An instant occurence! Didnt plan on playing a bollywood song on the Sarod, but, here it is!

Tum Hi Ho - On the Sarod - by Abhishek Borkar

The region's music shares similarities both with nearby areas of India and the other side of the border, in the Pakistani province of Sindh.

Traditional music includes the women's Panihari songs, which lyrically describes chores, especially centered around water and wells, both of which are an integral part of Rajasthan's desert culture.

The celebration of changing seasons is also very central to folk music of Rajasthan. Celebration of the coming of the Monsoons or the harvest season are central to most traditional folk songs. Songs also revolve around daily activities of the local people for instance a song about not sowing Jeera (Cummin) as it is difficult to tend. Or for instance another song about Podina (Mint) and how it is liked by various members of the family (an allegorical reference to a local liquor extracted from mint is also made). Every day common themes are the center of traditional rajasthani folk music.

BANNA 1 - Folk music from Rajasthan

Kabir Bhajan - Ghoonghat Ke Pat Khol

Vasantrao Deshpande - Sanware Aijaiyo - A Golden Voice Saware Aijaiyo - Part 1

Cathédrales de Paris – Six Méditations Symphoniques is an immersive orchestral journey through the spiritual, architectural, and musical heart of Paris. Each movement is dedicated to one of the city’s most iconic churches—Notre-Dame, Sacré-Cœur, Saint-Sulpice, Sainte-Chapelle, Saint-Germain-des-Prés, and La Madeleine—capturing its unique atmosphere, history, and sonic character.
Blending the monumental grandeur of Saint-Saëns’ Organ Symphony, the luminous harmonies of Debussy, the sacred lyricism of Fauré, and the soaring theatrical spirituality of Andrew Lloyd Webber’s Pie Jesu, this suite moves from the solemn toll of cathedral bells to the shimmering light of stained glass, from chant-like intimacy to blazing organ-and-orchestra climaxes.
Recorded in a virtual cathedral acoustic with expansive dynamic range and rich instrumental detail, these meditations are at once reverent and cinematic—an ode to Paris’ timeless sacred spaces and the human spirit they continue to inspire.

II. Sacré-Cœur – “Ascension”

In ancient times Among the legends about Tansen are stories of his bringing down the rains with Raga "Megh Malhar" and starting fires with the legendary "Raga Deepak".
This one is "Megh Malhar" by Pandit Bhimsen -an Indian vocalist in the Hindustani classical tradition.. 
Megh Malhar is a Hindustani classical raga. The name derives from the Sanskrit word Megh, meaning cloud. Legends say that this raga has the power to bring out rains in the area where it is sung. 


Mian Ki Malhar-Pandit Bhimsen Joshi-Megh Malhar

Thanks to Satyasheel Deshpande, Srijan Deshpande and Samvaad Foundation, Mumbai for making this track available for listeners. 

Satyasheel Deshpande is a leading Hindustani vocalist, composer and researcher and a senior disciple of Kumar Gandharva.
Srijan Deshpande is his son and disciple. 
Information on the Samvaad Foundation is available at: http://www.satyasheel.com/samvaad-foundation/

Photo of Kumar Gandharva is from Wikipedia. 
 

KumarGandharva - UdayDoPatang - Bhimpalas: Courtesy Satyasheel Deshpande, Samvaad Foundation, Mumbai

Holi - Gulabo

In a radical departure from the norm of pursuing wealth and success, in this song the poet Kabir celebrates the joy of poverty, and the beauty of simplicity. Kabir claims that this joy is far greater than the joys afforded by material comfort or luxury. This audio is from a live performance at Lamakaan in Hyderabad. With Venkataraman Ramachandran on the kanjira.

Words and a translation at: https://cityoffeeling.blogspot.com/2018/02/mann-laago-yaar-fakiri-mein.html

Mann Laago Yaar Fakiri Mein | Kabir

jaag piya sung by KUMAR GANDHARVA
Vocal-Male


KUMAR GANDHARVA - jaag piya

The story of Kalbeliyas is an example of how the changes in society and culture influence traditional musicians and their lifestyle. From a region of Barmer in Rajasthan origins a nomad tribe of Gypsies called Kalbeliyas, which were traditionally known as snake charmers. They used to remove serpents from houses and trade snake venom. Women used to accompany men on their way of trade from house to house, as they begged for alms while dancing and singing. They used to give public shows as well, which included various snake tricks. Indian Wildlife Protection Act of 1972 brought a ban on snake performances so Kalbeliyas had to transform their shows – girls replaced snakes.
Mohini Devi group – representative of nowadays Kalbeliyas is an ensemble of about seven musicians who did not receive any formal education, but were instead learning music from an early age from their guru Kalunath Kalbeliya. They have gained international recognition and many of the dancers lived, performed and even taught this style abroad. In India Kalbeliyas are invited mostly for weddings, cultural programs and festivals. Mohini Devi group is also proficient at many other dances like Bhavai, Chari, Ghummar, Terah Taali and add on elements of fire shows and acrobatics in their performance.
Spheres of Kalbeliyas act are divided: men plays instruments and women dance. The main instrument is Been – an Indian woodwind instrument originally used to hypnotize snakes. It’s both plaintive and seductive tones are accompanied by beats of Dhap and Dafli, creating very energetic and compelling rhythms. Dancers wear traditional black ankle-length skirt and top. Both are richly embellished with colorful strips and complemented with beautiful jewelry made from tiny pearls and silver hangings. Outfit completes a dupatta – a long loose flowing stole pinned to dancers’ heads. Kalbeliya dancers spinning fast, swaying their hips, swirling tassels and shawl can mesmerize viewer for long hours

Mohini Devi Kalbeliya -Rupiya

Abhishek Borkar, a young and versatile musician, was drawn to the sound of the sarod from a very early age. Born into a musically rich environment, in Pune, he initially underwent training in vocal and tabla, at age 4, before anchoring himself on the sarod, under the tutelage of his father and Guru Pt. Shekhar Borkar, under the Maihar Senia Gharana. 

Rigourous and intensive training followed. At the age of ten, he presented his first concert for which young Abhishek was lauded for his erudite performance by many connoisseurs of music. Many accolades and awards followed. He was awarded a National Talent scholarship instituted by the C.C.R.T (Government of India) and was subsequently specially invited to participate in many of their camps for outstanding young scholars. He won many music competitions in and around Maharashtra. Under the ‘Balodhyan’ initiative, he presented many memorable programmes for the All India Radio. He released his first solo CD titled ‘Pratibha’ in 2008, at the age of 16.

Following the footsteps of his father, today, Abhishek’s renditions are characterized by a unique blend of the sarod, sitar, sarangi and vocal styles of Hindustani Music. His natural instinct for aesthetic music coupled with his incredible control over sur and laya have enthralled audiences in various parts of India. Duet performances with his older brother Praashekh have also received critical acclaim. The melody in Abhishek’s music exhibits the influence of his idols, Ustad Allauddin Khan, Ustad Ali Akbar Khan and of course his father, Pt. Shekhar Borkar and the intricate layakari, the guidance of Pt. Shashi Bellare. Equally adept at playing the guitar coupled with his knowledge of western music and instrumentation led young Abhishek foray into the field of Classical fusion. Keeping the style of playing the sarod intact, he composes tunes with a classical twist, with which he aims to make Indian Classical Music more reachable to the generation today. 

A Commerce graduate, Abhishek aims to pursue his masters in Indian Music. In the coming decades, Abhishek aims to carry the beacon of Indian music and take the magnum opus of his father Pt. Shekhar Borkar – the creation of ‘Tarankaar Baaz’ and the ‘Sur-tarang’ to the world. In his words, ‘the limitations of the sarod can be surpassed because music comes from the heart, and the heart never ceases to sing’. 