Every time, whatever the Raaga type, BGASahib outclasses every other master in one particular Gayan aspect: deep sustained melody. It’s so sheer, in fact so oceanic that it carries one’s senses away, but not before the sensuousness in the deal has infected the soul with sensuality as well as rhapsody. It’s trance at its full blooded high tide, as of trance rise full as, I dare say, the ocean waves rising to the full moon. The poet says it so: LEHREN UTH UTH JANA CHAHEN POONM KE CHANDA KE PAAS (Bharat Vyaas). Salut to the genius, yet ever more to Indian Civilization that mothers such ‘phantasms’ again and again and again ad infinitum.
Pt. Ajay Chakravarty in the talk with Arvind Parikh in Baithak demonstrated 5 different kinds of uses of same soor ऋषभ by Khansaheb. He beautifully explained it. It's video is available on the UA-cam. Demo starts at 37th min.
No. It's surely recorded before he had an attack. Voice doesn't seem to be affected. One more thing, Pt. Ajay Chakravarty in the talk with Arvind Parikh in Baithak demonstrated 5 different kinds of uses of same soor ऋषभ by Khansaheb. He beautifully explained it. It's video is available on the UA-cam. Demo starts at 37th min.
Every time, whatever the Raaga type, BGASahib outclasses every other master in one particular Gayan aspect: deep sustained melody. It’s so sheer, in fact so oceanic that it carries one’s senses away, but not before the sensuousness in the deal has infected the soul with sensuality as well as rhapsody. It’s trance at its full blooded high tide, as of trance rise full as, I dare say, the ocean waves rising to the full moon. The poet says it so: LEHREN UTH UTH JANA CHAHEN POONM KE CHANDA KE PAAS (Bharat Vyaas). Salut to the genius, yet ever more to Indian Civilization that mothers such ‘phantasms’ again and again and again ad infinitum.
If only tonal quality to be considered, probably no one to match Ustaad Bade Golam Ali Khan Sahib after 1950, Faiyaz Khan Sahib passed away that year
Such a soft and beautiful exposition of Multani is simply unimaginable.
The immortal duo. Pranaam
Pt. Ajay Chakravarty in the talk with Arvind Parikh in Baithak demonstrated 5 different kinds of uses of same soor ऋषभ by Khansaheb. He beautifully explained it. It's video is available on the UA-cam. Demo starts at 37th min.
Please send link sir
@@karandeeproy5941 after 39 min
@Snatani Shatriya संगीत में घराने को लेकर ऐसी अहंकार भरी बातें करना संगीतप्रेमी को शोभा नहीं देता।
Yes, true but it was 4 kinds not 5.
5:34
Simply wonderful.
areeeeee waaaahhhhhhhhhh.!
ithni quality high scale singing...!
miss this kinda singing now a days...!
Marvellous Multani! Tks for sharing this!
Shukriya 🙏🙏🙏
Rich past of our classical singing.
Wow Munawar ali Khan also we are lucky to hear Godly men
Thank you Raju Asokan ji for sharing such treasures. Its a great learning experience for students of music like us. Many thanks 🙏🏻😊
Masterful
Sublime.
Wonderful.
Adbhut jai ho
Wow, how long I have waited for somebody to upload it. Thank you
Is that the best we can do in cleaning up the recording?
Waaaaaah
Waaaah khaan saheb jwaab ee nai apka
Which taal is he singing in??
Is this recording after ustad ji paralysis attack
No. It's surely recorded before he had an attack. Voice doesn't seem to be affected.
One more thing, Pt. Ajay Chakravarty in the talk with Arvind Parikh in Baithak demonstrated 5 different kinds of uses of same soor ऋषभ by Khansaheb. He beautifully explained it. It's video is available on the UA-cam. Demo starts at 37th min.
just watch 4 type of risav
you came here after the baithak video of Ajoy Chakraborty?
Actually it's 5... Ajay chakravarty explained 5th kind of use also.
Shukriya 🙏🤲