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Kirya

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My dive into ICM was triggered by some recordings of Ravi Shankar & Ali Akbar Khan when I was a child, and later by the awe I felt as a teen when I happened to be present at a concert by Kishori Amonkar. This was a magical event that launched my life long interest in ICM and explore this music further by playing sitar.

I am sure that I have played her Bhoop and Bageshri over 500 times over all these years. I always find new things to hear. Though I prefer her longer expositions and my new favorite is the" Born to Sing" Bhimpalasi, which is perhaps the most clear description of what Raga is that I can recall.

I have over the years collected every recording she made on LP, cassette and CD but very few of these actually capture what she regularly does at concerts. While I have managed to gather a few of her concert recordings - including some exceptional performances I would love to find more.

Does anybody know of sources on the web where one might find more recordings?


I have some on cassette made of concerts in the 70's but I have not found a satisfactory digitization method yet.

Any references would be much appreciated.

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Quote:
Originally Posted by "Kirya"
My dive into ICM was triggered by some recordings of Ravi Shankar & Ali Akbar Khan when I was a child, and later by the awe I felt as a teen when I happened to be present at a concert by Kishori Amonkar. This was a magical event that launched my life long interest in ICM and explore this music further by playing sitar.

I am sure that I have played her Bhoop and Bageshri over 500 times over all these years. I always find new things to hear. Though I prefer her longer expositions and my new favorite is the" Born to Sing" Bhimpalasi, which is perhaps the most clear description of what Raga is that I can recall.

I have over the years collected every recording she made on LP, cassette and CD but very few of these actually capture what she regularly does at concerts. While I have managed to gather a few of her concert recordings - including some exceptional performances I would love to find more.

Does anybody know of sources on the web where one might find more recordings?


I have some on cassette made of concerts in the 70's but I have not found a satisfactory digitization method yet.

Any references would be much appreciated.
I've not played Rag Bhoop quite so often as that, but I first heard it many years ago and it's surpassingly beautiful. I've not heard her Bageshri - but have listened - and loved - her Rageshri as well.

I'm curious - how are you digitizing the cassette recording? And why not satisfactory at the moment?

Pascal

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Kirya

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I am not sure how to digitize the cassettes -- they are already very low quality because they were simply made with a simple handheld cassette player

I would like to try and clean up the noise and whirr in the background when I do it and most of teh stuff I have seen to do this are very basic.

If you know of a good cheap solution please let me know

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Originally Posted by "Kirya"
I am not sure how to digitize the cassettes -- they are already very low quality because they were simply made with a simple handheld cassette player

I would like to try and clean up the noise and whirr in the background when I do it and most of teh stuff I have seen to do this are very basic.

If you know of a good cheap solution please let me know
I've digitized a few things from cassettes with fairly good results. Here's a tabla solo I digitized from a cassette uploaded on youtube.



I should not that the tape was generally in good condition. Moreover I did no audio cleanup on this one because I felt it was good enough at the time. I put it in my tape player and then simply connected the stereo headphones out to microphone in on my PC (you could also use line-in if you have that on your PC) and hit play. I used some generic recording software several years ago, but a very good - and free - audio software is called "audacity" which is what I would recommend. Once recorded as a .wav file Audacity has some very good noise and click removal tools that are fairly simple to use (and there are some youtube tutorials on how to do various things with Audacity in regards to cleaning up audio files).

I recently cleaned up an old recording of Anokhelal which had a terrible hiss from start to finish and very easily removed it and it made a world of difference.

I'll be glad to walk you through the process if you like (and trust me, it's much easier than you think!)


Pascal

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Hi Kirya,

If you are still looking for live Kishori Amonkar recordings, I recommend the Sangeethapriya site, if you are not already familiar with it. I guess it's mainly focused on Carnatic music but they also have 413 Hindustani concerts in their catalog, of which 10 or so are KA. Hope that helps.

http://www.sangeethamshare.org
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Kirya

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Many thanks to DVB for the reference -- I found several new items there.
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Interesting review of Kishori Amonkar here:

Kishori Amonkar: A Beauty Personified

By Bhasker Gupta
       

If the last half century of female voice in Indian Carnatic classical belongs to M.S. Subhalakshmi, then Hindustani classical has no other parallel than Kishori Amonkar. Her vibrant, rich and mellifluous voice; her larger-than-life stage presence and the powerful and emotional appeal of her music have kept her at the vanguard of Indian classical music for many years. What's probably most interesting is the manner in which she marvelously synthesizes the ancient traditions of classical singing with new forms of rendition. She has developed a unique style, sometimes perceived by the public as moving away from her Jaipur Gharana school. But as a mature artist her approach is regarded as individual, and an alternative and supplement to the model she belonged to in her early days. There have been other female exponents of Hindustani classical, including Girija Devi, Shobha Gurtu and Siddheshwari Devi who operate more in light classical forms like thumris (songs of longing and desires). Gangubai Hangal and Hirabai Barodekar are mostly into bhajans (songs in praise of God). But what differentiates Amonkar from her peers is her staunch purist approach towards raga (scales), mostly an endowment from her teacher and mother Smt Mogubai Kurdikar, another classical great in her time. Though Amonkar's voice doesn't have a rage and frenzy mostly found in other female vocalist, the predominant emotion associated with most of her renditions is a painful melancholy, a soul searching eminence and beautiful amalgamation of spiritual and wordless realism. What also sets her apart from other singers is her soulful interpretation of the Khayal style of singing. Khayal bases itself on a repertoire of short songs which are used for free improvisation given the scales and musical boundaries. A typical Khayal performance uses two songs, one slow (vilambit) and one fast (drut). The slow song, the bada khayal or great khayal, comprises most of the performance; the fast song (chote khayal, small khayal) is a used as a finale.

"Music is not just about words and beats. It is also about the emotion behind the rendition."

Amonkar was born in 1931 and with music being a part and parcel of her birth, her talent was recognized at a very early age. In her early years she absorbed the approach and repertoire of her distinguished mother's teacher Ustad Alladiya Khan. Blessed with a naturally melodious voice, she has literally stunned many an audience with the sheer ease and grace with which she renders a raga. Amonkar's interpretation of the music tends to lean more towards the romantic aspect (shingar ras) and thus does not strictly follow the traditional Jaipur Atrauli style. She's one of those rare singers today who uses sarangi for accompaniment. Again, those who have seen her perform acknowledge the importance that she gives to playing the tanpura. As a result of her captivating voice she has often times been referred to as "Gana Saraswati," a name given her by the Jagadguru Mahaswamiji of Sringeri Matt. Significant awards bestowed on her include, the Sangeet Natak Akademi Award (1985), the Padmabhushan (1987) and the much-coveted Sangeet Samradhini Award (considered as one of the most prestigious awards in Indian Classical Music) in 1997. It's interesting to note that her mother Mugubai Kurdikar was also awarded "Padma Bhushan" by the Indian Government, which is a rare double distinction in the same family. Being a forefront name in Indian classical circles didn't come easy. But, after numerous performances over decades, countless recordings and great appraise and awards; Amonkar refuses to be a show-biz artist. Her voice is still captivating, sublime and awe-inspiring. Indian classical music is not just considered an art to entertain audiences and listeners, but a sacred and intelligent way to connect to the divine, a meditation of self and a way of life for many. And in Amonkar's own words, "Music is not just about words and beats. It is also about the emotion behind the rendition. Words turn into music when emotions are weaved into them. And the notes´┐Żnot just the basic seven, but the hundreds of other mini and micro-notes help to bring out the soul of a music composition."

http://www.india-forums.com/forum_posts.asp?TID=353526&TPN=2

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Another view from the comments on the link above


On a spiritual journey 'To me, music is a sadhana. To me it is a dialogue with the divine, this intense focused communication with the ultimate other. Music cannot be evaluated as something which has any relative value. It is so uniquely ephemeral yet tangibly emotional that one can only say that it stirs the mind and beyond. Ultimately it should stir the soul."

The words of a great artist always make me wonder whether people ever listen to them to understand their music better. Is the process, the making of an artist of any relevance, or is the end product, a show, staged on a dais, alone enough to derive pleasure from the music the artiste creates. Questions such as these come up when one encounters particularly serious and sensitive artistes. They speak their mind, they have the authority of knowledge, and experience. Above all, they speak to reach out to a few more besides their average fans, for, out there they know, they can find receptive minds who want to go deeper into the experience of that elusive pleasure, Rasanubhava.

Kishori Amonkar has no show-biz personality. Curiously slim with a predominant nose adorning her face, she crouches over her surmandal, strumming it as if it is a prop to give her strength. She does not look like a performer, eager to display her skill. No routine formula is followed in the presentation. "I believe in the guru sishya parampara," she says. I don't believe in learning from texts or cassettes. Students nowadays learn dead music. Learning from a guru is live learning. It is learning with a soul. It is a give and take of the souls.

Our music is the fifth Veda. The Vedas teach you Brahma Vidya. You cannot learn that from a machine. If you go on contemplating and meditating upon the divine art, I am sure you will reach the ultimate destination in your music - which is brahmam. I am trying to reach that. She is an ardent devotee of Raghavendra Swami. Her music is an offering at his feet, an offering of devotion, love. I wonder how she fulfills her responsibility as a performer with this mission of bhakti as her goal. And what about the ordinary listener, who is like a road sign on her journey to reach a spiritual goal.

"This art needs meditation. It is not that I do not love the public. It is because of them that I am here today. I consider each one of you as an embodiment of Raghavendra Swamiji. When I sing you become him. But I want to see him. I have been moving away from performances. Eventually I will only teach. That is my goal." Kishori thinks that if the audience is not fully immersed in her music, perhaps it is her own short-coming. "If you see Balaji standing in front of you... what will you do? You will get stuck to that place. You will not look back." Arresting a listener's total attention is what music is all about, if indeed it is music of that superior quality. Kishori has thoughts about trends and western influences. "If you know what the Indian mind, the Indian intellect, the Indian body is, then I think we will not get ourselves westernised. I feel our religion has a lot to say, a lot to give, if only we pay attention."

Volumes have been written about the aesthetics of art. Kishori sums up a truth very simply. "We have given an entertainment value to this music. Singing is different, practising is different, performing is different. These are three different aspects of music. I give importance to singing... What is singing after all... it is talking to your soul. It is an inside communication which you are when performing, trying to throw out. naturally it will diminish in value. Kishori believes formatting in performance has robbed both north and south Indian music of their original depth of feeling. "How can you measure feeling? If I say 'Lakshmi, I love you,' you must feel the vibration." The formula of tempo, the sharing of time between singer and accompanist at set times in set patterns, all this, she feels, have robbed spontaneity, and intensity in music. Is it possible to resurrect this other music, I think aloud. Formats are for students, Kishori says. They need to be guided, safeguarded. For me, I must plunge into the air, and follow that feel, and be that feel myself. I pray to give me strength to go there.... which is abstract. There's nothing to hold on to, you are supportless. But you are free." "I learn a lot from my students. They are very intelligent. You can't just be sentimental and devoid of intellect. You can't be a genius without a mind. A perfect balance between intellect and heart - it is known as Siam - in Indian religion. This is how we reach for Moksha. You must understand that you need control to do that.

What about the North and South Indian systems of music... is there a meeting point, I ask. "I do not believe in these bifurcations. The sruthis are the same, the ragas are almost the same. I want you to blend it into a whole, you should think of it as a world of notes. We should not put too many words, too many rhythmical acrobatics into our singing. Basically, I think it is high time the instrumentalists change, and get out of this acrobatic syndrome with the percussionists. They can't go on deceiving people. These are just gimmicks." With disarming faith Kishori Amonkar says "I want to gain moksha with my music. I will do anything to reach there in this life. I don't want to be born again to do that."

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Smt. KISHORI AMONKAR - Perfectionist and a Dreamer

Smt. KISHORI AMONKARTo know Smt. Kishori Amonkar is to know genius. She has in her a concentrated essence of tbe good, the bad and the beautiful that any genius could boast of.

I have known Kishoritai now for many a year, yet I find that the passage of time does not help me to bind in words her elusive and many dimensional persona- lity. It is one thing to know her and another to write about her. Like a great poet, she can say "Yes. I contradict myself. I contain many." And look at the variety within her - a concrete love for the abstract, a sharp analytical power to dissect systematically an intellectual problem and also an ability to synthesise beautifully the diverse shades of thought, a unique intensity to fathom the mystery of music, a scientific approach towards the ancient and modern theories of Art and Art Creation, a child-like faith in Guru Raghavendra Swami, a sense of wonder of being lost in the fantastic, illogical world of fairy tales and a strong belief in superstitions. All these colourful bits of a jigsaw puzzle refuse to form a very sedate straight picture. At the most one can say, she is a supersti- tious rationalist and an adult who continues to be child.

" I love to be a child. I know that I am foolish and obstinate as a child. But this state is very precious for me." Kishoritai said to me one evening, with her tan- puras standing in front as mute witnesses, " But at the same time, let me tell you I will not be a child in my Art, " she added vehemently. Her witnesses must have silently consented. For when her fingers play on their strings, thc musical instruments are thrilled with the touch of a master. Kishoritai tunes her tanpura with the precision of a scientist. It has to be the exact shade of 'nishad', the correct 'shadja.'

She believes that playing the tanpura well is of utmost importance - even more important than tuning it. " Then how does one do it ? " I asked. Pausing only for thc well anticipated question to end, she replied, " Well, it is an art. You see, though the frequencies of the notes vary, their sound level should be the same. One should strike the next string in such a manner that the sound of the second is blended into the first and so on and thus thereby there is being established sacred serious, musical cyclic pattern. Of course it inspires me to sing, but at times I am afraid even to mingle my own vocal notes into that divine sound. However, one thing I must state that the scientific rendering of a tanpura is different from its aesthetical rendering; in thc case of the latter, the stress is significant."

And when she is tuning the tanpura - to the admiration of some, whilst tesing the patience of many - she is a picture of concentration. Her eyes gently shut, one hand adjusting thc beads below, the other stretching out towards the knobs at the other end, she becomes an object of beauty for any photographer, a portrait painter or even all ordinary viewer.

And when the tanpuras are tuned to perfection, we have beautifully spanned for our ears a musical rain- bow. And the colour is the colour of love. For, this artiste, has a profound love for notes, musical instru- -ments, musicians and music; in fact, anything and everything that is musical. Her love, more than her scholarship, makes her ask, "I wonder from where these these notes come? "

A musicologist, a musician or a commoner could as well give an appropriate answer. But that will never satisfy her. She has in her a uniqne combination of a child, mystic and artist. The seen world she does love but the pull and the insight into the unseen world is more fascinating. Her imagination then knows no bounds "How must be the home of these notes ? How do they behave with each other ? I wish I could see them, then I would be able to talk to them."

Actually, the notes are as familiar to her as her face, in fact definitely more so, for she has spent much more time with her tanpura than with a mirror.

She is an ideal student of her subject. She has thonght consistently and deeply on the various problems that face a creative artist. Thc hard core of her philosophy of Music is her faith in its power to trans- cend the material world and touch the spiritual. Her notes are divine and their singing is sacred. With her singing, a concert hall is transformed into a temple and the listeners become her Guru Raghavendra. There- fore, after a concert, whenever and wherever, she humbly bows down her head at the people in front- this gesture has an added dimension.

There are two different beings that harmoniously dwell in her - one a romanticist and the other a classi- cist. She herself does not very much like this classi- fication. She feels that an artist is an artist. All other nomenclatures are secondary. Her approach toward Art is spiritual. She believes that realism is depicted in art to take you to the ideal, and the ideal is self-realisa- tion - for the singer as well as for the listener. Like a true romanticist, she has an undying urge to reach out to Beauty. Her singing has its birth in the beautiful and it merges too in thc beautiful.

She said to me some years ago, "People say that I look beautiful when I sing. Today I seem to have got an answer. When I sing, I want everything to be beautiful - my notes, ny rhythm and myself too. My desire is so intense that on the stage you have beauty personified, not Kishori looking beautiful." And how true it is !

Her search for beauty does not turn her into an escapist. She is aware of the ugliness of life, its sordid- ness, its darkness and drabness. Yet she is convinced that when Art touches it, it does not wipe it out, but the innate strength of an art-medium makes it different. There is sorrow and joy inexplicably experienced together. Wheras, in life most often than not, they are mutually exclusive. In her heaven of art, a rose does have a thorn, and a thorn does prick, but its pain leads to peace. That is the uniqueness of art. Music may thrive on and be enriched by the depth and expanse of a 'Karuna Rasa' or 'Shringar Rasa', but it ultimately culminates in 'Shanti Rasa' that is 'ultimate bliss'.

If Kishoritai adores Beauty, she worships Truth anf therefore respects knowledge. Knowledge for her is not trapped wholly in books or fettered only in labora- tories. She believes that knowledge is free. It can be found anytime, anywhere. You meet it like friend in a marketplace, or like a "bhakta" you are blessed by its "darshan" in the " santum sanctorum" of a temple. Yet, I must tell you, that Kishoritai is a treasurer of books, and as a student of science in Jai Hind College, had done some of the best dissection work in the Botany laboratory. Her love for books is natural and has grown with time. At times she intui- tively buys a very good book. Some of the rarest titles in English Literature have been presented to me by Kishoritai, having bought the books in a bookshop, at various airports or on the pavement. She herself possesses one of the best libraries on aesthetics. Like gems, her books are well taken care of. They are neatly covered and bound. She will go to any extent to get a book she intently wants. Once she had wanted a book on " Indian Aesthetics" by Dr. Pandey. She searched for it high and low, She leafed through all the shops in Bombay, Delhi, Allahabad nd other smaller cities in India as well. The search was futile. But Kishoritai did not give in. And when she did get a copy of the book in a University Library, she got the whole significant part of the book cyclostyled. Today, it is one of her proud possessions, to be admired by the connoisseurs and not to be lent even to an ardent book lover.

It is well known that Dnyaneshwar, Tukaram, Surdas and Meera are her "singing partners" but few may know that Bharat Muni, Sarangdev, Narad and Anandvardhan- the great ancient literary masters--- are her 'thought companions." She is extremely happy in their company and it gives her equal joy to sing them or talk about them.

Kishoritai feels intently and thinks deeply. You cannot segregate " feeling " in life from "feeling" in art; for their roots go right down to that land which everyone owns but no one knows---i.e. the human mind. As far as feeling is concerned for Kishoritai, every- thing in this area is a "little more" than what the other people experience. For her the ruby-mud of her beloved Goa is a "little more" red; and its "sapphire- sky" a "little more" blue. Jasmine, Champak, Roses and Lilies, all these flowers are more fragrant when they have to be offered to Guru Raghavendra Swami; at the same time a "more expensive" saree is " less expensive " if it is to be given to her mother Mai. And if Mai is unwell, Kishoritai is terribly disturbed. She repeatedly rings up her younger sister Lalitatai's place and keeps on enquiring about Mai's health. At that time, it is easier for Lalitatai to nurse Mai than attend her Tai's frequent and demanding phone calls. Not satisfied with what she hears, Kishoritai than decides to rely on her own eyes. She straight- as she is - dashes to Mai. "How are you Mai?" her transparent concern for her mother is evident in the curve of the question. And as soon as Mai says, "I am having a stomach ache or a little palpitation," Kishoritai leaves her side to sit besides the telephone. Then she rings up a Doctor or two. She rings up the Doctor so often and with so much of urgency that she makes the Doctor sick. But her Doctors know well that though a rebel in the field of music, she is also a nervous, highly strung daughter. They therefore smilingly take the "doses" she gives them. And only when Mai says that "she is feeling a little better" Kishoritai is at a little peace with herself. But her health is not even considered when it is a question of her music concerts. With a temperature as high as 103 raging in her body, I have seen her give all excellent full fledged concert in Dadar. She has also rendered a 3 1/2 hour programme on our Saint- Poet Dynaneshar in a Bombay Hall, with the excru- ciating and relentless agony of a Herpes infection runn- ing a deadly line of pain on her face across thc nose. I can still see her holding her tanpura in her right hand and with the left hand dipping cotton in a medicinal solution and applying it to her face. One had only to see it to believe it. That is the fierce intensity she has for her music. It is almost inhuman or superhuman.

Thinking -intuitive, creative thinking - is also an innate part of her music. Her razor sharp intelligence is used to gently reach and unfold a particular "bhava" in a bhajan, a thumari, a ghazal or raga. Kishori tai firmly believes that "feeling" is the soul of music. She has thought long and lovinly about the various "bhavas" in art; how their subtle shades emerge and re-emerge, and one being prominent, surges forward towards the formation of a "rasa". Her study of "rasa theory" is very comprehensive. But everything that she reads in the ancient texts and whatever she herself experiences in the fire of the creative process is to be accepted only if it stands the test of actual music rendered.

Like a sincere hard-working student, she still gets up early in the morning to study and interpret the texts and spends or invests some time with the textual notes. Then after an interval of some kitchen work, she turns to and becomes one with her musical notes. The journey from the world of words to the universe of "sa-re-ga-ma " is as smooth as the sliding of the finger from one string to the other of her tanpura.

Kishoritai has given immeasurable joy to her listeners - through her music and her lectures. By now, she has become a renowned exponent of the "Rasa Theory of Music". She is an excellent speaker, being clear in though and lucid in expression. She has given lectures - series of lectures all over India. She carries the same brand of fire in her speeches as in her musical rendering. I remember its early beginning.

It was the year 1977; Place: New Delhi. Smt. Kishoritai Amonkar had been invited to participate in an International Seminar on Arts to be held in the capital of India. Her paper was entitled "Music and Communication" The audience com- prised of writers, musicians, dancers, painters, poets, sculptors and architects of national and international renown. In fact, they were the people who must have been more on the platform - on the other side of creation - than on the receiving side.

In the presence of such an illustrious and discern- ing listeners, Kishoritai read her paper with the ease of a professional and a fervour of a reformer. The text, born and bred on experience was appealing and thought- provoking and the diction was perfect, her breath-control remarkable with the right pauses and correct stress. The thunderous applause at the end "communicated" the listeners' feeling of appreciation. The impact of the paper was further seen when the Indian and Foreign Delegates attended her concert at 'Ashoka Hotel' the following day and made it a point to tell her of the same. As one dancer then remarked "Is it necessary to read the paper also so well? Can you not leave anything to others ? "
That is Kishoritai -

Perfectionist and a dreamer,

Lover of words and notes,

Colour and stones,

An old understanding friend,

A singer, setting a new trend,

Bound to music and its Reedeemer too.

And now finally about her Music. Kishoritai doesn't sing music, she breathes it. Then what can one write about it? It is like trying to describe and give one's impression of a beautiful sunrise. The sun of her " Bhairav " or " Bhup " is the same; yet, just as, every dawn is new, so also the " ragas " are different with every rendering. Her Music is as fresh as dew and as ancient as the earth.

Here I acknowledge my utter helplessness to do justice to her singing. Much has been written about it, and many are still trying to write about it. She like her mother Mai has also been awarded a 'Padma- bhushan'. It is indeed a rare feat for a mother and daughter to get one of the highest National awards in the same field - i. e. Hindustani Classical Music. Kishoritai sings with utmost intensity and sincerity. She believes in introspection and guidance from the ancient sages and seers, therefore the evolvement of her "raga" is different from others. Like a staunch classicist she wants to maintain the purity and the discipline of the " bhava " in a " raga ". She is totally convinced that in order to depict the " true and living raga " in future, one must progress towards the past- wherein lies knowledge that is eternal and Absolute. Trying to analyse the subtle nuances of her music I find that the river of words merges into the sea of silence.

We can only pray that may Kishoritai continue to sing for a long long time; and may we all be blessed to listen to that divine melody.

Posted on RMIC by Rajan Parrikar as part of Great Masters Series.
by Vibha Purandare

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Discography Of Kishori Amonkar

        Title         Artists         Catalog #         Nature         Contents         Label
1         Megh Malhar Vol 4
        Bismillah Khan - Shenai.
       
        Hindustani Duet
        Gaud Malhar, Mishra Mel k
        Music Today
2         Raga
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Basant Bahar, Gaud Malhar
        Music Today
3         Bhaktimala - Shri Vishnu Sahasranamavali Vol.2
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Shri Vishnu Sahasranamava         Music Today
4         Kishori Amonkar - Vocal - Sangeet Sartaj - Volume 1 and 2
        Kishori Amonkar - Vocal
       
        Hindustani
        Raga Alhaiya Bilawal - 30
        Music Today
5         Malhar Malika
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Nat Malhar: Barkha Rut Ay
        EMI India
6         Bhaktimala - Shri Vishnu Sahasranamavali Vol.1
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Shri Vishnu Dhyanam, Shri
        Music Today
7         Mharo Pranam - Meera Bhajans
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Mharo Pranam, Jao Nirmohi         EMI India
8         Gaana Saraswati
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Todi-- Mere Mana Yahoo Ra
        Multitone Prestige
9         Ghat Ghat Mein Panchi Bolta
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Ghat Grat Mein Panchi Bol
        BMG Crescendo
10         Hindustani Vocal
        Kishori Amonkar - Vocal
       
        Hindustani Vocal
        Rageeshri, Kedar
        TIPS
11         Live Concert SwarUtsav 2000 - Vol.1
        Kishori Amonkar - Vocal, .
        CDA01007
        Hindustani
        E Nara Hara Narayan,
        Music Today
12         Live Concert SwarUtsav 2000 - Vol.2 Khayal
        Kishori Amonkar - Vocal,
        CDA01008
        Hindustani
        Aali ri kitve gaye, vilam
        Music Today
13         Raag Ek Kalakaar Anek - Shuddh Kalyan (Bhimsen Joshi, Kishori Amonkar , Ustad Bismillah Khan)
        Kishori Amonkar - Vocal,         Sony Music NR 7043 2
        Hindustani
        Pt.Bhimsen Joshi (Vocal)
        Sony India
14         The Malhars
        Kishori Amonkar - Vocal, .         CDNF 150361
        Hindustani
        Raag : Miyan Malhar - Kar
        RPG Music
15         Sampradaya - Tribute To Late Mogubai Kurdikar - Live Kensington Town Hall, London, 2000
        Kishori Amonkar - Vocal,
        NRCD0151/52
        Hindustani
        Ragas: Alhaiya Bilwal, Je         Navras
16         Prabhat
        Kishori Amonkar - Vocal, .         NRCD0133/4(DDD)
        Hindustani
        Raga Todi - Khyal in Vila
        Navras
17         Live In Concert
        Kishori Amonkar - Vocal. .
       
        Hindustani Vocal
        Raag Bhoop, Bhajan. From
        EMI India
18         Live at Nehru Centre
        Kishori Amonkar - Vocal.
       
        Hindustani Vocal
        Bhoop-Prathama Sur Sadhe;         EMI India
19         Volume 1
        Kishori Amonkar - Vocal.
       
        Hindustani Vocal
        Deskar-- Piya Jaag Jaag,
        Melody
20         Malhar Malika Vol 3
        Kishori Amonkar - Vocal.        
        Hindustani Vocal
        Meera Malhar: Tum Ghan Se
        EMI India

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Kirya
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Reply with quote  #11 
Recently a large number of private concert recordings of Kishoritai have been added to Youtube -- they are not all of very good quality audiowise but still it is a significant number of concert performances and and for those who enjoy the bhava and mood that she evokes in live performances they are worth going through.

http://www.youtube.com/user/TheSangeetveda

Several versions of Bhoop and Yaman (two of her favorite ragas) and a large assortment of others.

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Kirya
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Reply with quote  #12 
Any Niranjani Todi recordings?
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Next concert: Aditya Sharma (today)
Sandipan Samajpati (9/28)
Shubhendra Rao (10/19)
Rakesh & Friends (Gino Banks, the drummer, tweeted me that they'll be in Oct, so whenever they come here, if they come here.)
Zakir Hussain & company (3/23/14)
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Reply with quote  #13 
Quote:
Originally Posted by "Kirya"
Recently a large number of private concert recordings of Kishoritai have been added to Youtube -- they are not all of very good quality audiowise but still it is a significant number of concert performances and and for those who enjoy the bhava and mood that she evokes in live performances they are worth going through.

http://www.youtube.com/user/TheSangeetveda

Several versions of Bhoop and Yaman (two of her favorite ragas) and a large assortment of others.
do any of the bhoops approach/eclipse the live at nehru performance?

that same saintly youtube user has also uploaded many priceless cocncerts of mogubai kurdikar. all of the ones ive listened to almost definitely have kishori on support vox. theyre almost indistinguishable when they really get going in tandem!
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Reply with quote  #14 
Quote:
do any of the bhoops approach/eclipse the live at nehru performance?
I am not sure I can really answer that properly -- they are all worth listening to and different enough to give you a different view of the raag but the recording quality is not as good.

I have 6 versions in total and don't have an absolute preference though I still like the 1970 LP version the most as it was my introduction to her voice.

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Kirya
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Reply with quote  #15 
Hello,

I am big fan of Kishori Amonkar. Happy to know about their concerts recording.

Also i am big fan of Roop Kumar Rathod. For their concerts i visited their official website.

Thanks
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