Raga Gaud Malhar - Kishori Amonkar

Kumar Gandharva

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

https://qaul.blogspot.com/2008/07/1988-mehfil-munshi-raziuddin-sons.html

Raag Bhimpalasi

Bandish (Composition) in Raag Gurjari Todi | 
Credits ~ Composed by - Ustaad Chand Khan | Tabla - Pradeep Ji | Music Programming - Samy Sakthi | Mixing & Mastering - Jerry Silvester Vincent.

Ab_To_Piya_Ke_Paas_Raag_Gurjari_Todi

Mai Re Mai - Parched

Rag Haunsdhwani "Aaj Sajan Sang"
www.swarmanttra.com
She was a performer of the classical genre khyal and the light classical genres thumri and bhajan. Amonkar trained under her mother, classical singer Mogubai Kurdikar of the Jaipur gharana (musical tradition of Jaipur), but experimented with a variety of vocal styles in her career.

Kishori Amonkar Rag Haunsdhwani "Aaj Sajan Sang"

Kesariya Balam is a folk song from Desert area of India, Rajasthan. It is one of the most popular Rajasthani folk music narrations. This is a welcome song in Rajasthani tradition, mostly sung on the occasion of welcome ceremony of loved ones or the guest. But Imran & Lorenzo recreate the melody to give it a feeling of longing, where a person longing for his/her beloved and asking him/her to come back to the land they belongs to be together. We releasing this song on this day of Valentines Day and asking all the lovers to be together forever. 
 
Imran Khan - Vocals/Sitar 
Lorenzo Mantovani - Acoustic Guitar

Kesariya Balam

Live concert in St.Pierre de Cuissine, Toulouse; France in 2011....

ABHISEK LAHIRI - Sarod recital

Rag: Yaman (Teental, 16 beats)

Tabla accompaniment: Parimal Chakrabarty

Abhisek Lahiri (Sarod) Live in France- rag: Yaman (teental)

Live concert recording - March 24, 2012, Delhi
Lyrics: Surdas
Composition: Shubha Mudgal
Voice and tanpura: Shubha Mudgal
Tabla: Aneesh Pradhan
Harmonium: Sudhir Nayak
Vocal support: Veena Modi

Mere Giridhari Ji So Kavan Lari

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

Ab_To_Piya_Ke_Paas_Raag_Gurjari_Todi

Shruti Jauhari

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