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This is the second Long Play Disc by Bade Ghulam Ali Khan India’s foremost classical singer today. And on this record the maestro offers in his matchless style two exquisite melodies “Darbari Kanada” and “Kaushi Dhani” which will be a source of delight to connoisseurs and casual listeners alike.

 Bade Ghulam Ali represents what is known as the Patiala School of Music in North India. Born at Kasur near Lahore he had his initial musical training from his father Ali Bux and later from his uncle Kale Khan both disciples of Ustad Fateh Ali Khan of Patiala.

 Gifted with a voice that has an amazing range and unlimited sweetness, this veteran singer who has entertained and inspired two generations of music lovers has at the age of sixty lost none of his earlier vigor and vitality. Like most eminent musicians he specializes in giving expositions that are scientifically chaste but what puts him on a higher pedestal than the rest of them and in fact invests his expositions with matchless beauty is his workmanship in developing a “raga” with an artistry that is as rare as it is difficult to acquire.

THE MUSIC

SIDE ONE

Raga Darbari Kanada

 It is said that this raga was evolved by the great singer-composer Tansen in the 16^th century and sung in “durbars” or august assemblies of the Moghul emperors and their courtiers hence its name. Appropriately it is majestic and dignified in character and requires a voice rich in volume and depth to do it justice. It is variation of the Kanada “raga” and is usually rendered towards the close of the first part of the night.

The artiste starts the exposition with a composition beginning with the words “Sugar Madha Peevan Re” in the rhythm “Ektaal” consisting of a cycle of 12 ‘matras’ or beats and goes on to give a rendering that is highlighted by a gradual and systematic development unfolding the chief characteristics of the “raga”.  This is followed by another composition entitled “Anokha Ladala” in a faster tempo and confied to a rhythm called “Teentaal” having 16 beats. In this part of the exposition are revealed the artiste’s uncanny skill and dexterity in making charming and intricate patterns.

SIDE TWO

Raga Kaushi-Dhani

 This is essentially a morning melody and is pentatonic in structure as it permits of only five notes both in ascent and descent and omits the second and the fifth notes. The mood of this “raga” is a little sad and the exposition on this side has therefore a tinge of pathos in it.

 As on the other side the artiste renders two compositions on this side as well. The first entitles “Re Mana He Mana” is slow tempo and has a rhythm of 7 beats known as “Roopak”. The second beginning with the words “Aj Hoon Aye Balamwa” is in “teentaal” or a rhythm of 16 beats and has a much faster tempo. The entire exposition is high-lighted by subtle and masterly touches and the artiste winds up the performance with extremely appealing and attractive “taan” patterns.

Artists:

 Ustad Bade Ghulam Ali Khan (Vocal)

Tracks:

SIDE ONE:

 Raga Darbari Kanada           Ektaal Taal (Bilampat)          - Sugar Madha Peevan Re

Raga Darbari Kanada Taal         Drut  Teental                    - Anokha Ladala

SIDE TWO:

Raga Kaushi Dhani                  Roopak Taal  (Bilampat)              – Re Mana He Mana  

Raga Kaushi Dhani Taal        Drut Teentaal                                    - Ajhoon Aye Balamwa