every time i hear this it feels me with awe !! the brain that synthesises the alaap, how deep is his intellect about music as a whole, not just about this raag, the technical variety in stroke making, modulating the strings to extricate the emotions and ooze out the colours of mood of this particular raag, and to bring it altogether and paint the canvas in gorgeous patterns and designs....subhanallah !
once again .. man .. the jhala is incomparable ... who cares what raag he is playing .... what is grammer .... the technique the precision the picture he portrays ... !!!!!
MANY THANKS FOR UPLOADING ONE OF THE GENIUS OF VILAYAT KHAN SAHIB. THE RAGA WAS SUDH LALIT, SPECIALLY BILAMBIT GAT WAS VERY MUCH RESEMBLES TO SUDH LALIT, IN STEAD OF SUDH BASANT...
I also have my doubts about this being Shuddh Basant. It sounds like Hemant to me. Is Khan Saheb leading us up the garden path? He was very good at that!
I have listened to Bhinna Shadja a number of times. Bade Gulam, Rashid Khan refer to it as Kaushidhwani. As for Hemant, please go to Nikhil Banerjee, also Ravi Shankar. What is important is not what label one attaches to a raga but what effect it has on the listener, and at what point in the development of his musical sensibility.
Haidar Adina Vilayat Khan Sahib passed away in 2004, when long before that he had lost the speed and dexterity of his earlier taankari and baaj. From 1980 onwards he had changed his style to concentrate more on portraying ragas for their inner meaning. He adopted the mirkhand technique from Ustad Amir Khan to explore all the possible combinations of 3-4 notes within the accepted grammar of a raga, before he introduced another note to explore the raga's potential further. So his focus was no longer on the speed and dexterity of his baaj, but on what his alap phrases could do. He produced marvellous examples of this, such as when 2 years before his death he performed in Manchester and played Kedara as it has never been performed before. In this present piece of Shudh Basant his amazing facilities with fluency and speed are reminicent of his mid-life baaj. So I would guess this one is from either the late fifties or mid sixties. But thank you greatly for uploading this marvelous performance.
Sorry, my mistake regarding the date and venue, I made correction I was looking at the picture which is from the concert in Germany. I hope someone has and share the Kedara in Manchester. Khan Sahib's style of playing changed with time and so did the sound of his sitar, adopted the new "bridge" with closed "jewari". I believe he outgrew fast taans became part of the deep waters "ocean" rather than the roaring "river". I agree with your time estimate. Thank you for the comment.
@@syedalishanzaidi1 Thank you for such a beautiful thought process. Could you please share the Kedara Raaga link which you were mentioning, would love to hear those serene depths of oceans.
This is certainly not Shuddh Basant. It is either Hemant or Bhinna shadja, more likely Hemant. Needs to be checked with an expert. Why not ask Rajan Parikkar?
+ agree, I've been listening to Ustad's concert recordings since childhood and most of them are not good quality recordings. The LP records that have been released as CD's are excellent recordings. Well the masters play best when given unlimited time to play.
These conference recordings are mostly from audience, taken without permission, using instruments not at studio level. That's why there are distortions. While importance of good sound quality cannot be over emphasized, we the listeners rejoice the tremendous aesthetic and musical values of the recordings.
every time i hear this it feels me with awe !! the brain that synthesises the alaap, how deep is his intellect about music as a whole, not just about this raag, the technical variety in stroke making, modulating the strings to extricate the emotions and ooze out the colours of mood of this particular raag, and to bring it altogether and paint the canvas in gorgeous patterns and designs....subhanallah !
Stunning. Thank you for sharing
Speechless
once again .. man .. the jhala is incomparable ... who cares what raag he is playing .... what is grammer .... the technique the precision the picture he portrays ... !!!!!
MANY THANKS FOR UPLOADING ONE OF THE GENIUS OF VILAYAT KHAN SAHIB. THE RAGA WAS SUDH LALIT, SPECIALLY BILAMBIT GAT WAS VERY MUCH RESEMBLES TO SUDH LALIT, IN STEAD OF SUDH BASANT...
Splendid! What a magic touch and amazing dexterity! The one and only Ustad Vilayat Khan Sahib! Wah!
Just amazing 🙏🙏🙏Ust ji& Guruji pt.Shankr Ghosh ji( tabla)🙏🙏🙏
This is absolutely Malti Basant.
close. but its shudh basant. but very close. malti is an agra creation and very close to shudh basant.
واه واه، بینهایت زیباست.....واه واه....تشکر حیدر جان. واقعاً که غذای روح است.....تشکر.
Fantastic. What an incredible musician Khan-saheb was. Haider-saheb, thanks for uploading this.
+vikram shrowty you are welcome Vilram Bhai.
durdhorsho shundor ! gorgeous beauty taankari in alaap
Classic
Salutations to the Music Maestros
Thanks please
Haider Saheb Many thanks for this recording. Never heard him to play this raag before.
I also have my doubts about this being Shuddh Basant. It sounds like Hemant to me. Is Khan Saheb leading us up the garden path? He was very good at that!
I have listened to Bhinna Shadja a number of times. Bade Gulam, Rashid Khan refer to it as Kaushidhwani.
As for Hemant, please go to Nikhil Banerjee, also Ravi Shankar.
What is important is not what label one attaches to a raga but what effect it has on the listener, and at what point in the development of his musical sensibility.
What is the date and venue of this recording?
I am not sure about the date and Venue, a friend sent it to me years ago.
Haidar Adina Vilayat Khan Sahib passed away in 2004, when long before that he had lost the speed and dexterity of his earlier taankari and baaj. From 1980 onwards he had changed his style to concentrate more on portraying ragas for their inner meaning. He adopted the mirkhand technique from Ustad Amir Khan to explore all the possible combinations of 3-4 notes within the accepted grammar of a raga, before he introduced another note to explore the raga's potential further. So his focus was no longer on the speed and dexterity of his baaj, but on what his alap phrases could do. He produced marvellous examples of this, such as when 2 years before his death he performed in Manchester and played Kedara as it has never been performed before. In this present piece of Shudh Basant his amazing facilities with fluency and speed are reminicent of his mid-life baaj. So I would guess this one is from either the late fifties or mid sixties. But thank you greatly for uploading this marvelous performance.
Sorry, my mistake regarding the date and venue, I made correction I was looking at the picture which is from the concert in Germany. I hope someone has and share the Kedara in Manchester. Khan Sahib's style of playing changed with time and so did the sound of his sitar, adopted the new "bridge" with closed "jewari". I believe he outgrew fast taans became part of the deep waters "ocean" rather than the roaring "river". I agree with your time estimate. Thank you for the comment.
@@syedalishanzaidi1 Thank you for such a beautiful thought process. Could you please share the Kedara Raaga link which you were mentioning, would love to hear those serene depths of oceans.
Totally agree on time line. I have listened to him since early 1940. This kind of speed is reminiscent of late 1940 to 1955
It is Puriya Dhanashri as it lacks shuddha Ma
This is certainly not Shuddh Basant. It is either Hemant or Bhinna shadja, more likely Hemant. Needs to be checked with an expert. Why not ask Rajan Parikkar?
This is shudh basant. I think you should check any recording of bina shadja or hemant before posting.
This is shuddha Basant! How can this even be heman or china shadaj when you can clearly hear the absence of pancham and the presence of Komal rishab!!
Many notes were not in proper tune. Played all speed in jod now there's nothing except competition to pay.
too bad recorded
+Vilayat Khan this is for musicians who are interested in how this Rag is developed and played. quality of recording is not and an issue.
+ agree, I've been listening to Ustad's concert recordings since childhood and most of them are not good quality recordings. The LP records that have been released as CD's are excellent recordings. Well the masters play best when given unlimited time to play.
These conference recordings are mostly from audience, taken without permission, using instruments not at studio level. That's why there are distortions.
While importance of good sound quality cannot be over emphasized, we the listeners rejoice the tremendous aesthetic and musical values of the recordings.