THIS IS A RARE AND USED ITEM. IT IS NOT MANUFACTURED
ANYMORE. NO RETURNS WILL BE ACCEPTED

The Gramophone Company of India Ltd. is privileged to
present one more Long Play disc of Pandit Jasraj, one of India’s younger
maestros who enjoys tremendous appeal and whose music invariably draws an
equally phenomenal turnout wherever he performs.

 Although rightly acclaimed as the foremost exponent of
his “gharana” Pandit Jasraj has shown talent and genius in evolving a style
that is distinctly his own. His marvelous voice can lend itself to an amazing
range of musical effect – from subtle, sensitive tonal traceries to phrases and
patterns of incredible speed, foce and animation. His is the kind of vocalism
that grips both the ear and the sould by its charm and naivete of expression
and is diversity of treatment and approach. It is marked by depth of feeling
and sensitiveness of temper. His “raga” expositions show thoughtful development
in steady “alaps”, tantalizing “sargams”, cascading “taans and kaleidoscopic
“bol-taans”.

 What has added to his stature is his founding of the
Motiram Sangeet Natya Academy to train talented young musicians in the ancient
“gurukul tradition”. 

 It bids fair to develop into a nursery for the
artistes of tomorrow. The academy has earned high acclaim for its creative
musical ballets like “Gita Govindam” and “kan Kahani Suniyo Kare.

 In recognition of his contribution to the enrichment
of music, Pandit Jasraj has received several titles and awards at the state and
national levels. He has also been abroad on his musical mission and has earned
unstinted appreciation from overseas audiences as well.

THE MUSIC

 SIDE ONE: RAGA SHUDH SARANG

 One of the most popular mid-day “ragas” Shudh Sarang
omits the “Gandhara” from its “saptaka”. The “dhaivata” is used only in
“avaroha”, while the “Madhyama” is permitted in its “komala” and “teevra”
variations. The use of the “Komal nishada” in “avaroha” is also in vogue in
some “gharanas”. The “vadi” and “samvadi swaras’ of the “raga” are,
respectively, the “rishabha” and the “Panchama”. The “raga” depicts a profound,
benign spirit.

Pandit Jasraj presents this melody in “vilambit”, set to
“ektaal” (12 “matras”) followed by “drut” in “tritaal” (16 “matras”).

 SIDE TWO: RAGA BHIMPALASI

 Also a popular “raga” rendered in the late hours of
afternoon, Bhimpalasi omits the “rishabha” and the “dhaivata” in “aroha”. It
takes the “Gandhara” and the “nishada” in their “Komala” variations while the
rest are “shudh swaras”. The “Madhyama’ and the ‘shadja’ are respectively its
“vadi” and “samvadi swaras”. The melody unfolds a caressive mood, with tinge of
pensiveness.

Bhimpalasi is heard here first in “vilambit ektaal” (12
“matras”) and “drut tritaal” (16 “matras”).

Artists:

Pandit Jasraj (Vocal), Zakir Hussain (Tabla), Appa
Jalgaonkar (Harmonium)

Tracks:

Track 1:

Raga Shudh – Sarang     Khayal in Vilambit Ektaal        Sakal Ban Laye Rahe  

Raga Shudh – Sarang     Khayal in Drut Teentaal            Jao Ji Jao Shyam

Side 2:

Raga Bhimpalasi               Khayal in Vilambit Ektaal         Vari
Ve Gumaan     

Raga Bhimpalasi               Khayal in Drut Teentaal           Ja Ja
Re Apne Mandirwa