INDIAN MUSIC FORUMS

Sign up Calendar Latest Topics Chat
 
 
 


Reply
  Author   Comment   Page 2 of 2      Prev   1   2
Marc

Registered:
Posts: 10
Reply with quote  #16 
Nice recordings e-f
0
pfintucson

Registered:
Posts: 60
Reply with quote  #17 
Just have to chime in since, 10 years ago, I studied in Pasadena with Shujat Khan for a week (yes- it was a blessing...pricey, but worth it...) He taught me Jhinjoti. He has a very nice recording of it that includes him singing and playing. When I told him I loved that recording he said, "then let's work on Jhinjoti". So I sat around in my Indian duds, wanting to impress and he wore shorts and a Lakers T-shirt !!! Learned my lesson! Great Raga. Did NB ever do a recording if that one??? Can't say I've ever heard one.
0
nicneufeld

Avatar / Picture

Senior Member
Registered:
Posts: 1,564
Reply with quote  #18 
Been listening a few times to the Abdul Karim Khan recording...beautiful, and a shame it could not have been captured on more transparent equipment. Still, I suppose the old lofi recordings do have some romance about them. From the somewhat imposing portrait of him, one does not expect that high voice!

One question that strikes me...there is a definite shuddh Ni component he introduces in that recording. Does not seem to be a "mistake" that is quickly corrected, but it is repeated and emphasized in a nicely musical way. Can anyone comment on the role of shuddh Ni in Jhinjhoti?

Since posting this thread I feel like I have started to really get a sense of jhinjhoti. Sometimes it takes a few months for a raag to really start to sink in. Tomorrow hopefully will be my first lesson in about a month now, since my teacher will have returned from Kolkata. Looking forward to delving into Jhinjhoti with him again!
0
pfintucson

Registered:
Posts: 60
Reply with quote  #19 
Yes! Shujat's interpretation also would often land somewhere between shudh ni and komal ni in slow passages, alap... but pretty straight komal ni in fast gats/taans..
0
expiring_frog

Registered:
Posts: 18
Reply with quote  #20 
Quote:
Originally Posted by "pfintucson"
He has a very nice recording of it that includes him singing and playing.
He did a very nice rendition at the AACM a few years ago as well.
Quote:
Did NB ever do a recording if that one??? Can't say I've ever heard one.
Yeah, there are (I think) at least two recordings that I know of.

S
0
chrisitar

Avatar / Picture

Senior Member
Registered:
Posts: 487
Reply with quote  #21 
Quote:
Originally Posted by "CheesecakeTomek"
Lucky you! I just had the pleasure of spending a few months with this sweet raga back in the spring. There are a couple recordings that you can download from http://www.mediafire.com/?aiukgpjk6rdnh that I spent a good deal of time with.
-Tomek
Good God, my hard drive is fillin up fast! I'm especially excited about those Pt. Pran Nath recordings, the only thing i've ever heard is a hour+ malkauns, his voice is so powerful yet restrained, and the tempo so slow, mesmerizing. Thank you for uploading these gems!

__________________
Meend over matter
0
nicneufeld

Avatar / Picture

Senior Member
Registered:
Posts: 1,564
Reply with quote  #22 
Quote:
Originally Posted by "pfintucson"
Yes! Shujat's interpretation also would often land somewhere between shudh ni and komal ni in slow passages, alap... but pretty straight komal ni in fast gats/taans..
I asked Ustadji about the shuddh Ni in my lesson last night, and he said (forgive me if I botch this somehow!) that there was indeed the use of shuddh Ni particularly in the old style Jhinjhoti. I had used the example of Ustad Abdul Karim Khan (after which he gave a great and glowing tribute to the old master!) and he mentioned how the masters in particular could use the shuddh Ni because they had painted Jhinjhoti with such precision and mastery that its inclusion would not cause confusion with other raags (and of the raags that use khammaj with both shuddh and komal Ni, there seem to be no end of possibilities!).
0
CheesecakeTomek

Registered:
Posts: 513
Reply with quote  #23 
Yeah, Chris, it's truly a great resource. It is the first place I go when I am introduced to a new raga. Lots of Ustad Allaudin Khan recordings
0
John

Avatar / Picture

Registered:
Posts: 425
Reply with quote  #24 
Quote:
Originally Posted by "David
Not on sitar, but one of my all-time favorites, is Abdul Karim Khan's thumri in Jhinjhoti for the film "Devdas".



It actually moves me to tears on occasion, so beautiful do I find it.

David
That is something else. I defy anyone to not be moved by it. Every so often a piece of music comes along that not only transcends all languages, boarders, traditions and any other limitations we impose on ourselves, but also restores faith in something untangiable; be it god, love, life, whatever. Wherever I am, whatever I'm doing, this song elevates me. I share your tears, David, it is truely wonderful. Thanks.

__________________
"Truth cannot be taught, truth can only be discovered"
-- Hazrat Inayat Khan
0
nicneufeld

Avatar / Picture

Senior Member
Registered:
Posts: 1,564
Reply with quote  #25 
What I find interesting about that recording is that the harmonium accompaniment doesn't grate on me at all...it seems actually to fit nicely. Maybe I'm becoming harmonium-tolerant at last!

That shuddh Ni he hits is the climax for me, it jostles my brain to hear it but it fits so beautifully.

Quick Jhinjhoti question...going from ga to ma is generally not proper I gather, what about something like a quick Ma-Ga-Ma? I may be inartfully blending ragas but the chandni kedar done by UVK and UIK had a lot of these little trill like ornaments. P-tM-P, m-G-m, etc., and some time in jhinjhoti Alap I like to do a mGm thing on the second string as I'm descending. Hard to explain. Maybe I'll ask my teacher although I have to be careful not to "jump ahead"!
0
Kirya

Avatar / Picture

Senior Member
Registered:
Posts: 740
Reply with quote  #26 
I recall listening to an amazing Jhiinjoti recording from Amjad Ali made in the early 70's that really captured the feel of the Raag - I have heard a more recent recording but it is not as quintessential as the old one which is very hard to find now.

In India we were encouraged to listen to certain Hindi movie songs that were true to the core properties of the Raag to get the feel of the raag i.e. pakad, svaroop, chalan and basic vistar

We were also encouraged to find a vocal performance as a reference as the voice was always generally considered to be THE reference and model for any instrument. That Abdul Karim Khan version referenced above is considered a seminal version that is hard to improve on by anybody.

is a song that captures all the key aspects of the raag and I am sure there several others but sometimes they mix stuff from other raags in so be careful which one you model on e.g. a lot of songs that are supposedly Desh actually have many Tilak Kamod elements since in the movie business it did not matter as much to keep the raag pure.

The best examples are older "classic" Hindi movie based when classical musicians were writing the songs for the movies.

Lata and Asha are both classically trained so they knew how to keep it pure.

__________________
Kirya
Los Angeles, CA
0
David Russell Watson

Senior Member
Registered:
Posts: 362
Reply with quote  #27 
Quote:
Originally Posted by "John"
That is something else. I defy anyone to not be moved by it. Every so often a piece of music comes along that not only transcends all languages, boarders, traditions and any other limitations we impose on ourselves, but also restores faith in something untangiable; be it god, love, life, whatever. Wherever I am, whatever I'm doing, this song elevates me. I share your tears, David, it is truely wonderful. Thanks.
You're welcome. It's nice to hear that so many others find it as beautiful as I do!

Before hearing Abdul Karim Khan's 'Piya Bin Chain' I'd always thought Jhinjhoti nice, but never got terribly excited about it. It had never been one of my favorite rags, but Khan's interpretation changed all of that in a big way. My own thanks goes to Rajan Parrikar, on whose site I first came across it.

I misread the note at the beginning of the YouTube video and thought it had been sung in one of the early black-and-white versions of 'Devdas', but as expiring_frog pointed out that's not the case.

David
0
nicneufeld

Avatar / Picture

Senior Member
Registered:
Posts: 1,564
Reply with quote  #28 
OK, I recorded this because, well, I haven't practiced nearly enough, but I'm finishing up the alap, gat, and jhalla in Jhinjhoti and will need to play it for my teacher Tuesday, so I'll be listening to it to and from work. Recorded on a plain old iPhone set next to the tabli, nothing fancy. My hand completely falls apart after 15 minutes though, I don't have the endurance for the long performances, and it comes through nice and clear where I stumble gasping across the finish line on this one!



I quite love this raag now, thanks to all of you, particularly that Abdul Karim Khan masterpiece which now is somewhat embedded in my appreciation for this raag, complete with its beautiful invocation of shuddh nishad.
0
fossesitar

Registered:
Posts: 983
Reply with quote  #29 
Nice playing NicNue, you have a sweet hand. GF
0
Previous Topic | Next Topic
Print
Reply

Quick Navigation:

Easily create a Forum Website with Website Toolbox.