Ragamala Vol. 7: Yaman/Kalyani

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This volume of variations on raga Yaman opens with a modern jazz-influenced rendition by the Neel Murgai Ensemble.  A New York based ‘chamber’ quartet led by sitarist Murgai, NME creates intricate, finely spiced musical atmospheres that draw on Indian classical, jazz, and gypsy music.

Also included is bansuri master Pannalal Ghosh‘s beloved Yaman, a couple of film songs from Umrao Jan Ada (1981) and Junglee (1961), Farida Khanum’s spectacular romantic ghazal Woh Mujh Se Hoay Humkalam Allah Allah as well as interpretations in a Western classical and contemporary jazz setting.

Yaman, also known as Kalyani, is by Indian classical music standards a relatively un-ancient raga. It first emerged in the 16th century with some claiming it was a composition of Mian Tansen and that he based it upon a Persian structure known as ‘Ei Man’. In Pakistan and Afghanistan the raga is often referred to as Eeman (in many varied spellings) and I have concluded this collection with a wonderful Afghan take on the raga  by Ustad Mohammad Omar, the famous rubab player.

Yaman emerged from the parent musical style of Kalyan, itself a style of classical Carnatic musical tradition called thaat. Considered to be one of the most fundamental ragas in the Hindustani Classical tradition, it is thus often one of the first ragas taught to students. In the context of traditional standards of performance, Yaman ragas are considered suitable to play at any time of the day, but they are traditionally performed in the evening. (Wikipedia).

Given its close relationship to Carnatic music the centerpiece of this collection is a stunning live recital by South Indian/Sri Lankan violinist L. Subramaniam and shenai nawaz Ustad Bismillah Khan. Listen carefully to this piece and to the playfulness, mastery and virtuosity of both musicians as they play off each other. It delights and enshivers!

Rudresh Mahantappa‘s group Dakshina Ensemble which features South Indian saxophone innovator Kadri Gopalnath and Pakistani American guitar whiz Rez Abbasi also explores the Carnatic original in their massive track Kalyani.

I hope you enjoy this collection as much I do!

Yaman

Track Listing:

01 Evening In A_ Raga Yaman [Neel Murgai Ensemble]

02 Raga Yaman [Pannalal Ghosh]

03 Zindagi Jab Bhi [Talat Aziz]

04 Raga Yaman [L Subramaniam and Bismillah Khan]

05 Yaman Kalyan (Largo moderato)[ Zubin Mehta and Ravi Shankar]

06 Ehsan Tera Hoga Mujhpar [Mohmmad Rafi]

07 Raga Emen Kalyan [Pt. Pratap Narayan and Kankana Banerjee]

08 Kalyani [Rudresh Mahantappa and Dakshina Ensemble]

09 Woh Mujh Se Hoay Humkalam Allah Allah [Farida Khanum]

10 Shakal and naghma in the melodic mode of Emen (Yaman) [Ustad Mohammad Omar]

YAMAN

Ragamala Vol. 6: Bhimpalasi

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Way back in 2013 I began this Ragamala series.  I wanted to collect a variety of tracks from diverse genres that were based upon or direct interpretations of particular ragas.  I have to confess that despite many years of listening to South Asian classical music my ear is still as wooden as when I began to seriously pay attention to khyaldhrupad and other forms of classical music.  I think I can identify Malkauns but that’s about it.

I feel terrible about this. Surely, I should be more competent and clever. But each time I try to read anything about the structure of ragas the better to tune my ear, my eyes glaze over and my mind closes up shop.  There is simply too much new vocabulary to learn and I’m not sure how much such knowledge would increase my listening pleasure.

Of more interest to me is the mood each raga attempts to induce in the listener. I like to see if it works on me, and I’m happy to report that Bhimpalasi does.

Bhimpalasi is an afternoon to early evening raga. A time of day that for most modern families is stressful. Kids back home from school. Commotion all over the place and pots and plates banging in the kitchen.

They say this raga speaks to the melancholy, sad aspects of the human soul. And in so doing, is effective for the release of stress and anxiety. Some recommend Bhimpalasi as part of the treatment for depression.

I began this weekend listening to Ali Akbar Khan‘s interpretation from his Bangla Desh album (1972).  I’ve since listened to it a couple more times and this afternoon let Saskia Rao’s doleful cello sink slowly beneath the skin.   And I am proud (and surprised) to report I feel absolutely peaceful, light and relaxed.

There are some very nice interpretations here.  Lata sings two film songs (one composed by SD Burman, the other by Madan Mohan) including one of my all-time favorites, Khilte Hain Gul Yahan. An enigmatic early fusion/jazz group from the UK give us Bhimpalazi (1969) and Ravi Shankar and Ali Akbar Khan contribute two straight-ahead versions on sitar and sarod, respectively. The Dutch cellist Saskia Rao shows how beautifully that instrument fits into the Indian soundscape and finally, Mehdi Hassan gives us a filmi ghazal from Azmat (1973).

PEACE. SUKOON. SHANTI.

Bhimpalasi

Track Listing:

01 Raga Bhimpalasi [Ali Akbar Khan]

02 Nainon Mein Badra Chaaya [Madan Mohan and Lata Mangeshkar]

03 Bhimpalazi (Looking Eastward to the Blues) [Indo-Jazz Ensemble]

04 Raga Bhimpalasi [Ravi Shankar]

05 Khilte Hain Gul Yahan [SD Burman and Lata Mangeshkar]

06 Bhimpalasi Alap Jod Jhala [Saskia Rao]

07 Zindagi Main To Sabhi Pyar Kiya Karte Hai [Mehdi Hassan]

++^^%

Lost Heiress: Mehnaz Begum

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Some of you may know that I am currently writing a book on Lollywood, the not-very-original sobriquet for the movie making industry of Pakistan based in Lahore.

 

As I continue to dig and uncover more information about this rather unknown industry and cultural enterprise I am discovering all sorts of new singers, composers and musicians.* Or re-discovering some that I knew a bit about previously but hadn’t necessarily associated with filmi music.

 

Mehnaz Begum is one such artist and it is a great privilege to share with you some of her wonderful singing in this post.

 

Mehnaz Begum was born (1950) into a family which had a very particular musical heritage. As the Mughal Empire began to weakened after the death of Aurangzeb Alamgir, who exhausted its authority with incessant expansionary wars in the Deccan, smaller principalities and ‘kingdoms’ across the subcontinent began to exert power in their regions. One of the most important and prosperous of these was Avadh, which had its capital in the city of Lucknow. The Avadhi rulers were Shi’a, a major branch of Islam that pays special allegiance to the Prophet’s (PBUH) son-in-law Ali and grandson Hussain. Significant ritual and spiritual space is given to commemorating the

Martyrdom of the latter at Karbala [present day Iraq] during the month of Moharrum.

 

Two distinct but related forms of artistic expression developed in Avadh that were used to accompany Shi’a religious practices: marsiya and soz khwani. Marsiya is elegiac poetry recited in praise of Hussain and other Shi’a martyrs. The poems are recited or sung a cappella and solo as inspiration for the faithful to persevere in their spiritual lives. Generally, marsiya is classified as a poetic, rather than musical genre.

 

Soz khwani is a modified and refined form of marsiya. An innovation of the 19th century it is a consciously melancholy music and as such, and given the occasion, it is considered jayiz (permitted) by Shi’a orthodoxy. Unlike marsiya soz khwani involves [the] singing of poetic content without instrumental or rhythmic support, but a group of accompanying vocalists hums along [with] the lead singer, maintaining emphasis in the ground notes of the composition and producing a drone-like effect that helps the lead singer to stay on pitch.  (The Last Avadhi Songstress by Sheraz Hyder, TFT Feb01-07, 2013)

 

Interestingly, the Nawabs of Avadh not only tolerated women singers but actively encouraged a cohort of females to perform soz khwani for the royal women. Mehnaz’s mother, Kajjan Begum, was one of these. She grew up and was trained in the feudal estate of the raja of Mahmoodabad in Avadh by her mother Imam Bandi one of the first Indian singers to be recorded in the early 20th century. Though Imam Bandi and Kajjan Begum and other female soz khwan were primarily trained in the signing of lamentations they also became well versed in other forms such as thumri, dadra, Banarsi ang, tappa and hori.

 

When Mehnaz came on the scene in the mid-1970s, primarily as a playback singer for films, her early exposure to such a rich tradition and lineage of music, allowed her to find an audience as a ghazal singer as well. That she was successful in both spheres—film and ghazal—is an impressive testament of her talent, for in films she had to contend with the iconic Madam Noor Jehan and in ghazal with the storied voices of Iqbal Bano and Farida Khanum.

 

As I’ve listened to her with more intent in the past few weeks I am coming to the conclusion that Mehnaz’s voice is one of the most beautiful and pleasing I’ve heard. It is full of melody, lilt and a deceptive softness that is actually power under masterful control.

 

The collection of ghazals I share today is one of the fabulous (and now out of print) 57 CD Box Set of Pakistani music produced by Shalimar Records. According to critics and fans with more awareness and experience than myself this particular CD also contains some of the best examples of popular ghazal singing ever recorded.

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Track Listing:

01 Kaise Kaise Khwab

02 Ishq jab Zum Zama

03 Jo Dil mein Khatakti

04 Ab Dekhiye kiya Haal

05 Shaheed e Ishq Hue

06 Zahir ki Aankh

07 Lutf Woh Ishq Mein

08 Rang batain karein

09 Tu Uroose Shaam

10 Hazar Gardish Sham O Sahar

11 Kissi ki Yaad Ko Dil

12 Be tabiye Dil

13 Gham mujhe

14 Garehe So bar

15 Ashk aankhon mein

16 Ho teri yaad ka

 

Mehnaz

 

*I have another blog where I share music that is specific to Pakistani films which I invite you to enjoy.

Grace and Flow: Mehdi Hassan

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A little New Year’s gift for all the dear followers of Harmonium.

 

This album claims to capture Mehdi Hassan live in concert in New York. I find that to be a somewhat dubious statement as each track has a very ‘studio’ feel to it. Clean, sonically level and with none of the rough edges and spoken asides that accompany all live performances.

 

But I’m happy to be proven wrong.

 

Regardless of the veracity of the album’s title, the music is top quality. Mehdi’s tenor is suave and unforced. He delivers each ghazal with the panache of the supremely accomplished, hardly breaking a sweat. That doesn’t mean he is simply running through the material passion-baghair. Rather, he is at the top of his game. In the flow and full of grace.

 

And that seems to be a good attitude to possess as one year ends and another is soon to begin.

 

Happy New Year 2017. Thank you for dropping by from time to time!

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Track Listing:

01 Fitrat ka wo Paimana Bata Yaad Hahin Hai

02 Kabhi Kaha na Kisi Se Tere Fasane Ko Na Jane Kaise Khabbar ho Gayi Zamane Ko

03 Haath Men le ke Jam-e-mai Aaj Wo Muskara Diya

04 Gulon ki Baat Karo

05 Ajab Janoon-e-mussafat Mein Ghar se Nikla Tha

06 Yoon to Pahle Bhi Hui Us Se Kayi Baar Juda

07 Sehar Hoi Bhi to Ham ne Deeye Bhujai Nahin

MHv5NY

Overlooked Gem: S.B. John

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S.B (Sunny Benjamin) John is known in Pakistan primarily for his hugely popular song Tu Jo Nahin Hain from the film Savera (1959). It is a wonderful song with lyrics by Fayyaz Hashmi The song introduced John to a national audience. Critically acclaimed as one of the all time classics of Pakistani film music, John almost missed his date with destiny.

 

He had been down with the flu and fever for several days and only went to the audition on the insistence of a friend.  He apologised to the infamously moody music director Master Manzoor, “I’ve got a fever so won’t be able to sing well,” but Manzoor cut him off and told him to get on with it. After his rendition, Manzoor sat back stunned and exclaimed, “Where have you been all these years?”

 

History was made and a new voice was discovered.

With the advent of television in the mid-1960s, John commenced singing Christian hymns and carols every Christmas Eve, a tradition that has been embraced by the country’s Christian community.  In 2010, John was awarded Pakistan’s highest cultural award, the President’s Prize of Performance, for his outstanding services to music.

 

That most famous of his songs does NOT appear on this short collection. But I’m sure you will enjoy the music nonetheless. Every one of these songs is plump with melody. And John’s innately honeyed voice gives them that extra layer of cream that turns them into things of luxury.

 

I am taken by the difference in the timbre of John’s voice in these songs and Tu Jo Nahin Hain. The latter has him floating somewhere close to the sound of K.L Saigal—dark and heavy. (Perhaps it is was his ill health on the day that was the X factor!)

 

On these songs, John’s voice is like his name, sunny. He delivers each with a gentle and light touch that really is quite unique. I’ve not been able to identify any other male playback singer who has such a voice. There is a quality of openness and simplicity in it, no frills. But very pleasing. I’ve been listening to nothing but these songs for the past couple of weeks. They keep delivering.

 

For those of you who love ghazals, geets and filmi songs but looking for a rare, very overlooked voice, I commend this collection to you.

 

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Track Listing

Dekha Unhain To Apni Tabiyat

Ik Khalish Ko Hasal Umre Rawan

Mehke Gaysoo Rangeen Anchal

Raaste Bandh Kiye Dete Ho

Sare Gilley Tamam Hooey

Saza E Jazbat Main

Soch Raha Hoon

SBJ