Ustad Zia Mohiuddin Dagar (1929 – 1990) A still from Mani Kaul’s documentary film “Dhrupad”.

As I was going through a huge pile of audio cassettes today that were collected during the 90’s -about 400 or so – all of them yet to be digitized and cataloged properly. I chanced upon this wonderful recording played by Ustad-ji. I wish I had written more details about this reocording such as the date, venue, source etc. but at that time I was but a student of of ICM and had not taken up Archiving of Indian Classical Music. But still, the music is what it is – one of the best rendition of Raga Yaman on Rudra Veena.

Raga Yaman – alap 65:09 (short clip)

This piece is interesting in many ways -

• The recording is quite clean and it could be third or fourth generation copy
• It consists of just the Alap, a full-length Alap of one hour plus.
• There is no hurry of playing a Gat and no urge to show off the technical skills.
• The instrument is Rudra Veena or Been – There aren’t many who play this wonderful instrument.
• And of course, it is Raga Yaman – though this is one of the very first Raga that is taught by most, and learnt by most, but it could be a test of the musician to sing or play this Raga.

Been has a an exceptional capablity of exploring the notes in Mandra and Ati Mandra Saptak (lower octaves) and Ustad-ji has used it to  expand Raga Yaman in a captivating and enchanting manner.

Credits:

1. Photograph (top): http://www.raga.com/cds/220/220images.html
2. Photograph (Bottom): http://www.raga.com/cds/219/219text.html
2. Audio Recording: from Dhaivat Shukla’s personal archives
3. Digitization: Dhaivat Shukla

Pandit Mallikarjun Mansur (1901 – 1992)

Raga Vasanti Kedar 28:08 (short clip)
A composition in Vilambit Teentala – Atara Sugandha…

Raga Lajvanti 29:48 (short clip)
A composition in Madhyalaya Jhaptala

Interesting fact about these recordings that in both the recordings Pandit-ji is accompanied on Sarangi. Another fact that in both the recordings Dayan (Tabla drum, usually on the left side) is tuned to lower octave Sa (Tonic). Another observation is there is no vocal support, usually provided by his son Rajshekhar Mansur , which is the case with all his later recordings. And, here, his singing is energetic and powerful.

Raga Vasanti Kedar is a rarely heard Raga, yes …but Lajvanti is more then something rare.

Recordings could be All India Redio Broadcasts – Looking at their length, fade in-fade out and the fact that there is no Daad (appreciation) heard or no sounds of clapping at the end.

Credits:

1. Photograph: http://www.hinduonnet.com
2. Audio Recordings: Dhaivat Shukla’s personal archives
3. Digitizaion: Dhaivat Shukla