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SitarMac

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Reply with quote  #1 
Hey ya'll-
Has anyone heard this guy? I saw a posting over on the google thread and the comment was something to the effect of life changing. It is a Rudra Veena recording of Shamsuddin Faridi Desai playing Raag Puria. Also, I'd like to ask the opinion of the forum. I seem to have this feeling that Rudra Veen is making a slow comeback. I know that i find myself really enjoying my seldom listened to Veena Mp3s more and more these days....And since Abdul-ji put his feelers out for one, I too have found myslef thinking about getting one....What do ya'll think? Rudra Veena on the rise, and has anyone heard this This performer playing this Raga?

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Just a listener now....Was fun while i played though!
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Stephen

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Reply with quote  #2 
I have a CD of him rendering Yaman and Komal Rishabh Asavari. I don't much care for it though. I have heard through the grapevine that the guy has kind of an alcohol problem although this is just a rumor. He was a disciple of Ustad Bande Ali Khan. He has a strange way of attacking the rudravina. But on the other hand, it seems that he is one of about three players of the rudravina that are recording now. I know that there are several westerners that are doing right well with the bin but they are not recording or if they are, they are not doing a good job of marketing (sorry if that last statement sounds like ol' Her Parinkar). Bahauddin Dagar and Asad Ali Khan seem to be the only others that keep agressive teaching, recording and performing schedules.
It is my feeling that your head has to be in a certain place to pick up the rudravina. And unless you are ready to devote 100% of your practice time to it, you should probably continue to work with the instrument that you have now. If you have ambitions of one day playing like Shankar, Banerjee, Parvez or anyone else that will play a Jhalla, then you'd best stick with sitar. If you would rather confine yourself to Alap and Jor, then perhaps you might be a candidate for the bin. Do your research first though, and bear in mind that a decent rudravina is going to cost you several thousand more than your "concert grade" sitar cost you. Do NOT even consider buying one from one of the hacks (if you are far enough into it to consider confining yourself to Dhrupad then you probably know who the hacks are). I have struggled for years with the yearning for a rudravina as I listen mostly to Dhrupad, but think that I am making a wise choice to continue my experiment with the surbahar (not that I take it wherever I go, but at least it will fit in my car) I had to trade in my Volvo sedan for a Volvo station wagon though...been a good car though, have over 200K miles on it and it runs like a thoroughbred. Don't listen to the folks that say it is a pain to travel with a surbahar though, it will fit more easily under a 2A/C berth than a sitar (katchapi cut) and some polite Hindi will insure safe transport. But if you are a colector, go ahead and bag the prize of your collection, they are pretty!
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Surbaharplayer

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Reply with quote  #3 
I second Stephen's comments...Basically you could devide sitar and Rudra Veena also in to different categories of music as well. Rudra Veena is more dhrupadoriented whereas sitar is more khyal oriented. The more I'm studying surbahar in dhrupad-style the more i notice the differences. No tanas as you know them on sitar. My teacher made a nice comparison: khyal-players, when playing a 2 note meend, tend to concentrate on note a and b....dhrupad-players tend to watch the space between the notes... We spend about two hours on a meend from Da to Ni and was shown a dozen different routes... (and more are starting to show itself).

We are concentrating on alaap and I must say my style has changed radically in the last 3 or 4 months.....The way we aproach notes is very different than my sitar-teacher...it's becoming much more fluid..

Peace,

Remco
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surgam

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Reply with quote  #4 
This is mainly to answer SitarMac's question:"Has anyone heard this guy?". Well, in the year 1995, in the south indian temple town called Mahabalipuram I met an extraordinary person - an Austrian sadhu with saffron robes, dreadlocks and a Rudra Vina. Intrigued, I made friends and I was taken up to a small room on a terrace where I was introduced to the music of Shamsuddin Faridi who happened to be his guru. The music that was played to me that day from a battered old casette player from a battered old casette was, in fact, the Puriya. It had been just recorded then and I heard the unedited, unpublished version. It was sort of a revealation to me. I had not heard anything like this before. I had not heard the name of the musician. The music created a deep impression. Subsequently, slowly and laboriously, I found out about the gharana, I met the musician, his family, as well as, some of the persons involved in producing the CD in question. I found out that Shamsuddin is a very different kind of person from any musician I know. The grapevine is only partially right, actually his problems are deeper... I can only compare him with maybe Jimi Hendrix or Syd Barret ... in this regard. However, he goes through phases of extreme creativity and quiescence - like a manic depressive. So the quality of his performances are highly variable. The Puriya and the other MAKAR CD are quite different and are an illustration of this.

Shamsuddin is, I believe, nearing the end of his career ... he is almost 70. There are 3-4 CDs worth of music already recorded and will, (Inshallah!) be published in the future, depending on how much interest the Puriya can generate. However, the silver lining is that his sons Nasir, Zahir and Rahman all know the strict Gauhar bani style of playing and are becoming musically mature enough to start recording soon.
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beenkar

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Reply with quote  #5 
I have a video of Shams with his Son Zahir recorded a couple of years back...................However, I am yet to connect it with the Darbangha Dhrupad which is claimed to be following Gauhar Bani or the Gauhar singing style..............
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टूटि गयो घर को सब बंधन छूटि गौ आरज- लाज- बड़ाई
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trippy monkey

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Reply with quote  #6 
I saw this guy many years ago in the Sanskritk Festival of Arts of India about mid 80s.
I have an audio cassette with the performance on somewhere but the miking was bloody awful & we couldn't hear it properly even though we were quite near the stage.

Nick
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barend

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Reply with quote  #7 
I consider the rudra veena as the most beautiful indian instrument...but like Stephen said I also like to play fast tans en fast jhala, that is why I stay with my sitar.
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