One more  illustrious and senior member from Dagar familly. Son of Ustad Allabande Khan, Ustad Rahimuddin Khan is said to be one of the most knowdgable one from the tradition. He knew Sanskrit and Persian languages and probably the first one to adopt the title “Dagar”.

Today we are going to listen to Raga Miyan Ki Todi (Alap and Dhrupad) sung by him.

Raga Miyan Ki Todi 25:46 (Alap & Dhrupad Kaun Bharam Bhule Ho Man Gyaani)

A few days ago, there was a post on Mehfil-E-Mausiqi,  Raga Miyan Ki Todi sung by Junior Dagar brothers Ustad N. Zahiruddin and N. Faiyazuddin. They too is said to have taken some guidence from Ustad-ji. It would be interesting to compare both the recrdings…. 

Credits:

1. Photograph: from www.dhrupad.info
2. Audio Recording: from Dhaivat Shukla’s personal archives.

A vocalist from the illustrius tradition - Delhi Gharana. His forte was his well groomed, well cultivated voice  - moving in three octaves flawlessly. He used to demonstrate this strength while siging Taans with great accuracy and speed. And of course his Bada Khayal is also a pleasure to listen to. 

A couple of his earlier recordings showcasing his “khayal”.

First recording Raga purvi, Vilambit Khayal Rakho Mori Laaj… in Ektala & Drut Khayal Aavan Kahi Gaye… in Teentala. Sung with Tanpura and Tabla accompaniment.
Raga Purvi 30:34 

Second one, Raga Ahir Bhairav, A morning Raga. Vilambit Khayal Mora Jiyaa…. & Drut Khayal Garib Nawaz… And Jiyaraa Laraje… both in Teentala. Interestingly, the vocal support in this recordings is quite intersing and of course, the proficiency of the Harmonium accompanist, just amazing….
Raga Ahir Bhairav 25:34

Credits:

1. Photograph from www.sadarang.com
2. Both recordings from Dhaivat Shukla’s personal archives. Digital restoration by Dhaivat Shukla. 

A disciple of Ustad Faiyaz Khan and Ustad Ata Hussain Khan – A great vocalist from Agra Gharana. His approach towards music was always to expand the Raga. Take any Raga-s and Ustad-ji would sing these Raga-s at length. For example Raga Malati Basant, Raga Raisa Kanada, Raga Maluha Kalyan to name a few – He could and would sing them for about an hour plus, on an average. He was always open to greater development of his music and so he was never shy to adopt something from other musicians or their respective styles. And almost always, he was successful in blending those so called foreign elements into the musical structure of Agra Gharana that he used to prefer and perform. And then the concept he would sing would be his own “Khayal”.

He was probably one of the last musicians who performed full-length, full featured Nom-Tom Alap before Khayal. His command on Laya (rythem) was also great which is visible (audible, I mean) in various pieces that are presented here. He was blessed with a voice which he successfully preserved and cultivated to suite his imagination.

He was never tired of singing because he loved his music. Once a mehfil was organized in Ahmedabad and the organizer requested Ustad-ji to sing without microphone and without Harmonium accompaniment to get the essence of music in untainted form. Ustad-ji agreed. The mehfil eventually turned out to be a whole night concert where Ustad-ji sang Nom-Tom Alap, Vilambit (Traditional Composition) and Drut Khayal (His own composition) in Raga Savani (a variant with Komal Gandhar) followed by Raga Jaijaivanti, Vilambit and Drut, followed by Raga Nat Bihag, Drut Khyal, Raga Sohini, Drut Khayal. As it was about sunrise, He started Raga Ramkali – Vilambit & Drut. In the end he sang a Dadra in Raga Bhairavi. Fortunately this concert was recorded and recently it has been published as a set of 4 CDs by Sangeet Kendra. A sample from these recording is presented to show his ability for a sustained standard throughout the performance and sincerity – achieving greater heights as the his “Khayal” progressed. Just a sample – an appetizer (respecting the artiste’s rights and copyrights)

Raga Ramkali – Drut Khayal, Un Sang Laagi Mori Akhiyan… 

To begin with -

A 78rpm record (H 1198 G) – at the age of 12 years. This was the potential.

Raga: Multani 3:24 (In Durajan Logan Ko Kahan Kosun…)

Raga: Bihag 3:30 (Hazrat Ali Tum Ho Mahabali…)

Another recording is from an All India Radio Broadcast (most probably recorded at AIR Ahmedabad Station in 1969, and this brodcasted in 1973).

Raga Khem Kalyan 29:40 (Vilambit Khayal – Piharava Mai Kahi Deho Bata …, Drut Khayal – Hath Na Kar Mohe Chhand…)

Raga Gara Kanada (coming soon…)

Raga Lalit (coming soon…)

Raga Patmanjari (coming soon…)

An humble man, a man of family, a gentle and a sensitive human being……

Credits:

1. The 78rpm record – from Ustad-jis son, Ustad Shaukat Hussain Khan – Digitized by Dhaivat Shukla.

2. Raga Khem Kalyan – an All India Radio broadcast, digitized by Dhaivat Shukla.

3. Raga Lalit – an All India Radio broadcast, digitized by Dhaivat Shukla.

4 Raga Pat Manjari – an All India Radio broadcast.

A disciple of Ustad Faiyaz Khan and Ustad Ata Hussain Khan – A great vocalist from Agra Gharana. His approach towards music was always to expand the Raga. Take any Raga-s and Ustad-ji would sing these Raga-s at length. For example Raga Malati Basant, Raga Raisa Kanada, Raga Maluha Kalyan to name a few – He could and would sing them for about an hour plus, on an average. He was always open to greater development of his music and so he was never shy to adopt something from other musicians or their respective styles. And almost always, he was successful in blending those so called foreign elements into the musical structure of Agra Gharana that he used to prefer and perform. And then the concept he would sing would be his own “Khayal”.

He was probably one of the last musicians who performed full-length, full featured Nom-Tom Alap before Khayal. His command on Laya (rythem) was also great which is visible (audible, I mean) in various pieces that are presented here. He was blessed with a voice which he successfully preserved and cultivated to suite his imagination.

He was never tired of singing because he loved his music. Once a mehfil was organized in Ahmedabad and the organizer requested Ustad-ji to sing without microphone and without Harmonium accompaniment to get the essence of music in untainted form. Ustad-ji agreed. The mehfil eventually turned out to be a whole night concert where Ustad-ji sang Nom-Tom Alap, Vilambit (Traditional Composition) and Drut Khayal (His own composition) in Raga Savani (a variant with Komal Gandhar) followed by Raga Jaijaivanti, Vilambit and Drut, followed by Raga Nat Bihag, Drut Khyal, Raga Sohini, Drut Khayal. As it was about sunrise, He started Raga Ramkali – Vilambit & Drut. In the end he sang a Dadra in Raga Bhairavi. Fortunately this concert was recorded and recently it has been published as a set of 4 CDs by Sangeet Kendra. A sample from these recording is presented to show his ability for a sustained standard throughout the performance and sincerity – achieving greater heights as the his “Khayal” progressed. Just a sample – an appetizer (respecting the artiste’s rights and copyrights)

Raga Ramkali – Drut Khayal, Un Sang Laagi Mori Akhiyan… 

To begin with -

A 78rpm record (H 1198 G) – at the age of 12 years. This was the potential.

Raga: Multani 3:24 (In Durajan Logan Ko Kahan Kosun…)

Raga: Bihag 3:30 (Hazrat Ali Tum Ho Mahabali…)

Another recording is from an All India Radio Broadcast (most probably recorded at AIR Ahmedabad Station in 1969, and this brodcasted in 1973).

Raga Khem Kalyan 29:40 (Vilambit Khayal – Piharava Mai Kahi Deho Bata …, Drut Khayal – Hath Na Kar Mohe Chhand…)

Raga Gara Kanada (coming soon…)

Raga Lalit (coming soon…)

Raga Patmanjari (coming soon…)

An humble man, a man of family, a gentle and a sensitive human being……

Credits:

1. The 78rpm record – from Ustad-jis son, Ustad Shaukat Hussain Khan – Digitized by Dhaivat Shukla.

2. Raga Khem Kalyan – an All India Radio broadcast, digitized by Dhaivat Shukla.

3. Raga Lalit – an All India Radio broadcast, digitized by Dhaivat Shukla.

4 Raga Pat Manjari – an All India Radio broadcast.

Another great vocalist from Gwalior Gharana. His style is unpretentious and appears to be simple but in actually it is quite complex and intricate. Some of his recordings are presented for us to enjoy.

To start with – Raga Bhimpalasi. an extremely rare find. Most probably an All India Radio broadcast. In this recording Pandit-ji has sung a Saadara - composition in Jhaptala.

Raga Bhimpalasi – So Hi Rasanaa Jo… (14:26)

Another rare find, the next recording is an All India Radio broadcast – actual broadcast recorded on a reel tape. Though this one was released as an LP record in 1971 (EALP 1366 – Raga Kamod & Bageshree Kanada) but the LP version is edited. This one being the original broadcast – it is full length.

Raga Bageshree Kanada 28:36

Credits:

1. Photograph (top): from http://www.cs.washington.edu
2. Raga Bhimpalasi: from Dhaivat Shukla’s personal archives.
3. Audio Recordings: Raga Bageshree Kanada – All India Radio broadcast. Digital restoration from reel tapes by Dhaivat Shukla.
4. Discography reference from Rajeev Patkes website: http://courses.nus.edu.sg/course/ellpatke/Miscellany/music.htm

Two amazing pieces sung by Pandit Narayan Rao Vyas. The recordings presented here are from a 45 rpm record (7EPE 1230, Published in 1961)

Both the Raga-s Champak and Bageshree Kanada are not usually sung or played in Mehfil these days. And so they have become rare… for us to enjoy.

Raga: Champak – Ban Me Bajaavat Bansi….5:43
Raga: Bageshree Kanada – Dil Nahin Lagada….6:15

Credits:
1. Both the recordings are from Dhaivat Shukla’s personal archives.
2. Discography & Photograph : from Rajeev Patke’s Website.
3. Shri Vinayak Phatak for providing the missing information.

A great vocalist from Jaipur-Atrauli Gharana. His strong hold was lesser known Raga-s. He Used to sing these Raga-s with same ease….

Some samples of his audio recordings presented for all of us to enjoy… (click on the name of the Raga to listen)

A couple of his early recordings on a 78rpm disk. HMV N 5697. Released in 1939.

1. Raga Hameer 3:06
2. Raga Shankara 3:07 

One of his All India Radio broadcast in early 1970′s.

3. Raga Khokar 26:16
(Documented in the archives as Raga Khokhar Bilaval)

And a recording from an LP record. INRECO 2411-5094 Stereo. Released in 1979.

4. Raga Deshkar 20:23
5. Raga Yaman Kalyan 20:24
 

External Links:  -

1. Discography of on Rajeev Patke’s website.

2. More audio clips on Smt. Vijaya Parrikar Library.

Credits: -

1. Photograph (top) : http://www.pathcom.com/~ericp/masters_mv3.html

2. Audio Clips:  1, 2, 3, 4, & 5 from Dhaivat Shukla’s personal archives. Digitization and Restoration by Dhaivat Shukla.

Dagar Brothers – Nasir Zahiruddin & Nasir Faiyazuddin visited Ahmedabad in 1984. I am happy to find a recording that they made during their visit.

For us to enjoy…..(click on the link below to listen)

Raga: Miyan Ki Todi 20:53 (Alap & Dhrupad – Kaun Bharam Bhule Ho Man Gyani)

Credits:

1 Photograph - www.dovesong.com

2 Audio Recording – All India Radio, Ahmedabad. Broadcast Recorded and Digitized by Dhaivat Shukla.

One of his rare and hard to find audio recording – A 78rpm - Columbia GE3143 of a folk song (bhajan) by Meerabai and a Ghazal by of Shaida.

• 1. Raaja Taara Dungariya Par Bole Jhina Mor…. 3:36 (GEI 13252)
• 2. Sharu Sharumaan Hun Samjhyo…. 3:32 (GEI 7368)

These recordings are unusual because it both of them are sung in Gujarati… On the record it is written “with a speciall request from the people of Gujarat”

 Another interesting fact – Vande Mataram was composed by Panditji.

 Panditji Used to compose by the pen name of “Pranava Piya” or “Pranav Rang”.

Credits -

1. Photograph at the top – from the book “Vaggeyakar Pujya Pandit Omkarnathji Thakur” by Dr. Pradeepkumar Dixit

2. Photograph of the record – Dhaivat Shukla

3. Record found in the collection of Shri Atul Desai – A student of Panditji.

4. Digital conversion from the original 78 rpm record – Jajvalya Shukla & Kshama Shukla

Hope you enjoy it. If you do enjoy, please leave a comment. Your suggestions are welcome.

 In harmony and peace….

Infinite Joy.