music as a child and began her training at the age of seven with Abdul Karim Khan of the Kirana gharānā. She later studied with Barkatullah Khan, the court sitār player in Mysore and Patiala, and Bhaskar Rao Bakhle of the Agra gharānā, and, most significantly in terms of musical style, with Ustad Alladiya Khan (1920–46), who stipulated that she should always sing with him at concerts. She remained with him until his death in 1946, when her solo career began. She inherited the style of Alladiya Khan, including melismatic tān in performances of khayāl and a preference for improvisation in Tīntāl. She also sang thumrī.

Kesarbai in Concert

Padharinath Kale, harmonium, & her brother Pt. Yeshwantrao Kerkar, tabla

She was dubbed (Sur śrī) in 1938 by Rabindranath Tagore and was known thereafter as ‘Queen of Music’. In 1953 she received the President’s Award for Hindustani Vocal Music from the Sangeet Natak Akademi, and in January 1969 she was awarded the Padma Bhushan by the Government of India.



Music ▼ +

Sulamangalam Sisters - Murugan Devotional Songs

Sulamangalam Sisters - Murugan Devotional Songs

EMI India S/33ESX 6031 - P.1970

Side A

A1 Sri Mahaganapathe

A2 Swararagasutha

Side B

B1 Panchashadpeedaroopini

B2 En Indha Mounam

B3 Arbuthamana pazhaniappa

B4 Kandan mel kaadal

B5 Nalamyavum tharuvai muruga

B6 Mamaduraiyil

I have little to add about the music of this record, except that it is one of the best Sulamangalam Sisters I have heard. A beautiful mix of Carnatic Classical and Carnatic Devotional "Filmi" songs. I wholeheartedly recommend it. And it makes me "triply" happy as it has a little story. It belongs to a very special batch of recordings. I wrote the following in one of my comments to one of the previous postings on Carnatic Devotional Music:

"As I have friends traveling to India that will for the first time see and stay in places I love and that they have been loving from a distance. They travel to meet with another wonderful friend and all this is because of music! I have over the last month on and off been thinking about how best to make this travel and congregation an auspicious one and as I wanted to be there myself but only can travel later in the year I was thinking of some way that I also could be part of their adventure and therefore we are all going to have this Carnatic spring!

Over the following days we shall see not only posts of my own records but also some contributions by my friends! There will be several more devotional albums and soon to follow, there is at least one more Sulamangalam Sisters!

(This post contains that very album!)

The record was spotted and secured by the good Arvind and sent over the great water and ripped and digitally fondled by good Costis with very little help from the lazy dog zwan but whose overseeing I am sure was crucial to the whole undertaking! This eventually led to these digital likenesses finding their way through the myriads of protocols on the internet to finally land with us here!

I am confident you will enjoy many of them!

It will be my great pleasure to be with you on your journey and to bring other travellers in music along with us!"

That is what I wrote, and what the Carnatic Spring postings mean, is that for the duration of my friends journey that starts today (on what numerological seems to be very special date 2011.02.22 and as I hope an auspicious one!) I will play mostly Carnatic music at home and burn incense for their safe passage and for the first week there will only be posts with Carnatic music here at Luobaniya!!

Thank you so much Costis for the rip and the photos made just before leaving and thank you Arvind for finding the records taking good care of them and passing them on to a good future!

I propose that we keep doing this "digital trinity offerings" later and on a more regular basis!

But to make it clear to everyone else, that are not specifically into Carnatic Devotional or Classical Music, you may rest assured I am not going to stop posting music from other traditions! There will be music interspersed in the course of posting from most all over the world. I may even go to Europe when it gets a bit warmer here. I still have not finished posting Deben Bhattacharya's field recordings but they will come, as will the Bärenreiters, Esperance, BAM, and all the others! I have not forgotten! I just have too many things I want to share with you at the same time. Chinese, Japanese, Arabic, African, South East Asia, they will all come back but now it is this glowing warming of the Carnatic Spring that will shine over all of you!

Music ▼ +

Bhimsen Joshi - Memorial posts - Recorded in his home on his 65th birthday!

Indisk Konstmusik - Gammal tradition i en ny värld

(Indian art-music - Old Tradition in a New World)

Caprice - CAP 2022 - P.1987

Prof. Debu Chaudhuri, sitar

Side A

A1 Raga Bagesri 21'30

A2 Raga Maund 7'55

A1, A2 recorded in the home of Debu Chaudhuri, New Delhi, 87.01.28

recorded 23 years ago on the day!

Dr. S. Balachander, veena

Side B

B1 Raga Varali - Ne pogoda kunte - Thyagaraja 28'45

B1 recorded in Bani Center, Madras 87.01.03

Pandit Bhimsen Joshi, vocal

Side C

C1 Raga Todi - Aaj more mana logo langarawa - Khayal 14'59

C2 Raga Bhairavi - Thumri 12'32

C1, C2 recorded in the home of Bhimsen Joshi, Poona 87.02.06

recorded on his 65'th Birthday!

Pandit Hariprasad Chaurasia, flute

Side D

D1 Hariprasad Chaurasia - Raga Mishra Khamaj - 12'46

Pandit Shivkumar Sharma, santur

D2 Pandit Shivkumar Sharma - Raga Chandrakauns 12'50

D1 recorded in the home of Hariprasad Chaurasia, Bombay 87.02.03

D2 recorded in the home of Shivkumar Sharma, Bombay 87.02.03

This is the final memorial post of Bhimsen Joshi for at least a week or so. Not because I ran out of records to post but we really should not have so much of the best at the same time.

The good friend Arvind reported in at the last moment with these reading fruits from studying obituaries to Bhimsen Joshi the whole day.

He writes:

This one by Deepa Ganesh in The Hindu I found most interesting. Though its short, there is a considerable amount of insight, into the man and his music, and many good anecdotes. I think she tells the story (which will now enter legend) of how the young Bhimsen ran away from home and ultimately found his way to Sawai Gandharva and the Kirana gharana, in a very interesting way:

A wanderer both in life and in music, Bhimsen would often go missing from home, to his parents' great worry. From the age of three, he was wont to wander off — following the muezzin's prayer of Allahu Akbar as he tried to grasp its notes, or listening to the musicians in a nearby temple. As if in a trance, the little child would follow bhajan mandalis and wedding processions, completely tuned to musical notes and switched off to all else. His father would often lodge complaints with the police, only to find that a Good Samaritan had brought the boy back home. However, at 11, the boy left home for good after quarrelling with his mother, because she could not afford to serve him ghee with rice. He stomped out, leaving his food untouched. This turned out to be the turning point in his musical journey too. Listening to the gramophone recording of Raga Jhinjoti sung by the maestro of the Kirana Gharana, Ustad Abdul Karim Khan, in a nearby teashop, he set his heart on learning from him. He stood at the Gadag station and took a train heading north. The penniless lad gave ticket collectors the slip by moving between compartments, singing songs for fellow passengers and begging for food. He stopped at Pune, Bombay and finally, after three months, reached Gwalior. He met and learnt from various maestros, but was not satisfied. He then went from Kharagpur to Calcutta, and on to Delhi, finally reached Jalandhar, where the Gwalior maestro, Vinayak Rao Patwardhan, advised him to learn from Sawai Gandharv in Kundagol, Karnataka. - It continues here

These recordings were made in connection with the India Festival '87, a comprehensive presentation of Indian Culture in Sweden in 1987. Bhimsen Joshi held several concerts in Stockholm and I was fortunateley able to attended all of them. Unfortunately I have not been able to locate any recording from these concerts but maybe if we are lucky, someone sees this post and points me to some location where I can search. Better yet, someone has a recording and shares it with us! There are indeed other very well known artists on this record , and I may come back later with individual post of the these artists but the reason I don't dwell upon them is because my main reason to post this double LP is because of the C-side with Bhimsen Joshi recordings. Again we can thank my good friend his Excellency who kept this record away from the dents of time. The recording with Debu Chaudhuri is made in his home in Bombay 23 years ago on the day! The recording of Bhimsen Joshi is made on the 6th of February in 1987, in his home in Poona, and on his 65th birthday! In little more than a week, that is 23 years ago!

Music ▼ +