Dr. Ram Deshpande, a vocalist in his thirties, is a promising male singer of the present times. In these days of cheap popularity, it is indeed rare to find an artist groomed in the rigorous disciplines of different gharanas, moulding the influences in the crucible of his intellect and presenting a beautiful blend of all these. Ram Deshpande was initiated into classical music by Shri. Chepe, Shri Panake and Pt. Prabhakar Deshkar. Further guidance came from Panditt. Yashwantbuwa Joshi of the Gwalior Gharana and Pt. Ulhas Kashalkar who continues the Gwalior style of Late Panditt. Gajananbuwa Joshi, a style that blends Jaipur and Agra with Gwalior. Ram Deshpande still continues to receive training from Pt. V. R. Athavle and Pt. Babanrao Haldankar of Agra gharana. His doctoral thesis on ‘Mishra Ragas' (combination Ragas) was completed under the able guidance of Pt. V. R. Athavle. Dr. Ram Deshpande has a sonorous and seasoned voice and has a number of ornametations like gamak, behlao, meend etc., at his command. Moreover, he has a good command of rhythm and a large variety of taans. He has a large repertoire of popular and rare Raga compositions The highlight of this programe is the rendition of two less-heard Raga forms and a Bhajan or devotional song. Raga Bahaduri Todi (32:05) is a Raga, sung mainly by the singers of Jaipur-Atrauli tradition. Though this Raga makes use of the notes in the parent scale of Todi, the 'chalan' or the movement of the Raga is too complex to be described in the limited space here. Moreover, the changes are so subtle, that one needs to master this Raga at the feet of a Guru only. The best way for comman liteners is to listen to it again and again and to get familiarized with the Raga. Dr. Ram Deshpande deserves special praise for the exposition of the Raga. His aalaps invoke the right devotional spirit dictated by the text of the composition. It is the praise of Lord Shiva and the notes reflect the sanctity and seriousness of the Lord.The complex taan patterns which follow later are also praiseworthy for the same reason. Raga Pancham (20:47), which follows next is again a rare variety. Though it is named 'Pancham' it omitts the fifth note 'Pancham' totally. The second note ‘Re' is komal (flattened)and the fourth note 'Ma' is used in both the Shudha and Teevra (Natural and Sharpened)forms. in the descent, it is often used in the Phrase 'Ma (Teevra) Dha Ma (Teevra) Ma (Shudha)'. This Raga structure also demands flexibility and control of the voice. The present rendition is an excellent and appealing example of such a control. There is an occasional use of %Pancham' but that exception is made only to beautify the Raga. The final piece is a devotional song Bhajans (10:23) by the saint-poet Surdas. Dr. Ram Deshpande's emotive quality of voice comes to the fore here.Set in Raga Bhairavi, it provides a fitting conclusion to the entire program.

Artists: Dr. Ram Deshpande (Vocal), Shubhash Kamat (Tabla), Chaitanya Kunte (Harmonium), Vinay Chirav (Tanpura), Kaustubh Apte (Tanpura)

Tracks:
1. Raga Bahaduri Todi: Vilambit Teental - E Mahadev, Devanpati (ए महादेव, देवनपति) (32.05) - Dr. Ram Deshpande (Vocal), Shubhash Kamat (Tabla), Chaitanya Kunte (Harmonium), Vinay Chirav (Tanpura), Kaustubh Apte (Tanpura)
2. Raga Bahaduri Todi: Drut Teental - Sajan Ki Sanvari Soorat Ab (सजनकी सावरी, सूरत अब) (20.47) - Dr. Ram Deshpande (Vocal), Shubhash Kamat (Tabla), Chaitanya Kunte (Harmonium), Vinay Chirav (Tanpura), Kaustubh Apte (Tanpura)
3. Raga Pancham: Vilambit Jhaptal - Udat Boondan Nav Abeer Abahun (उड़त बूँदन नव अबीर अबहुँ) (10.23) - Dr. Ram Deshpande (Vocal), Shubhash Kamat (Tabla), Chaitanya Kunte (Harmonium), Vinay Chirav (Tanpura), Kaustubh Apte (Tanpura)