Faiyyaz Khan - Raag Darbari (1936)
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- čas přidán 13. 09. 2024
- A riveting recording of Darbari, diigitalised from a 78 rpm.
Side 1 - 'nom tom' aalaap... Side 2 - 'chhota khayal' in 'drut teentaal' (vocal support, Ata Hussain Khan)
I feel privileged to share this masterpiece of a recording of arguably the greatest recorded vocalist of Hindusthani Classical Music - Aftaab-e-Mausiqi, Ustad Faiyyaz Khan.
Here is what the well known singer & musicologist, Mr. Kumar Prasad Mukherjee writes about the legend (this appears in the ITC-SRA website)
"Ustad Faiyyaz Khan is still remembered as the 'Mehfil ka Badshah' by those who have been fortunate enough to hear him live, as well as those who have at least heard his recordings. On the dais he was the symbol of a dignified personality, always clad in a silk sherwani, his chest blazing with rows of sparkling gold medals and chains, and complete with an immaculate pugree. Flanked by his disciples on both sides, together with the sarangi and tabla players, he sang with a deep, masculine, jawaridar voice, all in keeping with his grand stage presence. Among the many titles and awards that he received, just the Aftab-e-Mausiqi alone testifies to the musical phenomenon that he was, and the magical and musical spell he cast over his audience whenever he performed.
Faiyyaz Khan was born in 1886 at Sikandra in Agra. He belonged to a family of great musicians, going back to Haji Sujaan Khan in the court of Emperor Akbar. He was groomed mainly by his grandfather, Ghulam Abbas Khan, and grand-uncle, Kallan Khan. Both were very eminent singers of the Agra gharana. In his formative years, Faiyyaz Khan was also deeply influenced by Zohra Bai and other contemporary ustads. Later he became the son-in-law of the great musician and composer 'Daraspiya' Ustad Mehboob Khan. Faiyyaaz Khan blended the styles of his different gurus giving the Agra gayaki a new direction. He also included many thumris, dadras, ghazals and qawalis in his repertoire.
Ustad Faiyyaz Khan would render a full scale 'Nom-Tom' alap and follow it up with khayal compositions, thus blending dhrupad and khayal and giving his gayaki more flexibility. His bol-banawo, bant, layakari, and his inimitable style of reaching the sam are unmatched even today. He was a great composer himself, his pen name being #145;Prempiya'. His compositions in raga Jaijaiwanti, Jog etc. are treasured by Agra singers to this day. In fact, Faiyaz Khan's Agra gayaki became so famous that most of his students and followers would actually copy him to the very last detail, imitating even his voice.
Faiyyaz Khan was a reformist among traditionalists and a traditionalist among reformists, and his gayaki is still an example of the evolution of Hindustani classical music from dhrupad to khayal, thumri, dadra and ghazal. He was an architect in music with the feeling of a poet.
He was appointed court singer at Baroda in 1912. However, Faiyyaz Khan also performed in various other darbars, festivals and conferences. He taught many students like Ata Hussain Khan (his brother-in-law), Latafat Hussain Khan, K. L. Saigal, Dipali Nag, Dilip Chandra Vedi, D. T. Joshi, S. N. Ratanjhankar, Swami Ballabhdas, Ramrao Naik, R. N. Chatterjee and Sharafat Hussain Khan among others.
In his last years, he suffered from tuberculosis. His demise, in November 1950, marked the end of a great era in Hindustani Classical Music."
I wish all gharana singers would do this nom tom alaap today irrespective of their backgrounds ....it establishes the mood of the raag in a way that takes one into a trance like state.
And it appeals to everyone. Nom-tom has to be the future of Raagdari Music.
I agree.
Agree 100%
Absolutely
If you hear closely the nom-tom section closely where the bols are closely spaced together - "you hear the sound of damroo..it's not that somebody is playing it. It comes out as a byproduct of the alaap".
My all respect to the legend, Ustad Faiyaz Khan Sahab,my father was also a great lover of his music!! .🙏🙏🙏
Classic alap and bandish! Thank you for uploading it.
Subhan Allah
Superb 👌👌👌🌹🙏
Fayyaz Khansab and Abdul Karim Khan are the best! zindabad!
Bhishan ananda pelam.Amar babar kachhe inar katha kato sunechhi.Baba samne base gan sunechhen. Ei asadharan shilpir sangeet post karar janya anek dhanyabad.
Outstanding performance
Indian classical instrumentalists have kept the nom tom alapi tradition intact in the form of Jod jhala alapi...but the khayal gharanas(not agra ) are seems to agree to avoid this beauty ...All dhrupad gharanas are trying to keep this beauty alive ...
Very interesting point.
These uploads are of great value particularly for the present generation. Anyway, if I remember correctly, there is no recording of 78 rpm alap of either Poorvi or Chayanat but short alaps before both Puriya and Jayjayanti, as stated by Shri Mozumder. If my memory does not betray me, there are only three 78 rpm alap recordings, Lalit, Ramkeli and Darbari.
Hindustan included Lalit and Darbari alaps in one EP record and Ramkeli alap in a LP. I must have somewhere these records; all the original records were in my ancestral house. It's nice to remember Kumar Prasad Mukherji. Kumar da left this world in 2006 but even today (before Covid) when we meet in a "rangeen adda", we really miss him.
The Ramkali recording was HMV's, to the best of my knowledge.
I have no words to thank you, especially for the darbari alap which was quite out of my bounds ever since I first heard it in the 1970s from a 78rpm Hindustan Records disc at a friend's house.
Could you post Ustadji's Purvi ALAP from his 78rpm Hindustan Record disc? The khyal "Pavan chalat" was reproduced in LPs and CDs but not the alap which was on the other side of the same 78rpm disc. And, may you live forever to make us relive a golden age!
The Purvi khyal was "Madhura na jao", not "Pavan chalat" as I have wrongly mentioned.
@@soumitralahiri967 it's mathura na ja re Mora kanha..not whatever you have written..
@Soumitra Lahiri: Apologies for this delayed response. I am unaware of any elaborate 'nom-tom' alaap in Poorvi. I however, remember a longish alaap in his Puriya ('main kar aayi piya sang rang-raliya') on one side of a 78 rpm of Hindustan Records. It was missing in the cassette & CD formats.
Here is a digitalised version of the 78 rpm.
czcams.com/video/GKnL1OgQ6xs/video.html
Divine fabulous
Love this
Thanks to Magriel and Perron: Teentaal
सहेलरियाँ आई आई सब मिलके
सीस गुंधावन, अच्छी नीकी बनो को
साथ सखी मिल मंगल गावन
मोतियन चौक पुरावण रंग सों हंस हंस
मेहंदी लगावन, अच्छी नीकी बनो को
You’re the best.❤ sandeep ji
Thanks a lot 🙏
@@supratimdas1234 🙏
@@kunalranjan5515 🙏
Thanks for uploading
Fantastic rip. Many thanks, especially for Side A given that it was never republished.
Entirely my pleasure. This is from the collection of noted musicologist, Kumarprasad Mukherjee, who was also a singer from the Agra Gharana.
He used to tell me, 'Darbari ka bulandi ki liye aisa aalaap aur jod hona hi chaahiye'.
Cannot disagree. Going by this 180 second aalaap & the effect it has on me, I just wistfully imagine how he must have expounded this raag, in a full-length recital, with that majestic voice & gayaki of his.
We need to make do with these sort of short recordings.
Archisman ji, thank you for this rare gem! Do upload more from Kumar ji's collection. I'd be especially happy if there is any stuff of Bhimsen or Kumar Gandharva that you can upload!
@@ArchismanMozumder 'Darbari ka bulandi ki liye aisa aalaap aur jod hona hi chaahiye' - what does this mean in English? And thanks so much for the upload!
@ By definition Alaap is the portion when the singer expresses his/her interpretation of the Raga freely. What I mean here is he is not confined by the bandish and the tala which in some way limits the expression. Thus to establish a complex Raga like darbari - Kumar Mukherjee ji is saying that an Alaap such as this is absolutely needed.
@@r8rdarklordthank you for your explanation.
Amazing rendition
Thank you Archishman Mozumdar
🌸🙏🏽🙏🏽🙏🏽🙏🏽🙏🏽🙏🏽🙏🏽🌸
💥🔥🔥🔥🔥🔥
🙏🙏🙏
❤️👍👏🌹🙏
2:48 , is that Shudh Ni ??
@@shardasingh2382 I must say I have to concur with your observation. Great observation.
Wonder if Khan-sahab did that consciously.
I am sorry. The Purvi khyal was not "Pavan chalat" but "Madhura na jao".
I'm not sure if the 78 rpm-s of Chhayanat & Poorvi has the 'nom-tom' alaap-s.
This Puriya recording (coupled with 'Jai Jaiwanti) has a short 'nom-tom' alaap.
czcams.com/video/GKnL1OgQ6xs/video.html
Mathura...not madhura
Charan saparash
Vocal support is likely by Ustad Nissar Hussain Khan
It is Ata Hussain Khan, the brother in law of Faiyyaz Khan. He was also a vocalist of the Agra Gharana.
@@ArchismanMozumder I have heard Ata Hussain Khan sahab...He sounds different and much Wazandar... Moreover the kind of boltaan with the typical voice modulation is like of Nissar Hussain Khan sahab in his young age... He went to Baroda to learn from him... But if the record label mentions Ata Hussain Khan's name then one has to agree...
@@budhadityachakraborty6772 Though Nissar Hussain Khan had been with Faiyyaz Khan in Baroda, the latter always preferred his brother-in-law as his fellow vocalist, because of the deep family bond & musical proximity.
As far as I can remenber, musicologist Kumarprasad Mukherjee, who was a close family-friend, had told me about the recordings of Darbari & Sughrai & the name of Ata Hussain Khan as the vocal accompanist.
In the absence of any recording of the sessions of his music discussions (which I used to attend), I can only depend on my memory. :)
The records, of course only reveal the name of the main vocalist.
@@ArchismanMozumder Thanks a lot for the information but have you heard any recording of Ata Hussain Khan with such fast and vigorous taan...Is there any in youtube... Please let me know if there is any
@@budhadityachakraborty6772 Let me try to hunt for some recordings of Ata Hussain Khan's young age. He must have been in his early 30-s when Faiyyaz Khan recorded these discs for Hindustan Records.
In the absence of his early recording, I will have to admit that your viewpoint seems to be more plausible (going by tonal quality).
Thank you for this interaction.