Jayashree Patanekar | Nayaki Kanada | मोरा रे moraa re | यही गनीमत* जाना yahii ganiimat jaanaa| 1992

राग नायकी कानडा : रूपक
00:00 स्थायी :
मोरा रे तू मन जान ले
तुम मन हर लीन्हो ।
अंतरा :
जब मैं सुनी
प्रानप्रिया मन हर लीनो।
- Gajananbuwa Joshi,
16:08: द्रुत- तीनताल
स्थायी :
यही गनीमत* जाना
तुमने हमको पहचाना।
अंतरा :
इष्क दिल्दा सुनो पिया मनरंग
तुम शमा, हम परवाना।
- Bhupat Khan 'Manrang'
Erroneously mentioned as "गली मत" in the sleevenotes to the published album and also on Swarganga: www.swarganga....
*Grateful to Anand Juvekar for the correction.
Taken from Jayashree Patanekar - Live from Savai Gandharva Music Festival, Pune' 92
From the sleevenotes:
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Jayashree Patanekar
A vocalist of great promise, Jayashree combines a variety of elements from the Gwalior, Jaipur and Agra traditions and presents them in a unique and aesthetically pleasing manner.
She began her training at the age of eight or nine with Mr. Vithal Pai of Sawantwadi and then continued it with Mr. K.D. Jaokar for about five years. Later she also received training with Pt. Ratnakar Pai and Pt. Nivruttibuwa Sarnaik. In 1964, she received the first prize in vocal music in a nation-wide competition held by All India Radio.
Pt. Gajananbuwa Joshi, the violin maestro and eminent vocalist of the Gwalior Gharana listened to her singing and agreed to teach her. Without asking her to change her voice-culture, he trained her for seven to eight years concentrating on every aspect of singing - use of voice, increasing the power of breath, clarity in Taans, purity of notes, control of rhythm, exposition of the Raag structure in a planned and beautiful manner and so on.
Through him, she picked up the nuances of the styles of Bhurji-Khan, Vilayat Hussein. Khan, Vazebuwa etc. All that rigorous training reflects beautifully in her style.
Raag Nayaki Kanada
Nayaki Kanada is derived from the Raag Darbari Kanada, by omitting the flattened sixth note in Darbari. Nayaki Kanada thus employs Sa, Re, Ga (Komal) Ma, Pa and Ni (Komal) ie. the First, Second, Fourth and Fifth notes Natural, the Third and the Seventh notes flattened. Nayaki Kanada is also a difficult raag to render since you have to keep it distinct from other raags employing the same notes.
The cheez represented a woman who is pleading to her lover to understand her mind. The cheez was set to Roopak Taal. All the facets of Jayashree's style once again came to the forefront. The taans displayed her command of rhythm and the control of breath. It was a demonstration of the Gwalior style that you seldom come across these days.
The drut (speedier) composition in Teental had the same romantic theme where the hearts of the lovers have recognized each other and the woman is ready to suffer any loss to realise her love in the manner of the Parvana (an) insect) ready to burn its wings for the love of the flame of a burning candle (Shama).
Jayashree Patanekar was singing in Pune after a very long break but she proved she had maintained her merits- no... improved on them during this period of long absence.
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More about Jayashree Patanekar: • Jayashree Patanekar | ...