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