Undoubtedly the best Nand I have heard. Reminds me of a story I heard from my late teacher Professor Deepak Banerjee. Once Professor Banerjee asked Ustad Amir Khan, 'Khansaab bis saal pahele aap to sher jaise taan karte thhe, aajkaal aap utne taan kuin nahi karten?' Ustadji replied, 'Chalo achha hua, mein janwar se insaan ban gaya'.
Aapni thik-i bolechen. He was most probably the first vocalist to explore unstructured sargams in Indian Classical Music - leaving behind the regular paalta based forms. He was truly the musician's musician. He leant a new meaning to 'thehraav'. The weight added to each note just enough. The listener drowns in each note, then resurfaces, just in time for the next wave to submerge him again. Brilliant!!
I STILL REMEMBER ,WHEN I PLAYED WITH USTAD AMIR KHAN SAHAB IN RANCHII .IAM NOW SEVENTI ONE (71 +).I WAS 24 YEARS OLD WHEN I PLAYED WITH HIM AND GOT HIS BLESSINGS. TOO.FORTUNATELY , I DO HAVE THAT RECORDING WITH ME.. I AM TOP GRADE TABLA PLAYER FROM DELHI RADIO AND EXAMINER OF TOP GRADE TOO BY THE GRACE OF GOD..29.1.2022
What a brain he had! What ever-new approaches he always sought toward the possibilities of ragas, reading into their structures new shades of meanings. The way he explores the lower register in this recording - a register (the Mandra saptak) generally neglected by even the great vocalists in the subcontinent. And his "bistars" and then the "sargams" - unbelievable the combinations he keeps discovering. Every second a new discovery, a new insight...and ever so gently, modestly done.
The first recording I had heard of Khan Sahab was of Nand. That was like 10 years back. Still gives me goosebumps. Nand has probably one of the most popular phrases in Classical music as Ga Ma Dha Pa, Ma Re Sa, Every single musician uses the phrase repeatedly. Khan Sahab enriches the raga with unconventional phrases like - Ma' Pa Dha Pa, Ma Re Sa. Khuda-e-Mausiqi personified. From a humble servant of the Indore Gharana, and a fan. Bhalo Thakben Ganola.. :) :)
A Modern Bengali Song based on Nand was recorded way back in the 1950s. Today I am past 64 and I remember the "Sthayi" part of the song. Then in the 1970s, Rahul Deb Burman composed a Modern Bengali Song, "jete dao amay Deko na" that was recorded by Asha Bhonsle. It caught the imagination of countless people in the Bengali speaking world. I am sure you will find it in the UA-cam. Rahul's composition even had a "sanchari" which Madanmohan's composition didn't.
I m Big fan of ustad Ji ❤️..I have no word of उस्ताद अमीर खां साहिब ❤️ वे एक चिराग़ हैं, हिन्दुस्तानी शास्त्रीय संगीत के. जिनको सुन कर आत्मा तृप्त हो जाती हैं.💐💐🙏 नमन उस्ताद साहिब ❤️
Agreed, I just came here after Mallikarjun Mansur's piece, indeed a great piece of art. But, Ustad Amir Khan is Ustad Amir Khan, there's a "completeness" to his gayaki which is difficult to decipher. I find Ustad Rashid Khan's Nand to also be one of the absolute BEST. Here's the link: ua-cam.com/users/results?search_query=ustad+rashid+khan+nand
Some say nand is a chanchal prakritk raga.Khan saheb has disproved this by his leisurely development of the raga.What a wonderful tabla saath! He has maintained superb laya throughout the rendering. Truly a divine singing.
Rag Nand is a complicated raga and to compose a film song could have been possible by a great mind like Madan Mohan,His composition "Tu Jahan jahan chalega,Mera saya sath"from the 1966 film Mera Saya,sung so beautifully by Lata mangeshkar
Abhirup ji khan sahab ji ne jo kaha bilkul sach hai khan sahab ke jaisa gaana sunne ko hi nahimilta raag ragniyan unke gale me aake khush hoti hongi aur khuda bhee khush thhe isiliye unse aisa gaana gawaya 🙏🙏🙏🙏🙏🙏🙏🙏
It sort of reminds me of an interview of yours I had heard on Taara Bangla. You were discussing 'Godhuli Gagan-e Meghe' and you had commented on the depth in the simplicity of the composition--'Uni Rabindranath, onar oitukutei hoye jaai'. Like all true masters, Amir Khan Saab had this great quality of 'Baas, itna hi kaafi hai'. Kya baat hai!!
@@Prof_Hazra_IIT even ustad amir khan wasn't, for that matter, he sung almost all the raags in a serious mood more often than not without much swar lagaw, behelawa and modulation, [ his is basically kirana style vilambit but let's be real there are other ways to present vilambit as well in terms of phrases not note by note utilising all aspects like taal(like gwalior singers sing same bandish in tilwada,jhaptaal ,ada chautal,jhumra and what not because they don't sing in ati vilambit and character of taal at non ati vilambit laya is more evident & it brings a new element to overall presentation),laya,swar lagaaw, behelawa,modulation in those phrases of vilambit and other gharana people from gwalior and agra have done that extensively so kirana style of note by note isn't the only style to do vilambit other ways include 1) pure gwalior ex. pt dv paluskar & pt kumar gandharva(before his lung was pulled out coz of tb and he was forced to create a new style of vilambit, so I am talking about his young days like his yaman kalyan recording which is on UA-cam, but still he utilised many other aspects like modulation,swar lagaaw more evidently than other gwalior singers even in this point of time but at this point in his career his vilambit was more or less gwalior style vilambit utilising theka,taal,layakari,behelawa, modulation, continuous phrases(this changed after his tb but I like his post tb style vilambit more and find it more divine utilising each note and giving them new swar lagaaw using meend and modulation to bring out a new dimension of raag again genius level stuff) etc) 2) pure jaipur ex. Vid. Kishori amonkar who utilised pure akar(although jaipur style is also stick to a core principle throughout just like kirana unlike gwalior and agra which have many principles which are to be utilised, which is more logical since core principle is itself subjective) 3) pure agra ex. Shadaj Iyer(wth I thought let's name a new artist whose nand I heard recently and it was excellent) 4) jaipur +agra+ gwalior ex. Pt ulhas kashalkar & pt ram Deshpande ( I guess ram Ji's full rendition of nand may not be there on UA-cam but his son's nand is there that is also excellent that boy also utilised all relevant elements from 3 gharanas to sing an excellent nand in terms of phrases,sargam(tantrakari sargams), layakari from agra,boltaan from gwalior,bol banaav from agra, modulation,bahelawa from gwalior, balpez taan from jaipur etc) ] Ustad amir khan's approach to any raag was based on a "specific approach" and thought process only which is evident even in this nand just like pt mallikarjun ji & his different(relative to ustad ji's) yet "specific approach" so I don't know why you wrote what you wrote, even some taans of his ustad amir Khan's rageshree for example are more of a display of his merukhand than just a fast presentation of phrases of that raag keeping the raagdari fully intact in it's true form, which is what taan is supposed to be if you are singing raag dari, no one can say that in rageshree taans he was actually sticking to raag infact the raag took the backseat and it was more of a display of his merukhand taan and at the end of the cycle only for formality adding a small phrase of rageshree to come to the sam so no one was perfect everyone just had their own approach and none was perfect, some gwalior gharana people from pt Vd paluskar lineage have excellent takes on nand, pt kumar gandharva Ji's take on nand Rajan ab to aja, who also is from paluskar Ji's lineage is par excellence , singers who learned 3 gharanas from pt gajanan buwa Joshi lineage like pt ulhas kashalkar and pt ram Deshpande etc also have presented raag nand in a more dynamic and complete way even some people from vilayat Khan's lineage of Agra gharana have nice takes on nand with more phrases and layakari as unlike kirana approach which is note by note this raag(nand) requires phrases with subtle elements which aren't sung in kirana style vilambit to expand raag fully so it's all subjective and clearly no one is complete, everyone had their share of defects, gwalior and agra gharana people have presented nand much better simply because they don't force a particular style to any raag unlike kirana vocalists do, which is also true for Jaipur attrauli. But at the same time some raags suited kirana gharana style "naturally"(exactly because they stuck to a specific approach) like maarwa or puriya etc and bhupal todi or saawani which are very suited for akaar style vilambit of Jaipur attrauli (also amir khan was basically kirana in vilambit he wasn't exactly note by note pure kirana but basically he took his father's phrases which were very limited compared to gwalior phrases in the same speed of taal as them for example so he slowed down the laya of taal and sung the same limited phrases in ati vilambit taals to give it a kirana like feel which was quite a genius idea one has to say and madhyalaya is also basically kirana like but here he also introduces a different gharana called bhendebazar which he formally learned and developed further and in drut he used to do all out merukhand which he learned gandabandh from bhendebazar from chajju khan if i remember correctly the name, so even he used to approach raags in a certain way only) So everyone had flaws no one was perfect......
Usually great singers don't sing sargam taans or just think they are not suited for the mood of the raga ,it is difficult to produce rasa in saragam taans for the raga
Mr s k sharmaji sunthe wsqth sirf sun ke anand lena chahiye kisiko kisike sath jodna achha nahi hotha ye sab gandharwa hain sab bade log hain Sabne apna apna best pesh kiya hai sabko naman
....Vilambat Khayal Is Haa re Baare Sayiyan Tohe sakal Ban DhoundU And Madh laya khayal Is "Man Beir Beir Chahat Hai Tum Re daras ko O Balma''this Is also khan sahab's creativity he is A Great Vocalist And Poet
Undoubtedly the best Nand I have heard. Reminds me of a story I heard from my late teacher Professor Deepak Banerjee. Once Professor Banerjee asked Ustad Amir Khan, 'Khansaab bis saal pahele aap to sher jaise taan karte thhe, aajkaal aap utne taan kuin nahi karten?' Ustadji replied, 'Chalo achha hua, mein janwar se insaan ban gaya'.
Wah!
Sach me ese hi nahi ustaad k ustaad kaha gya.waaaaaahhh
Wah, :) Ye kissa btane ke liye shukriya.
Khan saheb jaisa Nand na kisine gaya he or na ga sakega .
🙏
Aapni thik-i bolechen. He was most probably the first vocalist to explore unstructured sargams in Indian Classical Music - leaving behind the regular paalta based forms. He was truly the musician's musician. He leant a new meaning to 'thehraav'. The weight added to each note just enough. The listener drowns in each note, then resurfaces, just in time for the next wave to submerge him again. Brilliant!!
Very well explained!
I STILL REMEMBER ,WHEN I PLAYED WITH USTAD AMIR KHAN SAHAB IN RANCHII .IAM NOW SEVENTI ONE (71 +).I WAS 24 YEARS OLD WHEN I PLAYED WITH HIM AND GOT HIS BLESSINGS. TOO.FORTUNATELY , I DO HAVE THAT RECORDING WITH ME.. I AM TOP GRADE TABLA PLAYER FROM DELHI RADIO AND EXAMINER OF TOP GRADE TOO BY THE GRACE OF GOD..29.1.2022
Thank you.
What a brain he had! What ever-new approaches he always sought toward the possibilities of ragas, reading into their structures new shades of meanings. The way he explores the lower register in this recording - a register (the Mandra saptak) generally neglected by even the great vocalists in the subcontinent. And his "bistars" and then the "sargams" - unbelievable the combinations he keeps discovering. Every second a new discovery, a new insight...and ever so gently, modestly done.
The first recording I had heard of Khan Sahab was of Nand. That was like 10 years back. Still gives me goosebumps. Nand has probably one of the most popular phrases in Classical music as Ga Ma Dha Pa, Ma Re Sa, Every single musician uses the phrase repeatedly. Khan Sahab enriches the raga with unconventional phrases like - Ma' Pa Dha Pa, Ma Re Sa. Khuda-e-Mausiqi personified.
From a humble servant of the Indore Gharana, and a fan. Bhalo Thakben Ganola.. :) :)
ustad Amir Khan sahab is not only about prowess but he believed in painting the raag with the exact colours.
whenever I hear him he paints my heart..
A Modern Bengali Song based on Nand was recorded way back in the 1950s. Today I am past 64 and I remember the "Sthayi" part of the song. Then in the 1970s, Rahul Deb Burman composed a Modern Bengali Song, "jete dao amay Deko na" that was recorded by Asha Bhonsle. It caught the imagination of countless people in the Bengali speaking world. I am sure you will find it in the UA-cam. Rahul's composition even had a "sanchari" which Madanmohan's composition didn't.
Sir, what is the name of 1950's song?
I m Big fan of ustad Ji ❤️..I have no word of उस्ताद अमीर खां साहिब ❤️ वे एक चिराग़ हैं, हिन्दुस्तानी शास्त्रीय संगीत के. जिनको सुन कर आत्मा तृप्त हो जाती हैं.💐💐🙏 नमन उस्ताद साहिब ❤️
Mansur's rendition is a masterpiece. But this one is so serene calm n peaceful. What a masterpiece.
The extra element Ansur brings is the Bhava. That makes it very listenable.
Agreed, I just came here after Mallikarjun Mansur's piece, indeed a great piece of art. But, Ustad Amir Khan is Ustad Amir Khan, there's a "completeness" to his gayaki which is difficult to decipher.
I find Ustad Rashid Khan's Nand to also be one of the absolute BEST.
Here's the link: ua-cam.com/users/results?search_query=ustad+rashid+khan+nand
Some say nand is a chanchal prakritk raga.Khan saheb has disproved this by his leisurely development of the raga.What a wonderful tabla saath! He has maintained superb laya throughout the rendering. Truly a divine singing.
TABLA ACCOMPANIMENT HAD BEEN GIVEN BY USTAD KERAMATULLAH KHAN SAHAB.THIS IS A RARE RECORDING TOO..THANKS FOR SHARING. GOD BLESS YOU.29.1.2022.
Thank you.
Difficult raag made so easy! ful of pathos, compassion and serenity! Amir Khan Sahib a grand vocalist of all times!!!
Rag Nand is a complicated raga and to compose a film song could have been possible by a great mind like Madan Mohan,His composition "Tu Jahan jahan chalega,Mera saya sath"from the 1966 film Mera Saya,sung so beautifully by Lata mangeshkar
I remember ustadji's darbari kanada. In fact l purchased his album on 33 rpm record l convey my salam to him!
The 'Best' Darbari ever! No match. Also his 'Marwa' is unique.
amir khan saheb are always adorable.he has no match. in fact he sings for only serious classical music lovers.
rip Khodar morjee .
Thank you for uploading this. I had not heard Nand by Amir Khan Saheb. This is so good!
Abhirup ji khan sahab ji ne jo kaha bilkul sach hai khan sahab ke jaisa gaana sunne ko hi nahimilta raag ragniyan unke gale me aake khush hoti hongi aur khuda bhee khush thhe isiliye unse aisa gaana gawaya 🙏🙏🙏🙏🙏🙏🙏🙏
Best expressions of raag Nand specially the drut Bandish of Ektal is unforgettable. He is Ustad Ameer Khan.
It sort of reminds me of an interview of yours I had heard on Taara Bangla. You were discussing 'Godhuli Gagan-e Meghe' and you had commented on the depth in the simplicity of the composition--'Uni Rabindranath, onar oitukutei hoye jaai'. Like all true masters, Amir Khan Saab had this great quality of 'Baas, itna hi kaafi hai'. Kya baat hai!!
....Kya KhOob Saragam liii haiii
Nand Mein Yeh SabH SUn Ke Appne app Ko Hum choota Samajhte hai
Bade Loog tOh yeh Hai
kya hiii Baat hai
A complete different interpretation of the rag. Different but fascinating.
🙏🙏🙏🎼🎶superb rendition of raag nand excellent technique of sargam taan.
Legend... simply superb bandish... indubitably superb rendering
V soothing rag sung qccordingly
He is just unbeatable 😊🙏🙏🙏
love the drut bandish in ektaal!!😊
🙏🙏 My teacher's Teacher 🙏🙏
Transcendental quality.... thank you for sharing this...
Bahut khoob ustad ji!!
Superb rendition.
A great vocalist...
Thank u very much🙏🏻😊
Ustadji aap Ishwarse bat karte hai
Awesome.love this
Beautiful rendation of the Daras piya special.
One of the most unsung raaga
V soothing
Not able to judge Mansoor, Amonkar, Kumar Gandharva or Amir khan Saheb. I feel I am biased in favour of Mansoor. But all are greatest.
Excellent!
Beautiful
wonderful,, marvelous
VERY NICE.
Salam Ustad jee.
Beautiful. . .....strangely different
ethereal !!
After hearing the Nand raga of Ustad Amir Khan Saheb it is very difficult to appreciate others.
Even mallikarjun mansur ??!!
True ❤️
@@jackyjackymack1033 Yes....he wasn't equally versatile on all possible approaches towards a raga.
@@Prof_Hazra_IIT even ustad amir khan wasn't, for that matter, he sung almost all the raags in a serious mood more often than not without much swar lagaw, behelawa and modulation, [ his is basically kirana style vilambit but let's be real there are other ways to present vilambit as well in terms of phrases not note by note utilising all aspects like taal(like gwalior singers sing same bandish in tilwada,jhaptaal ,ada chautal,jhumra and what not because they don't sing in ati vilambit and character of taal at non ati vilambit laya is more evident & it brings a new element to overall presentation),laya,swar lagaaw, behelawa,modulation in those phrases of vilambit and other gharana people from gwalior and agra have done that extensively so kirana style of note by note isn't the only style to do vilambit other ways include 1) pure gwalior ex. pt dv paluskar & pt kumar gandharva(before his lung was pulled out coz of tb and he was forced to create a new style of vilambit, so I am talking about his young days like his yaman kalyan recording which is on UA-cam, but still he utilised many other aspects like modulation,swar lagaaw more evidently than other gwalior singers even in this point of time but at this point in his career his vilambit was more or less gwalior style vilambit utilising theka,taal,layakari,behelawa, modulation, continuous phrases(this changed after his tb but I like his post tb style vilambit more and find it more divine utilising each note and giving them new swar lagaaw using meend and modulation to bring out a new dimension of raag again genius level stuff) etc) 2) pure jaipur ex. Vid. Kishori amonkar who utilised pure akar(although jaipur style is also stick to a core principle throughout just like kirana unlike gwalior and agra which have many principles which are to be utilised, which is more logical since core principle is itself subjective) 3) pure agra ex. Shadaj Iyer(wth I thought let's name a new artist whose nand I heard recently and it was excellent) 4) jaipur +agra+ gwalior ex. Pt ulhas kashalkar & pt ram Deshpande ( I guess ram Ji's full rendition of nand may not be there on UA-cam but his son's nand is there that is also excellent that boy also utilised all relevant elements from 3 gharanas to sing an excellent nand in terms of phrases,sargam(tantrakari sargams), layakari from agra,boltaan from gwalior,bol banaav from agra, modulation,bahelawa from gwalior, balpez taan from jaipur etc) ]
Ustad amir khan's approach to any raag was based on a "specific approach" and thought process only which is evident even in this nand just like pt mallikarjun ji & his different(relative to ustad ji's) yet "specific approach" so I don't know why you wrote what you wrote, even some taans of his ustad amir Khan's rageshree for example are more of a display of his merukhand than just a fast presentation of phrases of that raag keeping the raagdari fully intact in it's true form, which is what taan is supposed to be if you are singing raag dari, no one can say that in rageshree taans he was actually sticking to raag infact the raag took the backseat and it was more of a display of his merukhand taan and at the end of the cycle only for formality adding a small phrase of rageshree to come to the sam so no one was perfect everyone just had their own approach and none was perfect, some gwalior gharana people from pt Vd paluskar lineage have excellent takes on nand, pt kumar gandharva Ji's take on nand Rajan ab to aja, who also is from paluskar Ji's lineage is par excellence , singers who learned 3 gharanas from pt gajanan buwa Joshi lineage like pt ulhas kashalkar and pt ram Deshpande etc also have presented raag nand in a more dynamic and complete way even some people from vilayat Khan's lineage of Agra gharana have nice takes on nand with more phrases and layakari as unlike kirana approach which is note by note this raag(nand) requires phrases with subtle elements which aren't sung in kirana style vilambit to expand raag fully so it's all subjective and clearly no one is complete, everyone had their share of defects, gwalior and agra gharana people have presented nand much better simply because they don't force a particular style to any raag unlike kirana vocalists do, which is also true for Jaipur attrauli. But at the same time some raags suited kirana gharana style "naturally"(exactly because they stuck to a specific approach) like maarwa or puriya etc and bhupal todi or saawani which are very suited for akaar style vilambit of Jaipur attrauli (also amir khan was basically kirana in vilambit he wasn't exactly note by note pure kirana but basically he took his father's phrases which were very limited compared to gwalior phrases in the same speed of taal as them for example so he slowed down the laya of taal and sung the same limited phrases in ati vilambit taals to give it a kirana like feel which was quite a genius idea one has to say and madhyalaya is also basically kirana like but here he also introduces a different gharana called bhendebazar which he formally learned and developed further and in drut he used to do all out merukhand which he learned gandabandh from bhendebazar from chajju khan if i remember correctly the name, so even he used to approach raags in a certain way only)
So everyone had flaws no one was perfect......
Agreed. UAK is just the GOAT.
Usually great singers don't sing sargam taans or just think they are not suited for the mood of the raga ,it is difficult to produce rasa in saragam taans for the raga
By ra by adhu
majestic ☺️👌👌👌💐💐💐
Very very Nice
Aha, aha, excellent
so complicated raga.... but sung so easily !
Thanks for sharing!
Mr s k sharmaji sunthe wsqth sirf sun ke anand lena chahiye kisiko kisike sath jodna achha nahi hotha ye sab gandharwa hain sab bade log hain Sabne apna apna best pesh kiya hai sabko naman
Advertisement played in between the recording is very disturbing.
There's nothing the uploader can do about it, unfortunately.
I am talking about Raat Nand.
🙏🙇
can I get lyrics??? plss
....Vilambat Khayal Is
Haa re Baare Sayiyan Tohe sakal Ban DhoundU
And Madh laya khayal Is
"Man Beir Beir Chahat Hai
Tum Re daras ko O Balma''this Is also khan sahab's creativity
he is A Great Vocalist And Poet
Good
udaatham
Adabhut
H8
😂