review page 21 : bonus page:
Classical Indian Music releases:

listed here are:
Z.M.& Z.F.Dagar
Kartik Seshadri
Sadanand Naimpalli & Mohan Balvally
Kanniks Kannikeswaran (2x)
Nirmala Rajasekar (2x)
Illumination
Ravi Shankar















Country and EasternZ.M.Dagar & Z.F.Dagar : Raag Malkauns, Bombay 1968 (IND,1968)****

One of the oldest still preserved forms in Indian classical music is Dhrupad. It is a devotional form of music with poetry into song, helped by rhythm and melody. In the royal court days this musical form changed into more secular forms. The singer was often accompanied by the Rudra veena instrument. Ustad Zia Mohiuddin Dagar is according to the label, one of the best known maestros of the instrument. Another important form in Dhrupad music is the duet form or Jugalbandi, where it is important that the duo acts in oneness and in harmonious conversation. One of the most known performers of this form were the senior Dagar Brothers, followed by the younger brothers with the same surname. I think this duo is related to the same popular family.

"Raag Malkauns" is a type of raga which is associated with a late night-midnight mood, and this is indeed exactly the feeling it creates, and in which it develops. Most of the track sounds like a delicate tuning into this mood. It uses a pentatonic scale with two series of five notes, with some notes to bring grounding and a few others to open up and liberate the sphere. Thoroughly the mood evolves from a confirming sphere, with an adding depth to the expression of a rather dreamy slumbering late night sphere, to a more clarified rhythmical-melodious form of comfort. Near the end, and after having so calmly started, the energy has built up some fire from within, getting to a great dual inflicting energy to conclude within a calm contemplative nature. A great track, which sounds like the real thing, as I read it described elsewhere.

Audio and info : http://www.klicktrack.com/shop/release.jsp?r=5887&cp=72
Info sheet : http://www.beche.se/press/C&E01-02-info-eng.pdf
Info : http://www.countryandeastern.se/ (with one audiofile) & http://www.cdroots.com/ce-02.html
Country and Eastern  Sadanand Naimpalli & Mohan Balvally : Live at Trinity Club, Bombay 1967 (IND,1967)**°

The Trinity club is one of the most known clubs for Hindustani classical music performances. This is a recording from the club with a harmonium, tampura accompanying a tabla duet, with one part in a slow tempo, and the other one fast. On the background, now and then, when one listens carefully, one can hear some riksha’s and cars passing by. It has a very repetitive harmonium and tampura background and some tabla improvisation. The repetition of the harmonium is recorded a bit too loud so that the repetition becomes somewhat unnerving. The tabla duet is nice, but the best thing on the album I think is the young enthusiasm especially expressed with the vocal rhythm technique, and with the public reacting on some rhythmic pulses at times, which makes the recording more special, especially near the last third of the recording.

Audio at http://www.klicktrack.com/shop/release.jsp?r=5881&cp=72
Info sheet : http://www.beche.se/press/C&E01-02-info-eng.pdf
Info : http://www.countryandeastern.se/ (with one audiofile) &
http://www.cdroots.com/ce-01.html
Traditional Crossroads   Kartik Seshadri : Illuminations (IND,2006)***°

The liner notes say Kartik Seshadri was already performing recitals at six, and became a student of Pandit Ravi Shankar from 1974. Outstanding tablaist Arup Chatterjee accompanies the sitar player. This CD is called "illuminations" and tells us something about the how of the performance. There's a late evening and a morning raga which are both played technically perfect. At the same time I don't feel the usual emotional transcendenting orgasm-in-energy towards the end of each cycle, as if outside the technical playing the inner movements are kept completely untouched. Personally I miss something to make the effect of the performance complete, but perhaps I missed the how and why of the idea of being unmoved by the musical performance. I guess that, within the choice of ragas fitting with the quietest moments of the day, the contemplative relaxing nature of the performance fits not only the calm nature of the performer, but might be also his deliberate choice that reflects his most inner nature, of being untouched by happenings, to seek something of the abstract truth of nothingness beyond illumination..

Audio : Raga Anandi Kalyan : "Alap, Joe And Jhala" (or here), "Gat In Jhaptala", Raga Basant Mukhari : "Aochar And Gat In Teentala" (or here)
Other review : http://www.cdroots.com/tc-4326.html
Dutch review : http://www.parool.nl/muziek/2006/recensies/052306-wereld.html
private/ASIA   Kanniks Kannikeswaran : Banaras, Indian Classical Music (US/IND,2006)***'

Because Jim Feist has played percussion on this album of Dhrupad music performed by composer Kanniks Kannikeswaran, I came to check this out. Kanniks performs the music with vocals only, while a calm tampura and tabla accompanies this. While the style sounds very much like a raga, but not performed by sitar or tarod as usual but by singing. Technically spoken he creates a new genre on several traditions, and combines them neatly and very logically together. With this recording he proves that the leading voice is able to capture the whole spirit of these traditions. The tabla never tends to be too ambitiously clever, but this leaves the attention to the singer in a way it needs this just bit of stimulating heart and blood stream beat.

Kanniks Kannikeswaran established the American School of Indian Art to spread the awareness on different Indian music traditions. The school also tries to combine raaga traditions with polyphonic choral western music. This record was the first one to be released on the label of the school.

Audio on http://www.classicaltabla.com/banarasaudio.html
Info on composer : http://www.templenet.com/kanniks.html
Homepage : http://www.kanniks.com/

Another, less traditional album of his is "Skanda"; review below ->
private/ASIA   Kanniks Kannikeswaran : Skanda (US/IND,2004)***'

In this album Skanda, Kanniks has set to music, ancient verses from the Tamil Bhakti movement from 6th, 7th & 9th century and the "Tiruppukazh" hymns from the 15th century. He often sings the songs themselve but there are a few guest vocalists, one of them a child. The music is orchestrated with synths and acoustic instruments like sitar, tabla, flute, veena, bass, guitra and violin. This music is with respect to traditions new Indian music, with a feeling this is for all ages, with a light and pleasant form.

About release : http://www.templenet.com/Press/skanda_cd.html
Info on composer : http://www.templenet.com/kanniks.html
Homepage : http://www.kanniks.com/
Innova   Nirmala Rajasekar : Into The Raga (IND,2010)***'

From classical Indian raga music we hear most often the North Indian sitar recordings. The veena, which is somewhat bigger and has a somewhat different, more woody sound with less full resonance is an instrument which we don't hear that often. Nirmala Rajasekar plays the veena with a few Indian classical music compositions with restrained forms of improvisation, within defined forms of restrictions in melody and rhythm, with accompaniment of Indian styled violin and South Indian percussion instruments like the dangam and the clay pot called ghatam, all three instruments also with a certain dry sound. The music is played perfectly and completely classical within the structure, therefore also never surprises. It all sounds perfect and a bit empty at the same time. I miss a bit the sparkling creative spirit behind it, the transformational energy that does something behind or beyond or that in some way surpasses a purely technical perfection.

Video : http://www.youtube.com...
Homepage : http://www.nirmalarajasekar.com/
Info & audio : http://www.myspace.com/nirmalarajasekar
Info on artist : http://twocities.umn.edu/rprojs/Indian/nirmala_rajasekar.asp
& http://www.narthaki.com/info/intervw/intrv102.html
& http://www.riversideconcerts.com/concerts/event.aspx?eventid=4665
& http://en.wikipedia.org/wiki/Nirmala_Rajasekar
Label info : http://www.innova.mu/artist1.asp?skuID=426next ->
Innova  Nirmala Rajasekar : Song Of The Veena (IND,...)***°

Nirmala's previous album shows an attractive accessible entry as an introduction to South Indian classical raga music on the veena, accompanied by violin, percussion on tabla, ghatam (clay pot) and mridangam. Where the latest album of master Nirmala Rajasekar failed to immediately grab me, this release cleared the sky thanks to the choice of several ragas and suites of ragas. The first track, “Varnam” is a light and rather happy danceable tune showing close responses by violin and Indian percusion. This open mood continues. The tracks are compact, direct and are played with a certain openness. The large raga suite “Saravana Bhava” is an interesting composition that also ends with a certain power and shows some expressive possibilities of the veena. The last track “Raga Thandiro” however, a walking song, with its open ending leaves a little empty and unsatisfied impression because it lead to nothing specific. 

Info on artist : http://www.riversideconcerts.com/concerts/event.aspx?eventid=4665
& http://archives.chennaionline.com/MusicSeason2006/rvws22.asp
Homepage : http://www.nirmalarajasekar.com/ & http://www.myspace.com/nirmalarajasekar
Release info : http://innova.mu/notes/214.htm
& http://innova.mu/artist1.asp?skuID=302
Tala Rec.  Illumination featuring Steve Gorn, Ty Burhoe, Manose (US,2010)****

This album is focused upon the improvisation on the moment of Indian classical music led by two bansuri bamboo flutes succeeding in sharing the same harmonies in the air, with a simple tampura drone in background, sometimes being replaced by keyboard drones. The pieces are based upon 4 different ragas. The tabla comes in at points further on in the improvisations. It is very much a common harmony-seeking event based upon tradition. The idea of Illuminations seems to work towards perfection in which they seek a realisation of shared perfections in the moment. I personally believe there exist something beyond perfection, and that spirituality only is able to go beyond this, where the real moment only exist once and only thus, with a renewing consciousness, succeeds to go beyond time's perspectives, or even beyond or behind traditions. The band illumination plays fluently, cooperative and with a common sense in character, in their safe approach towards Indian music they tend to come to a New Age approach. There is however a slight building up of energy with the highlight building up towards the end of the album.
The flute players are Steve Gorn and Manose, a Nepalese flute player and tabla player Ty Burhoe, disciple of Ustad zakir Hussain. Released in a mini book format.

Info : http://tyburhoe.com/indian_tabla_music/cd_ty_burhoe_illumination/
or for sale at http://www.whiteswanmusic.com/... or http://www.devaworld.com/...
East Meets West Rec.Ravi Shankar : Reminiscence of North Vista (IND,1969,re.2011)***°

When Ravi Shankar had moved to Hollywood to settle down and work as an ambassador of music, he quickly got a lot of attention of which the cooperation with The Beatles and the appearance on the Woodstock festival were the most important moments of attention. But he gave also more quiet and meditative concerts. Just ne week after Woodstock, these two ragas were recorded at the North Vista House. This concerts sound as if one is back in India, near the Ganges, where crickets can be heard, and a warm breeze hangs in the air.

The first raga, “Raga Kunsi Kanada North Vista”, starts to slowly develop itself first out of the resonating string tension, where a melody appears on one string first, with the birds and crickets in the background, starting to beautifully moan with its movement more and more, singing, with a deep voice as if being the voice of a crying animal, with the state of a man making this sing through with the energy of meditation, to then transform this into pleasure. Then a melody starts to be brought out more clearly, like a song in the higher tones of dedication with devotional singing. Then these higher tones tend to step down again while the rhythm slightly increases, with inner energy transforming this again, within the rhythm. Then a nicely entertaining melody occurs to improvise further on the raga themes, the rhythm increases further when this melody develops, hand shaking rhythms occur too. The tune goes to a highlight in melody and fast rhythm playing.

The second track is a more melodic/rhythmic improvisation with additional tabla this time. It is more like a mixture of what is a song and dance. Here can be heard only smaller variations hanging around the theme. There’s entertaining tabla. It is a bit more repetitive in its core but is of course enjoyable too.

Label info : http://www.eastmeetswestmusic.com/catalog.html
Other reviews : http://www.pastemagazine.com/...
& http://restlessandreal.blogspot.com/2011/12/ravi-shankar-nine-decades-vol-2.html
& http://www.muzikifan.com/india.html
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