Regarded as one of the best Sarod players ever.

Author: sweetsurj
Keywords: sweetsurj
Added: January 06, 2009

Ustad Allah Rakha & Zakir Hussain Tabla Solo Teental

Author: past594
Keywords: past594
Added: January 06, 2009

Click //-rajshri/concerts/concerts.asp?Page=1 to watch more concerts

Author: rajshri
Keywords: rajshri
Added: January 06, 2009

In under 5 minutes, Zakir Hussain demonstrates some of his core repertoire in an oh so sweet teental solo performance. Enjoy!

Author: punjabiprinze
Keywords: punjabiprinze
Added: January 06, 2009

//-rajshri/concerts/concerts.asp Enjoy the jugalbandi between two stalwarts of Hindustani classical music.

Author: rajshri
Keywords: rajshri
Added: January 06, 2009

Amazing collaboration! Amazing song! Jans solo is simply mind-blowing! What an amazing piece of classical indian-jazz fusion! A must-listen for everyone. I have tried to make this music video kinda thing. Hope youll like it. The track "Saga" is from the album "Ragas & Sagas" released in 1990. Below is the line-up for the album Ustad Fateh Ali Khan Voice Jan Garbarek Soprano and tenor saxophones Ustad Shaukat Hussain Tabla Ustad Nazim Ali Khan Sarangi Deepika Thathaal Voice Manu Katché Drums Buy the album from the following link //-ecmrecords/Catalogue/ECM/1400/1442.php Please rate and share the video. Thanx!

Author: aSinnerMan7
Keywords: aSinnerMan7
Added: January 06, 2009

Raag Kamod

Author: rnulu
Keywords: rnulu
Added: January 06, 2009

Grup Ayna web sitesi GrupAyna Üstad Andı yine gönlüm seni bir sabah, Karanlık gecemin şafağı üstad! Duydum sînemde bir tatlı inşirah, Gönüller sevginin otağı üstad! Her yanda ışık aradığım zaman; Rûhun gelip ufkuma indi üstad! Dilindeki Cennet çağrısı iman, Melek sesi kadar derindi üstad! F.Gulen

Author: ErhanGuleryuz
Keywords: ErhanGuleryuz
Added: January 06, 2009

Wassifuddin Dagar sings Raag Darbar Kanara in Dhrupad form. Uploaded with artist permission. F. Wasifuddin Dagar represents the 20th unbroken generation of dhrupad singers in the Dagar family. He is the nephew of Ud. N. Zahiruddin Dagar and son of Ud. N. Faiyazuddin Dagar; the grandson of both legendary Ud. Nasiruddin Dagar from paternal side and Ud. Hussainuddin Dagar from maternal side. It has been a long tradition in the family to imbibe knowledge from all the elders, irrespective of direct or indirect lineage. They pass on the subtle aspects of the Dagarvani heritage which will make a full-fledged performer. Wasif had the good fortune in his tender age to meet and sit with Padma Bhushan, Ud. Rahimuddin Khan Dagar; his Chacha Saheb, his grandfathers younger brother. Chacha Saheb saw Wasifs innate talent despite his very tender age and predicted him a bright future; thus he encouraged Wasif to accompany him during music sessions and recordings, he developed a special affection for him. Other elders also played a role in his growing into music. Wasifs eldest uncle Ud. N. Aminuddin Dagar, the real elder brother of his father and uncle, has always been a great source of inspiration and encouragement. His cousin-uncle, Ud. Z. Mohiuddin Dagar having followed his progress presented him with a tanpura after his first public concert, a significant acknowledgement by an elder. At present, in the same spirit, he keeps benefiting from the knowledge, experience and guidance of Ud. R. Fahimuddin Dagar and Ud. Z. Fariduddin Dagar and Ud. H. Sayeeduddin Dagar.

Author: darbarfestival
Keywords: darbarfestival
Added: January 06, 2009

Ustad Fateh Ali Khan & Jan Garbarek Album Ragas and Sagas "Raga I" Photos by me.

Author: nuko76
Keywords: nuko76
Added: January 06, 2009

O lalo اوستاد مهوØ

Author: Maimanagi
Keywords: Maimanagi
Added: January 06, 2009

Kejadian Ngeri + .... Ambil Iktibar dengan kejadian nih...

Author: krupkrup
Keywords: krupkrup
Added: January 06, 2009

a part of an interview enveloped by Raag Mian Ki Todi and Raag Bihag Ustad Bade Ghulam Ali, one of the greatest singers of all times, was capable of weaving a magic spell with his swaras and taans. He had once said "My throat is like a paint brush and I paint on the waves of wind with my voice. The swaras -- the notes of the raga -- are my colours. It is like a painting created in the air, which is my canvas." He inherited the formidable musical parampara (tradition) of Punjab that encompassed the Hindu, Muslim and Sikh religions. Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song) is sung even today, was buried in Kasur, Ghulam Alis birth place. The shepherds, wandering in the hills, sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani and Quratulain Haider have paid a rich tribute to the maestro. Ghulam Alis uncle and guru, Ustad Kale Khan, was himself trained in the Patiala school of music (Patiala gharana); he taught the young Ustad simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the Dilli Darbar. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncles baton. Later after a brief acquaintance with Lucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice) on the banks of the river Ravi. Singing all night not only developed his stamina, but also gave him the rare sensitivity to gauge the external response. In 1932, he lost his wife Allah Jiwai. His grief, poured into melody, gave birth to the immortal thumri Yaad piya ki aye, reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. Ive Allah in my mind when I sing these words...Different people in the world have different names for the Supreme Being who is One. In 1947, he visited Afghanistan at the invitation of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians, where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabl; Sitar meaning seven strings and Dilruba being a longer version of Sarangi. The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship and sing at concerts all over thecountry. According to the cognoscenti, earlier the Ustads singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say Maharashtrians are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature! It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple). She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the traveller and food distributed to the rich and the poor alike! In this respect, theSufis of Islam, the Bhaktas i f the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot, Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. *** Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi; Price Rs. 1200/

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Ustad Shaik Dawood is one of the Great Masters of 20th Century among Ustad Wajid Hussain Khan, Ustad Ahmedjan Thirakwa, Ustad Habibuddin Khan, Ustad Nizamuddin Khan, Pandit Chaturlal etc. etc.

Author: knisar22
Keywords: knisar
Added: January 06, 2009

Jayant (Hungama/Hangama Ghazal) Amul Star Voice of India Chhote Ustad

Author: ytube123y
Keywords: ytubey
Added: January 06, 2009

Ustad Shahid Parvez perfoming live in Delhi. Amazing performance with Rafiuddin Sabri on Tabla

Author: ipsingh73
Keywords: ipsingh7
Added: January 06, 2009

A Thumri. Ustad Bade Ghulam Ali Khan can be described as an artiste who has had the maximum impact on the 20th Century Hindustani Classical Music scenario. Born in 1902 into a great musical lineage from Kasur in the Western Punjab, this great savant amalgamated the best of four traditions; his own Patiala - Kasur style, sculpturesque Behram Khani elements of Dhrupad, the intricate gyrations of Jaipur and finally the robust behlavas (embellishments) of Gwaiior. But what actually characterised Bade Ghulam Ali Khan was an effervescent melodic quality which was concertised in a masterly flow of ideas which were delivered with a unique sense of alacrity, aided by one of the most pliable and dextrous voices ever heard in living memory in this land. Bade Ghulam Ali Khan had a relatively short career span. He blazed the trails of Calcutta in 1938 and in the 1944 All India Music Conference in Bombay, was virtually anointed Lord of all he surveyed in the field of Indian Music. But 24 years later, he was dead, prematurely at 66, having given the World less of himself than it would have wished to have. The maestros approach to khyal was essentially traditional - as seen in the medium pace of his vilambit Khayal presentation and his style of straightforward sthaibharana avoiding permutations. The character of his Gayaki was derived from an inclination towards looking beyond the traditional method of intoning a Swara to discover unchartered facets of beauteous melody, often achieved by very subtle inflexions of notes. This approach was bom of a mind which always strove to find that beauty in Indian Music which went beyond the Raga itself. For Bade Ghulam Ali Khan, Taleem was but a means to a greater end where sheer melody and freedom of movement became unified His music was the joyous expression of an unfettered musical psyche. In Thumri, Bade Gliulam Ali Khan looked beyond the tradition of bol-banav where verbal and musical expressions are unified. He saw in Thumri an avenue for playing with notes with even greater abandon than was possible in the raga-restrained Khayal. From this perspective was born the now well-established Punjab-ang of Thumri.

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

afghan singer ustad mangal king of laghman

Author: hamid20
Keywords: hamid0
Added: January 06, 2009

Ustad asad amanat ali last performence on atv live morning show. Asad Amanat Ali Khan(September 25, 1952- April 8, 2007) was a very popular classical, semi-classical and ghazal singer from Pakistan. Hailing from famous Patiala Gharana, Asad was son of famous musician Amanat Ali Khan. Asad Amanat Ali Khan died relatively young of heart attack on April 8, 2007 in London. His great-grandfather, Ali Baksh Khan, was the founder of the Patiala Gharana. His grandfather, Akhtar Hussain, was a prominent musician of his time who added to his repute by coaching two of his sons into becoming a formidable singing duo. Of the duo Amanat Ali Khan, Asads father, died in 1974. Asads younger brother Shafqat Amanat Ali Khan is a popular pop singer and he is the lead singer of band Fuzon. Like his father, Asad was given the presidents award for Pride of Performance. The government of Pakistan acknowledged Asad Amanat Ali Khans immense contribution to Pakistani music by awarding him the Pride of Performance on March 23, 2007 (2 weeks before his death). He had visited London in January and was receiving treatment for a condition known as HOCM. He retutned to Pakistan however during his treatment to receive the Presidents award of Pride of Performance. After receiving the award he had left Pakistan on April 3, 2007 for medical consultation, and while in England, on April 8, 2007 died in Cassiobury Park in London whilst enjoying an outing with the family. He had fallen to the ground and many attempts were made to revive him however, he had died instantaneously. His medical tests were scheduled for the following week but he never got a chance to continue his treatment. His body was brought back to his home country Pakistan for the burial. He was buried in Mominpura Graveyard Lahore.

Author: zagham99
Keywords: zagham99
Added: January 06, 2009

ustad fateh ali khan live on atv morning show . Bade Fateh Ali Khan (born 1935) is amongst the foremost Khayal vocalists alive today in Pakistan, and the last significant exponent of the Patiala Gharana (stylistic lineage). He is the younger of the singing duo "Amanat Ali-Fateh Ali", who enjoyed immense prestige and success in Pakistan as well as India, until the demise of Amanat Ali Khan (1932-1974). Amanat Ali-Fateh Ali became celebrities while still in their childhood in undivided India, and achieved their highest official recognition in 1969, when the President of Pakistan conferred on them the Pride of Performance Medal. The "Bade" (elder) prefix got attached to Fateh Alis name after younger Pakistani musicians with similar names started making waves with an entirely different genre of music. Fateh Ali and his late brother were trained by their father, Akhtar Hussain, a distinguished vocalist in the patronage of the princely state of Patiala in colonial, undivided India. Their grandfather, Ali Baksh, also served the same court, and was a cofounder of the Patiala gharana. The prodigious talent of Amanat Ali- Fateh Ali received early encouragement at the Patiala court. They had a glorious debut in 1945 at Lahore, sponsored by the influential connoisseur, Pandit Jeevanlal Mattoo Their breakthrough came at the All-Bengal Music Conference in Calcutta in 1949, when Amanat Ali was 17, and Fateh Ali was 14, after which they never looked back. Life changed dramatically for the budding stars when India was partitioned in 1947, and the family opted to migrate to Pakistan. Overcoming destitution in their new home, the duo swung back, while still in their teens, to earn their rightful place amongst the foremost vocalists of the subcontinent. Fateh Ali was dealt a devastating blow with the demise of his brother Amanat Ali in 1974. Fateh Ali is reported to have suffered a deep depression for over a year and a half, following which he joined Radio Pakistan as a supervisor. The two brothers as a duo had neatly dividing their singing by specialisation. Amanat Ali Khan had a gifted voice and he embellished his singing in broad sweeps by lagao, and blossoming out in the upper register while Fateh Ali engaged in intricacies of the countless behlawas and complex taans, in a much lower and gravelly voice, respectively drawing inspiration from two elders of their gharana, Ustad Bade Ghulam Ali Khan and Ustad Ashiq Ali Khan. Fateh Ali was urged to restart his performing career, but would break into tears when first beginning to sing. Fateh Ali Khan eventually overcame this emtional block, and started singing as a duo with his younger brother Hamid Ali Khan, as well his nephews, Asad Amanat Ali Khan(1952-2007) or Amjad Amanat Ali Khan who are both sons of his late brother Amanat Ali Khan. The absence of Amanat Ali made Fateh Ali redevelop and re-align his singing style. He had to fill the void left by Amanat Ali in the middle of his career, which in any case is not an easy thing to do. The void was only partly filled by Hamid, Amjad Amanat and Asad Amanat Ali Khan, as these three have occupied a relatively junior role in comparison with the almost equal footing that Amanat Ali and Fateh Ali fulfilled as a duo. Though trained also in the mediaeval Dhrupad genre, the uncle-nephew duo restricts its repertoire to the modern mainstream genre, Khayal, and the romanticist genres, Thumris, Dadra, and Ghazal. The pair has, since their alliance, performed widely in Europe, North America, the Middle East, and South Asia, and released several recordings. One highly unusual CD released in 1995 is entitled "Ragas and Sagas", which is a collaboration with Norwegian Saxaphonist Jan Garbarek. Fateh Ali has performed all over the world and has many students internationally. One of his favorite students was Deeyah from Norway. She is origanly half Afghan and half Pakistani. She was born in Norway. And now she is in USA. In the latter half of the 20th century, the Patiala style of Khayal vocalism has been represented by two streams of the gharana. One stream, gave the music world the Amanat Ali and Fateh Ali duo. The other stream, through its training of Kasur gharana vocalists, produced Bade Ghulam Ali Khan (1903-1968), his brother Barkat Ali Khan (1907-1963), and the formers son, Munawar Ali Khan (1933-1989). With the stylistic distinctiveness and continuity of Khayal gharanas having fallen prey to socio-cultural changes on both sides of the India-Pakistan border, Fateh Ali Khan is the last of the thoroughbred Patiala vocalists.

Author: zagham99
Keywords: zagham99
Added: January 06, 2009

Ustad Amir Khan (1912-1974), born in a family of musicians in Indore, India, was a well-known Hindustani classical vocalist. He is considered to be one of the most influential figures in Hindustani classical music during the 20th century, together with Bade Ghulam Ali Khan. He developed his own singing style and helped popularise taranas, as well as compositions in Persian. Besides singing in concerts, he also sang film songs based on ragas, most notably for the films Baiju Bawra, Kshudhita Pashan, and Shabaab. He died a premature death in a car accident in Calcutta on February 13, 1974. A tribute to Ustadji by John Campana with explaination about the meaning of tarana //caferisko.ca/ak/

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Ustad Bade Ghulam Ali Khansaheb inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Alis birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Alis uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music (Patiala gharana); he taught the young Ustad simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the Dilli Darbar. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncles baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed his stamina, but also gave him the rare sensitivity to gauge the external response. In 1932, he lost his wife Allah Jiwai. His grief, poured into melody, gave birth to the immortal thumri Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. Ive Allah in my mind when I sing these words...Different people in the world have different names for the Supreme Being who is One. In 1947, he visited Afghanistan at the invitation of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustads singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say Maharashtrians are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple). She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot, Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. *** Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi; //video.google/videoplay?docid=9166034051968590538 //video.google/videoplay?docid=3399328193716946741 //video.google/videoplay?docid=-7526764871398003507

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Ustad Amir Khan with ustad manir khan (sarangi) Raga Malkauns

Author: sweetsurj
Keywords: sweetsurj
Added: January 06, 2009

Ustads Greatest

Author: ikhan24
Keywords: ikhan4
Added: January 06, 2009

Ustad Abdul Wahid Khan and Ustad Abdul Karim Khan popularized the Kirana Gharana style of classical music in India. �The King of Music�Although a youthful prodigy of the Kolhapur court, remaining unchallenged after his public debut there at age 18, Abdul Wahid Khan had no inclination to spend time singing in the courts. Instead he lived a devout, reclusive life, singing in the presence of holy men and at the tombs of Sufi saints and only occasionally sang in public. The most striking fact on his performance was apparently his alap. The time he took, the care, to elaborate the raga was exceptional among khayal singers he might take hours on one raga. When Salamat Ali Khan was asked by one of his disciples for a description of Abdul Wahid Khan, he replied, �He would begin to improvise in Lahore and you could travel to Delhi and back, and he would still be improvising. More than that you don�t ask.� Ustad Ali Akbar Khan said that when most musicians came to the radio station, they sang their raga and went home. When Abdul Wahid Khan would come, however, he would sing his scheduled broadcast and then just continue for 20 hours or so. People would come and go, and he would still be singing. His command of the art was such that no other musician ever performed in his presence. Abdul Wahid Khan practiced Todi and Darbari day in and day out. When asked why he limited himself to only two ragas, his response was that he would have dropped the second one also if morning time could last forever. One lifetime, according to him, was not enough to do justice to any raga. He was forced to change from Todi to something else only because of the setting sun and the gathering darkness. Born in Kirana, he later moved to Lahore where he made an independent career until his death in Saharanpur in 1949. Ustad Abdul Wahid Khan was inferred the title of �Sirtaaj-e-Moutaraki� the Crown of All Musicians, The King of Music. He had a most religious and pious attitude to life, paying homage throughout his life to his pir the Sufi, Khwaja Ali Ahmed Nafi Alam, a saint living in Multan in the Punjab, now Pakistan. Requiring rigorous discipline and fierce devotion, Abdul Wahid Khan accepted very few disciples, among them Pandit Pran Nath who became one of the most important disciples through his ceaseless practice, natural talent and extraordinary ability to serve his master. For almost 20 years he served his Guru and in 1970 came to the USA where he has many disciples in New York, California and Oregon including the American composers La Monte Young and Terry Riley. Ustad Abdul Wahid Khan had only one surviving son, who followed in his father�s footsteps to also become a great musician on the sarangi and voice. Ustad Hafizullah Khan was a senior artist with the highest ratings at All India Radio in Delhi for over 35 years. ng his lifetime, Sufi Abdul Wahid Khan Chisti Sabri was the acknowledged master of the Kirana style. His revival of Khayal at the turn of the 19th century stands, in itself, as a virtually unparalleled contribution to the recent history of Indian Classical music. Abdul Wahid Khan began his studies at an early age with his father, Abdul Majid Khan, learning vocal and sarangi. Around age 12 he was sent to Kolhapur to study with Haider Baksh Khan, who was a disciple of the reknowned master of the beenkar (vina) and voice, Mian Bande Ali Khan.

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Raag Bageshree, drut, teentaal. An incredible Life recording [audio] recorded in Calcutta, India 1963. Ustad Bade Ghulam Ali Khan inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Alis birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Alis uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music (Patiala gharana); he taught the young Ustad simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the Dilli Darbar. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncles baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed his stamina, but also gave him the rare sensitivity to gauge the external response. In 1932, he lost his wife Allah Jiwai. His grief, poured into melody, gave birth to the immortal thumri Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. Ive Allah in my mind when I sing these words...Different people in the world have different names for the Supreme Being who is One. In 1947, he visited Afghanistan at the invitation of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustads singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say Maharashtrians are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple). She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot, Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. ***

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Ustad Bade Ghulam Ali Khansaheb inherited the musical parampara (tradition)of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today, was buried in Kasur, Ghulam Alis birth place. The shepherds, wandering in the hills,sang in praise of Hazrath Ali andHussain -- grandsons of Prophet Muhammad -- in melodies akin to classical Indian ragas. The shabads and qawwalis of the Sikhs were often based on ancient Dhrupads and Khayals, again Indian classical ragas. In the biography of Bade Ghulam Ali Khan, authors Malti Gulani and Quratulain Haider have paid a rich tribute to the maestro.Ghulam Alis uncle and guru, Ustad Kale Khan,was himself trained in the Patiala school of music (Patiala gharana); he taught the young Ustad simple compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at the age of 9, and watched him perform at the Dilli Darbar. Thus began the grooming and development of the musicalpersonality of the young disciple, alongside rigorous taleem (training) under his uncles baton. Later after a brief acquaintance with ucknow and its highly refined soirees, Ghulam Ali returned to Lahorewith his father and resumed his nightly riyaaz (practice)on the banks of the river Ravi. Singing all night not only developed his stamina, but also gave him the rare sensitivity to gauge the external response. In 1932, he lost his wife Allah Jiwai. His grief, poured into melody, gave birth to the immortal thumri Yaad piya ki aye,reflecting the very trauma of his heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the benign patronage of the noted singer Ganga Bai. A Sufi at heart, he was once greatly moved by the poem Hari Om Tat Sat, and rendered it musically in the haunting raga Pahari. Years later, he explained, "God, Truth and Haq is one. Ive Allah in my mind when I sing these words...Different people in the world have different names for the Supreme Being who is One. In 1947, he visited Afghanistan at the invitation of King Zahir Shah and re-established the splendid rapport in music between the Afghans and Indians,where the Afghan string instruments like Rabab and Santoor were part of the Hindustani ensemble. Many Indian musical instruments still retain their Persian roots, such as Tabla, derived from Persian tabla;Sitar meaning seven strings and Dilruba being a longer version of Sarangi.The Partition in 1947 dealt a severe blow to the composite culture of the Indian subcontinent. But Ghulam Ali at a concert organized by Radio Lahore sang his own composition in raga Mian ki Todi Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he was invited by Morarji desai to have Indian citizenship and sing at concerts all over thecountry. According to the cognoscenti,earlier the Ustads singing was like the sound of the waterfall striking against the mountainside and rushing with great force to mingle with the ocean; now it resembled the vast ocean itself whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to Kolkata where he was frequently invited to sing before highly appreciative audiences. He would say Maharashtrians are great connoisseurs of classical music, with their approach being technical and academic. The exuberance, which the people of Kolkata show, is characteristic of their emotional and artistic nature!It is in Kolkata that he took young Malti Gilani (singer and later his biographer) as his gunda-bund shagird (committed disciple). She has noted how the open house atmosphere prevailed at the Ghulam Ali residence - reminiscent of the Sufi Khanas and hospices of the Middle Ages. In such places -- as even in the Dargahs today -- a cauldron of rice was always being cooked for the yraveller and food distributed to the rich and the poor alike! In this respect, theSufis of Islam, the Bhaktas of the the Vaishnava cult and the Catholic mystics of the Medieval Europe - they all shared a similar spirit of tolerance and bonhomie. After having accomplished a lot, Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the green wheat fields of Kasur on the eastern seaboard of India. That he always took his listeners on an inward journey of musical understanding and fulfillment remained true to his last day. This biography provides an insight not only into the music of Ustad Bade Ghulam Ali Khan but into the history of Indian classical music at large. *** //video.google/videoplay?docid=9166034051968590538 //video.google/videoplay?docid=3399328193716946741 //video.google/videoplay?docid=-7526764871398003507 Ustad Bade Ghulam Ali Khan -- His Life and Music by Malti Gilani & Qurantulain Hyder; Harman Publishing House, New Delhi; Available at daya publishing house publishers and distributors 4762-63/23 Ansari Road, Darya Ganj, New Dehli- 110002 phone 011-23244987, 011-23245578

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Homage to my Dada Guru Ustad Vilayat Khan. The very moment I heard Ustad Vilayat Khans sitar, my life goal became clear! Raga Pilu Alap 1 Prabhu Edouard-tabla April 2008 concert in a beautiful church in St Remy de Provence. //-sitar-music

Author: sitarbrigitte
Keywords: sitarbrigitte
Added: January 06, 2009

Ustad Mahwash with Ustad Hashem Ustad Asef & arif and crew traveled to Tehran Iran and recorded this song on Irans National TV. This song was composed by Naynawaz, while Mahwash and Naynawaz were practicing it, Ahmad Zahir walked in to Naynawazs house, liked the song and walked out, hours later he came back and said i already recorded it on the Radio.

Author: wahidjon
Keywords: wahidjon
Added: January 06, 2009

Ustad Mahwash اوستاد مهوØ

Author: Maimanagi
Keywords: Maimanagi
Added: January 06, 2009

Ustad Shahid Parvez.

Author: gurubhai
Keywords: gurubhai
Added: January 06, 2009

Ustad Sarahang Composed this song for the bollywood film "Mera Saya" where Lata Mangeshkar sang it. Many Other singers in Afghanistan Pakistan and India have sang this song thereafter.

Author: wahidjon
Keywords: wahidjon
Added: January 06, 2009

Anwesha Singing Barso re Megha in chote ustad on 15th december.....good performance

Author: looking4u84
Keywords: looking4u84
Added: January 06, 2009

Documentary on Ustad Shehriyar

Author: gunazyayim
Keywords: gunazyayim
Added: January 06, 2009

Shehnaai - Thumri - Raag Bhairavi "Ka karoon sajni aaey na baalam" Tabla Nazim Hussain

Author: mahakavi
Keywords: mahakavi
Added: January 06, 2009

Ustad Shawali Old Afghan T.V. Pashto Song

Author: feryaruon
Keywords: feryaruon
Added: January 06, 2009

AHMED JAN THIRAKWA (1892-1976) Thirakwa was born to a musical family in Moradabad, Uttar Pradesh State. Ahmad Jan was really drawn to the art of tabla playing when he heard Ustad Munir Khan. He took his early lessons from his uncles Sher Khan, Faiyaz Khan and Bashwa Khan. Thirakwa became a student of Ustad Munir Khan at the age of 12. Since then, he put His heart to his riyaz (practice). His guru, Ustad Munir Khan, made him practice nearly 16 hours a day with half-hour breaks every now and then. Thirakwa had barely six hours to sleep. Thirakwa had a rich diet of nutritious food and milk so that he could keep up this grueling regimen. He acquired his nickname in an interesting manner. It is said that Thirakwas devoted practice and natural talent pleased Ustad Munir Khan so much that Thirakwa became his favourite disciple. Munir Khans father, Kale Khan used to watch Thirakwa play. One day Kale Khan remarked how nicely his sons pupils fingers "danced on the drum". "Thirakwa" came from the word "thirakh", or "shimmering thunder" - like the quality of a Kathak dancers feet in action. Soon he was to be "Thirakwa, tabla master with dancing fingers". The romantic and serene moods Thirakwa was able to express with his playing was something unbelievable. Audiences would sit engrossed in his solos for as long as he wished to play. He kept on doing his riyaz and the standard of his playing was unbelievable right up until the end. There is only one Thirakwa! Source //chandrakantha/biodata/ahmed_jan_thirakwa.html

Author: samaroh
Keywords: samaroh
Added: January 06, 2009

I have uploaded the full version of this video here //-youtube/watch?v=bfvRoNLtiLA Ustad Rashid Khan - Raag Hansadwani, 2005, tabla Samar Saha, harmonium Sudhir Nayak

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Ustad Rais Khan Ustad Zakir Hussain Part 1 of 3

Author: past594
Keywords: past594
Added: January 06, 2009

Ustad Amir Khan saheb was especially famous for his rendering of Darbari. As an innovative singer Ustad Amir Khan has no equals in the later part of 20th century. As a performing artist with his own unique style and technique he achieved unparalleled success and adulation of critics and connoisseurs. Born at Indore in 1912 to a family of musicians, he was trained in Sarangi by his father Shamir Khan and later under Ustad Rajab Ali Khan of the Bhendibazar Gharana in vocals. He was also influenced by Kirana masters Ustad Abdul Karim Khan and Abdul Wahim Khan, especially latters treatment of raga in slow tempo. Later Amir Khan evolved his own style of singing very slow or ati vilambit Khayal which he developed in a most leisurely mood with deep serenity and contemplativeness for which he was to become most famous. It has now come to be regarded as the Indore Gharana. His technique and style has greatly influenced many artists including Pt Nikhil Bannerjee, the entire Imdadkhani School of Sitar headed by Ustad Vilayat Khan apart from many other Khayal vocalists including the young master Ustad Rashid Khan. He was also a very learned man, an expert in Sanskrit and Persian. He composed many bandishes from an early age. Unfortunately his experimentations came to a premature end when he died in a car accident on 13th February 1974. [low sound qualitity is regretted here]

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Ustad Sarahang in a music competion where great Artists such as Bade Ghulam Ali Khan were competing won the first place prize and becoming the greatest classical singer ever In India, Ustad Sarahang was an idol to be worshipped. During his last trip to Allahabad School of Music, in order to show respect for the great Ustad Sarahang, Indian female Ustads and students of the school lined up and bowed their heads furnishing the path to the stage with their hair so that Ustad Sarahang could walk over them

Author: wahidjon
Keywords: wahidjon
Added: January 06, 2009

All is not sufiana in the sufi shrine of Hazrat Nizamuddin. Famed for its evening qawwalis, the dargah is visited by many wanting to listen to the love hymns of Amir Khusro and Bulleh Shah. William Dalrymple has written quite creatively about their magic in his book City of Djinns (Page 278, Penguin paperback, US edition). The Khusro Nizami Bandhus have an impressive pedigree. Its patriarch, Ustad Meraj Ahmed, is a direct descendant of Ustad Tanras Khan, who was a royal singer at the court of Mughal emperor Bahadur Shah Zafar. The family is known for singing qawwalis in its pure form. Even his rivals acknowledge Ustad Merajs grip with the Persian langauge.For more information please contact at 283 Dildaar Nagar, Basti Hazrat Nizamuddin Auliya, New Delhi (INDIA) Tel. +91-11-24354814, 9811816988, 9871862479, 9990336544 Website -MerajNizami E-mail contactmanitaMerajNizami

Author: vishvamitra104
Keywords: vishvamitra04
Added: January 06, 2009

The golden voice of India Ustad Bade Ghulam Ali Khan, excerpt of an interview found on -sarangi/ Ustad Bade Ghulam Ali, one of the greatest singers of all times, was capable of weaving a magic spell with his swaras and taans. He had once said "My throat is like a paint brush and I paint on the waves of wind with my voice. The swaras -- the notes of the raga -- are my colours. It is like a painting created in the air, which is my canvas."

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

-Meyxana saytinda yukleye bilersiz

Author: ilya10
Keywords: ilya0
Added: January 06, 2009

Artist Nusrat Fateh Ali Khan Poet Shiv Kumar Batalvi Lyrics and translation manita //-apnaorg/poetry/suman/17.html

Author: pakiblogger
Keywords: pakiblogger
Added: January 06, 2009

Short clip of raga malkouns performed by Ustad Bismillah khan, may Allah rest his soul.

Author: kjaan
Keywords: kjaan
Added: January 06, 2009

Ustad Talib Hussain Pakhawaj Solo. Ustad Talib Hussain was one of the last remaining Pakhawaj Players of Pakistan. He was well versed in both tabla and pakhawaj palying and was a disciple of the famed Miyan Kader Baksh. In addition, he was the last recognized practioner of the Punjab style of Pakhawaj playing (from which the tabla gharana has its roots). Unfortunately, at a relatively young age, Ustad Sahib was murdered in a mosque by militants in Lahore in 1993. Fortunately the art of Pakhawaj is being kept alive in Pakistan by Ustad Allah Lok and his son and disciple Zafar Allah Lok. Source //-sadarang/Ustad%20Allah%20Lok.htm

Author: past594
Keywords: past594
Added: January 06, 2009

Ustad Sarahang at his Kabul Concert sining Tarana Amir Khusrow which was a creation of his.

Author: wahidjon
Keywords: wahidjon
Added: January 06, 2009

Darbari, Malkauns excerpts. Ustad Bade Ghulam Ali Khan was the greatest interpreter of the Patiala gharana. LAKSHMI VISWANATHAN pays tribute to the master in his birth centenary year (2002). RECENTLY a host of disciples and music lovers celebrated the centenary of Khan Sahib Bade Ghulam Ali Khans birth. He was from Lahore. Many in South India do not know of his connections with this part of the country. He stormed Madras in the 1950s, when he was still a citizen of Pakistan and gathered around him ardent fans, among whom were the giants of Carnatic music. Old sabhas like Parthasarathy Swami Sabha, and a host of other institutions and wealthy patrons, organised his concerts. Among his devoted ratarakas was the famous singer and music director Ghanatasala. In fact, for Khan Sahibs sojourn in Madras, Ghantasala offered his house as a guesthouse. Elders in my family, along with people like GNB the great maestro, Veena Balachander, M.S. Subbulakshmi, M.L. Vasanthakumari, and others flocked to spend their evenings with the great Hindustani master. Many a time, I accompanied my mother to these soirees and became addicted to the music that only Bade Ghulam Ali Khan could create. He was a genius, and a romantic. Plucking the strings of the swara mandal on his lap, Khan Sahib would take his listeners on a journey into the ethos of the princely courts, rose gardens, cool fountains and the lingering poetry of love — the hallmark of Mughal India. Much later the whole country heard him in the film "Mughal-e-azam". Bade Ghulam Ali Khan was the greatest interpreter of the Patiala Gharana. But like a true artiste, he brought his own to a tradition and made Hindustani music a vivacious and innovative essay. He composed songs of great beauty, with the signature "Sabrang", and reached millions through the radio. There was a time when All India Radio banned this "Pakistani" singers records! An imposing personality, he had a child-like simplicity which endeared him to all. His repertoire consisted of khayals, thumris, ghazals and bhajans. In all, he excelled with his imagination and innovations. His voice was very special. The timbre and quality of its resonance had a lingering delicate quality, which communicated nuances of infinite variety. From an erotic teasing thumri, which created pictures of the nayikas one sees in miniature paintings, he would easily switch to "Hari Om Tat Sat" in Pahadi, mesmerising his listeners to journey with him in search of the Divine. His appeal to a wide section of the public naturally drew criticisms from the purists. But none could fault his technique or his mastery of the swaras. He had learnt from his uncle and father the authentic Patiala gayaki noted for its emotional appeal and clear articulation. He realised early in his singing career that chamber music lasting many hours was not what big audiences wanted. He was the master of brevity in his elaborations of ragas, and drew his listeners into an intimate circle of pure melody, which lingered in their minds. He was able to chisel his tradition of music to suit the contemporary circumstances of performance without sacrificing the fundamental principles of a grand technique. The singing of thumri was Khan Sahibs forte. In the purab ang of thumri singing, which has its origin in the eastern region of Uttar Pradesh, the songs are sung in the dialects of the region like Purabi and Brij Bhasha. The style follows a tradition, which is distinct. What Khan Sahib introduced in his thumris was essentially a blend of the folk tunes of Punjab. This form came to be known as Punjab Ang and had an irresistible charm of its own. As Khan Sahib was soaked in the culture of that region, his artistic instincts were true to an ethos with clear characteristics. Khan Sahib made frequent trips to India to perform as all his fans were here. Eventually, after considerable effort and with the help of influential people, he decided to settle in India, dividing his time between Bombay and Calcutta. He received the Padma Bhushan and the Sangeet Natak Akademi awards. A charitable man, he gave a lot of his earnings to the needy. In his lifetime he trained disciples, including his son Munawwar Ali Khan, a mature singer, and a good man whose life was sadly cut short in 1989. Ajoy Chakraborty who learnt from him is at present keeping the links with the Patiala Gharana alive. Memories of this great artist and his music will linger for long. The term "Bade" (big) defined his music, his personality, and his heart. His affection for children was touching and when I danced for him he blessed me with a generosity, which only a great artist and a good human being can command. * * * # Ustad Bade Ghulam Ali Khan was born in Lahore in 1902. # At the age of seven, he ws put under the training of his uncle Khan Saheb Kale Khan of Patiala for the next 10 years. # Following the Khan Sahebs death, he continued his training under his father Khan Saheb Ali Bux. # His favourite bhajan was "Hari om tat sat". # Under the pen name "Sabrang", he has left numerous compositions. # Ustad Bade Ghulam Ali Khan amalgamated the best of four traditions his own Patiala-Kasur style; the sculpturesque Behram Khani elements of Dhrupad; the intricate gyrations of Jaipur; and the robust behlavas (embellishments) of Gwalior. # He died in the Basheerbag Palance, Hyderabad, in 1968. Source Internet source //patialakasurgharana/j/index.php?option=com_content&task=view&id=22

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

ÜSTADIN YAŞADIKLARI ,ÇEKTİĞİ ÇİLELER,ONA YAPILANLAR VE ONUN MÜCADELE AZMİ....

Author: ishakMete
Keywords: ishakMete
Added: January 06, 2009

masyaallah tabarokallah...dengan hidayah allah posisi pun ber balik 100 derajat...dari penginjil jadi dai penceramah islam may allah blesss him...amiiiin

Author: aingtea22
Keywords: aingtea
Added: January 06, 2009

Charkha - Ustad Puran Chand Wadali / Lakhwinder Wadali

Author: samnotoriouzjatt
Keywords: samnotoriouzjatt
Added: January 06, 2009

Jhooooomta aaa raha kyun baadal.... Cheers!

Author: guruofsex
Keywords: guruofkotu
Added: January 06, 2009

Ustad Shaik Dawood, Tabla Solo Khaida Ajrada & Delhi. Bombay 1969. For more clips visit -tablaustaddawood

Author: knisar22
Keywords: knisar
Added: January 06, 2009

From -afghan-info Ustad Mohammd Hossein Sarahang, Mutarak, Klastarak

Author: afghaninfo
Keywords: afghaninfo
Added: January 06, 2009

Short clip of the maestros singing a bandish in Raag Miyan ki todi followed by Ustad Vilayat Khan speaking about this Jugalbandhi

Author: rnulu
Keywords: rnulu
Added: January 06, 2009

This Meera Bhajan, paga ghungaroo bhanda meera nachi re, is sung in Raag Kafi by Ustad Munawar Ali Khansaheb, the son of Ustad Bade Ghulam Ali Khansaheb.

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Barkat Ali Khan, Raag Bhairavi has left a lasting impression on various genres of Hindustani light classical music. He was younger brother of Ustad Bade Ghulam Ali Khan. That bhajan, tum radhe bano shyam is one of the most beautiful songs I ever heard //-musicalnirvana/li3zab37xyfr4vj7/Barkat%20Ali%20Khan%20-%20Tum%... Barkat Ali Khan had his Initial training from his father Ali Baksh Khan and later by his elder brother Bade Ghulam Ali Khan. After partition, Barkat Ali Khan migrated to Pakistan and concentrated on the lighter aspects of Hindustani classical. Ustad Barkat Ali Khan has made a great contribution to North Indian light classical music. He was acknowledged as one of the great thumri, dadra, geet and ghazal artists. His outstanding murkis, phandas, zamzamas and lot of other techniques of Purab and Punjab ang have no match. He captured the audience all over India and Pakistan with his unique style of music. Unfortunately Barkat Ali Khan died a premature death at the age of 57.

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009

Stage Funny Stuff

Author: ntti
Keywords: ntti
Added: January 06, 2009

Hariharan and Ustad Zakir Hussain CD Hazir ghazal - Darde ke rishte

Author: 1carlento
Keywords: carlento
Added: January 06, 2009

Ustad Tafo Khan Tabla Solo Teental

Author: past594
Keywords: past594
Added: January 06, 2009

Ustad Shahid Parvez Sitar Part 2, with Ustad Shabbir Nisar on Tabla Raag Jhinjoti - 1989

Author: knisar22
Keywords: knisar
Added: January 06, 2009

Ustad Sarahang at his Kabul Concert with sharif ghazal, eltaf hussain, farid and ustad asef. His medal count reached 20, a status earned by fewer than a handful of musicians in the world, and by far the youngest musician to earn so many titles and medals. Ustad Sarahang once said that if he were to die in India, he was to be buried next to the tomb of Baydel, but if he were to die in Afghanistan, he requested to be buried in Kharabat. Upon his last trip to India in 1982, Ustad Sarahang fell gravely ill and was hospitalized and ordered not to sing and to keep his talking to a minimum. But Ustad Sarahang disregarded the orders of his doctors and continued his performance which earned him yet another medal and with it the pride to the people of Afghanistan.

Author: wahidjon
Keywords: wahidjon
Added: January 06, 2009

A great poetry of H. Amir Khusro (R.A.)in Braj Bhasha (Hindustani). Ist two stenzas of this poetry are written by H. Amir Khusro and Last two are the work of other poets. The tune is folk tune which is very commen in Braj area ( Agra, Mathura,Aligargh-----).Ustad Meraj Ahmed Nizami sung this poetry very beautifully.

Author: vishvamitra104
Keywords: vishvamitra04
Added: January 06, 2009

FEDAKARLIK NE DEMEK ÜSTAD VE TALEBELERİNDEN ÖĞRENİLİR

Author: ishakMete
Keywords: ishakMete
Added: January 06, 2009

Aftab-E-Sitar Ustad Vilayat Khan-Sitar Hidayat Khan - Sitar Enayet Hossain - Tabla Raga Shudh Malloo

Author: aimrec
Keywords: aimrec
Added: January 06, 2009

Ustad Nusrat Fateh Ali Khan One Of His All Time Hits . Mera Pia Ghar Ayaa !

Author: kallashah
Keywords: kallashah
Added: January 06, 2009

Ustad Ikhlaq Hussain is an exponent of the Delhi gharana (most famous for tabla) and currently resides and teaches in New York City. He comes from a long line of musicians who trace their ancestry all the way back to 13th Cent. Sufi mystic Hazrat Amir Khusro (who is widely believed to have invented sitar AND tabla). Ustad Ikhlaq Hussain has been teaching sitar for 20 years and is a dedicated and skillful instructor. In addition to individual classes, he offers workshops and lecture demonstrations for students of all levels and lovers of Hindustani classical music. For more info, you may reach him at 917-607-4508 or ragasitarmanitagmail. This is the Alap portion of the beautiful late afternoon Raga Multani.

Author: gurubhai
Keywords: gurubhai
Added: January 06, 2009

A Soulfull track of Ustad ji . a traditional qawwali Style in Classical Raags & Taal . a great Thumri of Ustad Ji

Author: meerji
Keywords: meerji
Added: January 06, 2009

Ustad Mohammad Hussain Sarahang at his Kabul Afghanistan Concert pleasing the crowd with a few folk and ghazal songs. With Ustad Asef on Tabla, Ustad Eltaf Hussain his son on Tampura, Ustad Sharif Ghazal on the Right, Farid Ghazal and Ustad Sakhi Ahmad Khatam not shown Ustad Sarahang seemed weak and ill upon his return to Afghanistan, but he continued to write and teach music. In 1983, Ustad Sarahang suffered yet another heart attack that hospitalized him. Growing ever weaker, Ustad Sarahang passed away on a clear Saturday morning in April of that year.

Author: wahidjon
Keywords: wahidjon
Added: January 06, 2009

Nice song by Ustad Mahwash with great scenary that looks like Paghman

Author: Thunder004
Keywords: Thunder004
Added: January 06, 2009

Hameed sakhizada sings in a house where ustad Safdar Tawakulli is also present with some other guests

Author: khandaha
Keywords: khandaha
Added: January 06, 2009

Rare recording from Ustad Sarahang

Author: AklilAdina
Keywords: AklilAdina
Added: January 06, 2009

sitar solo by ustad vilayat khan sahib

Author: cenkjeekhan
Keywords: cenkjeekhan
Added: January 06, 2009

vocal Ustad Rashid Khan tabla Samar Saha, harmonium Sudhir Nayak Recorded 2005 Raag Megh Gharana Rampur Sahaswan Rashid H Khan (b. 1965) Ustad Rashid Khan is a child prodigy evolved into a musical marvel. The fine balance between his technical virtuosity and artistic creativity has amazed connoisseurs. His deep and richly sonorous voice is remarkable for its tonal quality. It now reverberates across the world. At the age of eleven Rashid was brought to SRA by his grandfather Ustad Nissar Hussain Khan. Initiated into the world of music and groomed by his Guru, Rashids finely honed talent found a meaningful direction. Rashid has a great sense of loyalty and pride in belonging to the Rampur Sahaswan Gharana. But his mind is open and absorbs the best from the other gharanas. Rashid has that rare quality called `Taseer, that incredible ability to touch the souls of his listeners with the purity and simplicity of his music. //-itcsra/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=5

Author: kishoriray
Keywords: kishoriray
Added: January 06, 2009