Sanjana comments : My heartiest congratulatoins to Mr Parrikar and SAWf for bringing us such a master piece on Malhars, the raga of Romance in the most beautiful of the seasons! the Papeehara by Vani Jayaram and Kumar Gandharva is breathtaking. Bundu Khan's piece is priceless. And Sharabi Sharabi made me still and took me back into my old memories. Mr Parrikar, though not justified in saying this, but this is one of your most beautiful compilations. A question, what do we have in store for us when the garjata barasata skies and lightening storms arrive?
Abha Varma comments : "Sharaabi sharaabi yeh sawan ka mausam Khuda ki kasam khoobsoorat na hota Agar isme rang-e-mohabbat na hota"
Anita, just a minor correction to your lovely review of Rajan Parrikar's latest on malhar at:
Malhar celebrates romance, not "reflection", nor "meditation". What gentleness, what serenity when nature, at her seductive most, is all out to drive us, mere mortals, out of our minds. That lush green, breathtakingly brilliant green, hurt your eyes green landscape, those heavily overcast skies, that distant roll of thunder, and the glamorous flash of lightening, that heady fragrance in the air, that quiet stillness which speaks of the raging storm yet to come, the breeze sometimes gentle sometimes wild ---when nature herself sings malhar, what chance do we have to resist, to meditate, to reflect!
Rajan Parrikar, be-mausam barsaat? Abhi to "bahaar aai re" and "kaliyan sang karat rangaraliya".
"Garajat barasat bhijat aailo", the quintessential Gaud Malhaar in two different expressions, two different nuances, two different moods, is what hooks me to this enchantingly beautiful compilation rightaway. I love Lata Mangeshkar's hauntingly beautiful version of this lovely bandish, I am overwhelmed by Malini Rajurkar's powerful rendition of the same. I wonder if Malini Rajurkar's recording is commercially available. Vish?
Who among us, growing up in those times, has not fancied herself Jaya Bhaduiri in Guddi especially when the song in question is "bol re papaihara" or "bole re papeehara" as Vani Jairam sings? I remember getting in trouble so many times, when the temptation to change the archaic, oldfashioned "papaihara" to the more romantic "papeehara" was so strong that it was on automatic pilot no matter how hard I tried otherwise. And I remember my guruji's snide comments about "yeh filmi heroine nahin gaa rahi hain" and so on:).
Whether you listen to all the songs in this series or not, don't miss Kumar Gandharva's rendition of "bol re papaihara". The best for the last, that is how Rajan Parrikar has it arranged this time. Each and every kana is like a beautifully carved ornament, a sheer beauty, an aural delight.
Re Bade Ghulam Ali Khan and his bulk, I have heard my mami and mother tell tales about "kaise, jaise awaaz jam jaati thi, waise shareer bhi jam jaata tha. Ek baar shuru hue to rukana mushkil tha, ek baar baithe to uthna mushkil tha:)".
That dig on Ajoy Chakrovorty got me a chuckle especially since I have my own peeves about his music, how he ruined an eternal favorite of mine. Long ago, in what was then foreign land, I bought a CD just for a folk song that speaks of my home like no other ---"nimbua tale dola rakh de musaphir". I have not been able to listen to that song without remembering the butchering it got from Mr. C. and I haven't forgiven him for that yet. And I don't think I ever will.
The story on Bade Ghulam Ali Khan singing malhaar to the turbulent sea was beautiful. Are these stories available in English or Hindi? Is Deodhar's book currently in print?
Folks, go enjoy the monsoons that Mr. P brings from "des" even as spring is yet to wake up after its wintery slumber. Thanks Rajan Parrikar and next time, please bring us some kajris and jhoolas, for what is monsoon without Bismillah Khan's kajri or N. Rajam's kajrior for that matter Girja Devi's "room jhoom ke, barsan laagi badariya"? I will provide samosas and pakoraas at fifty cents a piece (current going rate, I hear):).
(Written for Dakghar) Abha
The author responds: To answer Abha's questions: Yes, Malini Rajurkar's druta "garajata barasata" is commercially available; in fact, it follows the vilambit on the cassette from which the clip is taken. B.R. Deodhar's "Pillars of Hindustani Music" is now easily available and may even be ordered from online stores such as www.amazon.com. It is an English translation of his original Marathi book "Thor Sangeetkar." Thank you (and Sanjana too) for your comments. Warm regards, Rajan P. Parrikar
Raj Jadeja comments : I have thoroughly enjoyed the article and others on the site. I have a problem trying to listen to the pieces of music as my WindowsPlayer doesn't seem to download the music.Can anyone please advise me on which software I should use.
Dr. K.P.Paranjape comments : Dear Mr.Parrikar, Many thanks for writing such informative articles. I was thoroughly impressed by the masterful & expert selection of excerpts of musical renderings of yesteryears which are hard to listen to nowadays.I am interested in reading Hindustani Sangeet Padhdhati by Pt.V.N.Bhatkhande. Can you please help me?
great job with collating memorable pieces and transcribing Jha's commentaries. I think the noble endeavor of cataloguing ragas and shedding light on their structure and characteristics is tainted by your narrow-minded provincialism, sexist comments (what an irony--SAWF), and general bigotry. In this piece we see a demonstration of it with your sweeping comments on Bengalis. (talking about weight, have you seen yourself recently in the mirror?) In other articles we have seen your rantings against all western scholars writing on Indian classical music and in others your comments on instrumentalists in general, and Vilayat Khan, Ali Akbar Khan in particular, reflecting very poor taste.
Somoene who truly has knowledge and the generosity to share it with others wouldn't indulge in such pettiness and make such gratuitous remarks.
Can you go through all your articles and get rid of the crap? You will do all of us a favor. Then we can enjoy the music and the commentary without your petty-minded insights.
Thanks!
V. Ram
The author responds: V. Ram, Your fatwa against my "gratuitous remarks" has been noted (and the paper thrown away). I didn't know I had to tailor my opinions and their expression to suit your tastes and worldview. Let me give you a lifestyle hint: it ain't so. You can choose to not read these pages. I don't have a cure for your severe constipation, dude. Go find your peace elsewhere. Have a nice day. Rajan P. Parrikar
V. Ram comments : Rajan, why am I not surprised by your infantile reaction? Your narrow-mindedness and megalomania (just look at those photogenic poses in every article) betray deep-rooted insecurity...You've quite an immature mind in a hulk of a body. Grow up!
V. Ram
PS I will continue to visit SAWF and listen to the wonderful music you've put together, of course minus your drivel :)
The author responds: Vevek Ram, you are just a jealous, little brown toad wallowing in your own smegma. You have gotten your just deserts: you are now condemned to live with my "drivel" and "photogenic" pictures. It has been a pleasure getting your goat, toady boy. Have a nice day. Rajan P. Parrikar
Archisman Mozumder comments : In the Ramdasi Malhar section, the superb piece by Nivrutiibuwa Sarnaik (HMV-AIR recording 1977, flip side - Shuddh Kalyan) can be added. His laykari & taan-patterns are perhaps, second to none. As a Bengali hailing from a small town in Bengal & now settled in Bombay, your comments about Bengal's vocal music culture toches a raw nerve. Calcutta, after the days of Badal Khan, Ganpat Rao Bhaiyya Saheb, etc., never had any resident ustads with treasure troves of bandishes like Bombay had in Vilayat Hussain, Khadim Hussain, Alladiya Khan, Hyder Khan, etc. etc. People came to Calcutta to display their ware, collect accolades & go back to their home-towns. However, the tables might turn soon as ITC SRA seems to be doing a commendable job & Bombay loves the Ambanis more than anything else.
A Bengali Music-Lover comments : Dear Dr. Parrikar, I liked your article in general, but was shocked at your generalised statement on the musical sense of Bengalis. Pt. Bhatkhande, a far as I know, liked to listen to Radhikaprasad Goswami, one of the foremost Bengali Dhrupad singers in late 1800s and early 1900s. It was not only the educated Marathis but also some cultured Tamils, Punjabis, Gujratis, etc. who loved some of the Bengali compositions, just as Bengalis did theirs. I see this tradition continuing even today. Many people in Calcutta, including me, DO NOT like Ajoy Chakroborty. People are free to make comments about his singing. However, I had not expected such a strong comment on the musical sense of Bengalis in general. Also, that whole paragraph on Ajoy chakroborty is completely distracting and harmful for the main theme of the whole article in general, and should better have been excluded. Bengal can boast for its semi-folk form of Kiirtans, popularised by Chaitanya Deva. In Dhrupads, the powerful singing of North India may be absent, but the dedication of Yadu Bhatta and Anantalala Bandyopadhyaya's students - Radhikaprasada Goswami, Ramaprasanna Bandyopadhyaya, Gopeswara Bandyopadhyaya, etc. were undeniable. I must end my comment saying that I get as much disappointed to find the ignorance, and the attitude of 'samajhdaar's like you as I dislike the lack of sincerity in 'gaayaka's like Ajoy Chakraborty.
The author responds: We usually delete anonymous feedback entries, but since you have expressed yourself sincerely, here is my response: Lighten up a little. Laughing at one's own self is healthy. I make fun of my brood - the Goans - all the time. Rajan P. Parrikar
Shantanu Laghate comments : Dear Mr Parrikar, I wonder how you can put so much of goodness in your library of musical wonders... The Malhar has been put together sooooo beautifully.. In the end, Kumarji's Bol Re "Pappaihara" puts indian classical music in a vastly distinct perspective of the " Dada" Gandharv for all of us. Is there a way we can listen to Kumarji's Malvi Bhajans...? I was a child in Dewas, when I first heard Kumarji's music in his Dewas house beginning 1959 or so. If you could give me reference sites for listening Kumarji's bhajans or Maalvi Lok Geet.
Thanks for everything. Hats off to your excellent effort...
Anton Dolinsky comments : Rajan, if the musicians you have on your page are gods, then you are surely their prophet. Thank you, thank you, thank you! Now how about some flute Malhar ;)
Umesh Mangipudi comments : Mr. Rajan Parrikar, In reference to your discussion with Mr. V Ram, I agree that these articles are written by you and they reflect your feelings/opinions etc. But with all this negative criticism on Bengalis (Ustad Ali Khansahib in particular), I really dont know what exactly you are trying to convey. If you have something to say against someone (good or bad), just say it openly instead of making these cryptic (and mostly ridiculous) remarks about people who have dedicated their lives to Hindustani music.
Regards Umesh
PS: Thanks for the good articles and audio samples.
Vineet Kulkarni comments : You DO make fun of people in general, but the "bongs" seem to get the worst of it, some bong babe in boulder ditched you?
Great articles BTW.
Siddharth Adelkar comments : A wonderful compilation of tunes by stalwarts, a great description of raagas and a fabulous corpus of hindustani in general. There is something about Mia Malhar. It has tremendous potential of elating somber spirits. I have tried it on many friends of mine, all of us 20 something with very little exposure to hindustani. It is practically an anti depressant if I may be so bold. Is this more of a widely experienced phenomenon or such experiences are essentially personal?
Devalina Sen comments : We have to thank you for your effort to compile, preserve and present our magnificent heritage of classical North Indian music. I do have a big issue with your comments. I cannot believe that a man of your excellent taste in music should have such appalling taste in replying to comments. 'little brown toad wallowing in your own smegma' - what's with that? Then you ask that we lighten up! I am sure you will never post my comment - especially if you can see by my name that I am one of those 'Bongs' you like to rip apart. Also, your 'American' English (read 'dude' and 'it aint so') is pathetic. You have a right to your views, but must you sully such a beautiful, universal, sacred theme of our Classical Indian music with this 'drivel'? Come on, be a real pandit, and overcome this poisonous tongue and vicious mind set!
I think your americanised enough now to make the commentary as spicy as you can and guess what you have got what you wanted Attention with a little Wrath.. But hey who cares... for the music and the excellent excerpts of music you have put together on one of the most complicated subjects Malhar.. not to mention the hours of research, all is forgiven. Your galis on bengalis and all..
I couldnt stop the tears flowing when I read the excerpt BR Deodhar passage from his book..
With Warmest Regards Sumi Krishnan
Sudheer Tambe comments : Yes, I agree that the ' humourous' interludes are donig more harm thatn good, to the flow of excellent music and the scholarly comments. Just consider, is it really necessary? The articles and the music clips are so ggod, they do not realy require these ' spicy' interventions. And they are malicious sometimes.
Dr Kaushik Bhattacharya comments : Dear Mr Parrikar, Thanks for your brilliant work in SAWF and valuable effort in popularising Indian Classical music.I am a regular on your website too. Unfortunately on different sections I note several silly comments on Bengali classical vocalists and Bengalis in general.The contribution of Bengal in Indian Music is very apparent in all ages and possibly beyound your understanding. The comments are entirely racial ,unproffesional and totally unexpected .This clearly dilutes the praise you deserve for you good work as well. So I do not expect to see such things once again. Yours Sincerely
Lenneke Van Staalen comments : dear mr.Parrikar, thank you so much for your wonderful work. It is amazing every time again to find so many rare and beautiful recordings,many of which i would never have found and heard if it were not for the fact that you have managed to find them and put them on internet. Therefore also the fact that you seem to have a strangely strong urge to express your personal and very particular opinions on certain people is not something i will dwell upon for a very long time. was unpleasently surprised though, especially with the sentence ...'something even women and children understand'...(in the Ajoy Chakroborty section). will not take it all too serious, but hope that i am misunderstanding a sense of humour here. i must agree with others here above; no harm is there in focussing solely on this beautiful music, in a professional and respectful way, as is expected from a true lover of the hindustani classical music,and a knowledgable person as yourself;and if that love and respect is true,then writing accordingly would not stand in the way of being honoust. my day brightened considerably up with the finding all these beautiful Malhar's though! many thanks for your excellent work. regards, Lenneke van Staalen
Girish Chandrikapure comments : Parrikar Saab, Really praiseworthy job(for entire site). It is like a treasure for music lovers like us. What more, I can listen my favourate composer (Jha Saab)'s compositions in his own voice, and my favourate singer(Kunar Gandharva)'s voice of childhood too! Thanks a lot again.
