Kumar Gandharva

Pt. Kumar Gandharva: Raag Nand-Kedar (Nov. 04, 1976) - Live concert.

Pt. Kumar Gandharva: Raag Nand-Kedar (Live, Nov. 04, 1976)

مكتبة تلاوات الشيخ إبراهيم مدهش المنصري

سورة الشمس ¦ إبراهيم بن مدهش المنصري Quran ¦ AshShams ¦ المصحف المرتل ١٤٤٠هـ (160kbit_Opus)

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

Kumar Gandharva - Shyam Kalyan - Live (rare)

Kumar Gandharva - 06 Shyam Kalyan

It’s all a game of come-and-go! Nothing stays; everything slips away. Fleeing, transient, impermanent. And, therefore, beautiful! In this poignant and delightful song, Brahmanand speaks directly of this truth. I learnt this song through Mooralala Marwada. Words and translation at https://sayskabir.wordpress.com/2016/08/31/chala-chali-ka-khela/

City of Feeling

Chala Chali Ka Khela

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

Panchrang

Chadariya Jhini

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

i love kumar gandharva, kabir bhjan - touch every ones soul

Kumar Gandharva. Nirguni Bhajan - Ram Niranjan Nyara Re

Devendera