Morning Ragas Bombay 1965 [Live]

Track Listings
Disc: 1

1. Bilaskhani Todi alap

2. Bilaskhani Todi alap

3. Bilaskhani Todi alap

4. Jogiya Kalingra gat

Disc: 2

1. Jogiya Kalingra gat concl. TT

2. Jogiya Kalingra gat concl. TT

3. Jogiya Kalingra gat concl. TT

4. Bhairavi

5. Bhairavi

6. Bhairavi

7. Bhairavi

Editorial Reviews
From the Artist
A Tribute to Nikhil Banerjee by Nikhil Ghosh: He was one of the finest sitarists of our times, who remained a student at heart in spite of overwhelming success and adulation. He has left his mark on the sands of time. We were very close to each other since I first met him in 1949, when I was accompanying Ustad Allauddin Khan at a concert in Delhi, and Nikhil was at the tamboura. In later years he was also associated with Sangit Mahabharati since its inception in 1956. He gave several performances in aid of Sangit Mahabharati in its early years and finally a recital in 1983, which, by popular recollection, was one of his most moving recitals. I was on the tabla. Decades of memorable performances together came to my mind in a flash, when he asked me for my Ijazat (permission) saying, "Nikhilda, shall I start?" Ever since I knew him, his enquiring mind always prompted him to ask me about so many technicalities, handling talas like Dhamar, Pancham Sawari, Nasruk and more significantly, about musical concepts and attitudes, during those long train journeys for our numerous concert tours all over India. He was one of those few sitarists who performed in unusual talas with an enviable elegance. What was most noteworthy about him was that he spent hours in contemplation. He knew well that he would derive his strength from this. That was how his musical energy on stage never showed any signs of flagging in an entire recital. The younger generation of today's musicians will be missing an example of true musicianship.

About the Artist
Padmabhushan Nikhil Banerjee (1931-1986) was one of the greatest sitarists of this century. His music earned deep respect among India's classical music aficionados as well as gaining him a devoted international following. He was the disciple of the two greatest forces in 20th Century Indian classical instrumental music, Padmavibhushan Allauddin Khan and his son Maestro Ali Akbar Khan. Though he recorded many LPs, few were of live concerts, in which his leisurely, majestic raga development was... read more

Album Description
Nagra recording of a morning concert for a music circle by Felix van Lamsweerde made in Mumbai (Bombay) in 1965. Complete concert on 2 CDs. Tabla: Nikhil Ghosh. About the Bombay concert: Apart from his beautiful music, the main thing I remember strongly about Nikhil Banerjee is his soft manner and extreme modesty. In fact, when I asked him for permission to record the concert, he said: "Why? I am not good enough yet. Better record me another time, later!" Of course, what was very special in this concert and for me the first time I heard it: the tarparan, the tabla joining in the jor section of the Bilaskhani Todi alap. Nikhil Banerjee explained to me that tarparan was a technique borrowed from the way rudra vina and pakhavaj play together in the dhrupad style.---From a letter by Felix van Lamsweerde

Morning Ragas Bombay 1965 [Live]

Tracks:

Bilaskhani Todi alap
Bilaskhani Todi alap
Bilaskhani Todi alap
Jogiya Kalingra gat

Tracks:

Jogiya Kalingra gat concl. TT
Jogiya Kalingra gat concl. TT
Jogiya Kalingra gat concl. TT
Bhairavi
Bhairavi
Bhairavi
Bhairavi

Album Description

Nagra recording of a morning concert for a music circle by Felix van Lamsweerde made in Mumbai (Bombay) in 1965. Complete concert on 2 CDs. Tabla: Nikhil Ghosh. About the Bombay concert: Apart from his beautiful music, the main thing I remember strongly about Nikhil Banerjee is his soft manner and extreme modesty. In fact, when I asked him for permission to record the concert, he said: "Why? I am not good enough yet. Better record me another time, later!" Of course, what was very special in this concert and for me the first time I heard it: the tarparan, the tabla joining in the jor section of the Bilaskhani Todi alap. Nikhil Banerjee explained to me that tarparan was a technique borrowed from the way rudra vina and pakhavaj play together in the dhrupad style.---From a letter by Felix van Lamsweerde

Track Listings: