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

One more vital link with our musical past snapped with the
passing away of Ustad Ghulam Ali Khan in 1968. Indeed, few luminaries have
shone so brightly on the musical horizon as this inimitable Ustad. Fewer still
are the virtuosi to come by with such finesse for aligning their music to the
moods and tastes of their motley audiences. He thus has an assured place in the
musical archives both as a many-splendored genius and as a classicist who sang
for the masses.

 Bade Ghulam Ali’s was the music tht presented the best
imaginable blend of technique and appeal. His voice was his fortune. It was so
unique in its expressiveness that it could afford anything from a subtle,
delicate nuance to a vigorous powerful tone-from a mere quiver of resonance to
a flood of melody. Added to this potential for infinite musical expression was
a vivid imagination that revealed in a variety of stylisations and
improvisations, all strictly within the framework of tradition. He adapted his
voice to render fluent khayals, vivacious thumris, erotic ghazals and soulful
bhajans with an artistry all his own. The fine melodic line of Hindustani music
took novel shape in his voice: it was theme which developed technique instead
of technique molding theme. And that was what made him one of the most popular
and also one of the most controversial musicians of this century.

 Scion of the Patiala gharana, Bade Ghulam Ali was born
at Kasur (now in Pakistan) in 1902. His music received its magic touch from his
father, Ali Baksh, and his uncle, Fateh Ali, both eminent exponents of the
tradition in their time. To this master’s touch he added an unstinted industry
and unequalled determination. The result was such perfection of technique and
interpretation as would belong only to great maestros.

Bade Ghulam Ali’s performance at the durbar of the Prince of
Wales in the early twenties marked his rise to fame. He since gave hundreds of
performances all over India and many other Eastern countries. He drew
appreciative audiences in South India – a rare achievement for a northerner.

 Genial and gay, big-built and puffy-faced Ghulam Ali
as a composer of distinction and scores of cheezas (songs) he wrote and set to
tune under the nom de plume, Sab-Rang, are a rich contribution to North India’s
musical heritage. Many prized laurels and medals from the princely heritage.
Many prized laurels and medals from the princely durbars of old and music
conferences came his way. He was also recipient of the National Award for
Hindustani Music and Padma Bhushan. But he seldom cared to impress his name
with them.

 His recorded music is his precious bequest to
posterity. Listening to it, the generations yet unborn will hail Bade Ghulam
Ali Khan as a phenomenon that just came off. Here is one such disc that
enshrines the essence of the pure, emotion-soaked music that flowed forth from
his golden voice.

THE MUSIC

 SIDE ONE

Raga Shuddha Sarang:

 This is one of the most popular midday melodies. It
omits the third (ga) note from the scale. It makes use of the sixth (dha) note
only in the descent (avaroha) while the fourth (ma) note is permitted in its
flat (komal) and sharp (teevra) variations as well. The use of the flat seventh
(komal ni) in the descent (avaroha) is also in vogue. The second (re) and the
fifth (pa) are the dominant (vadi) and sub-dominant (samvadi) notes. The raga
is known for its benign, profound character.

SIDE TWO

Raga Megh malhar

 This pentatonic (odava) raga is one of the most
celebrated melodies of the North Indian tradition. It omits the third (ga) and
sixth (dha) notes from the scale. The seventh (ni) note is used in its sharp
(teevra) and flat (komal) variations. The raga takes the first (sa) and firth
(pa) as its dominant (vadi) and sub-dominant (samvadi) notes, respectively. The
raga belongs to the Malhar group and is therefore associated with the rainy
season. It depicts a deep, serious mood.

 Pahadi

 This theme is based on Pahadi, a raga known for its
delicate lyricism.

Artists:

Ustad Bade Ghulam Ali Khan

Tracks:

SIDE ONE:

Raga Shuddha Sarang                      - Khayal Vilambit

Raga Shuddha Sarang                      - Drut Teentaal

SIDE TWO:

 Raga Sadra Megh Malhar                           Khayal Jhaptaal  

 Raga Pahadi                                                     Thumri