I think this was recorded in London during his last tour and if so I was present in this perfromance at St.Luke's church. It was a grey, cold wet morning. Famous Indian Actress Sahrmila Tagore compered the programme. At one point in jhala the sun broke through the clouds and skylights and fell on Ustadji - it was an etheral moment, as if the sun itself decided to join the Aftab e Sitar on stage - I had goose bumps
Evidently from his twilight years when tayyari and wizardry had left him, but when he began to concentrate more on raga interpretation. However whatever he did, he was vintage Vilayat Khan. All Sitarists today, great or small, listen to his recordings and learn from him. He is a beacon that will shine for ever on the firmament of Sitar vadan. Now Ustad Shahid Parvez is the true torch bearer of this great man's art.
Never have I ever heard a Lalit which was so complex yet so simple; so deep and so beautiful!! There is no match to this rendition of Ustad Ji's Lalit! Khan Sahab has literally taken my expectations from a performance from 10 to 1000! 🙏🙏
Vilayat Jan fue un maestro determinante en la evolución de la música clásica indostaní pues, sin alejarse del estricto cumplimiento de sus reglas básicas milenarias, abrió un horizonte extraordinario a su contemporaenidad, permitiéndose el lujo de ampliar lo que hasta entonces parecía intangible. Descendiente de una saga de intérpretes virtuosos, seis generaciones preceden a Vilayat Jan en el arte del sitar, debe a su padre Enayat Jan la iniciación al toque del instrumento mayor de la música indostaní. Mas, debido a la temprana muerte de Enayat, sería uno de sus tíos quien le adentraría en los misterios de la Imdadkhani gharānā, escuela estilística que lleve el nombre de su abuelo paterno Imdad Jan. Pero, al mismo tiempo, su misma madre Bashiran Begum y su tío materno le enseñarían el cante clásico khyāl. Esa doble iniciación sería el detonante de una capacidad creatividad fulgurante y compleja que le permitió entender al sitar como si en él se fundieran sonoridades que hasta entonces se le habían ignorado. El propio Vilayat reconoce la gran suerte que supuso haber nacido en una familia en la que confluían generaciones de probados virtuosos, confluencia que le abriría perspectivas insólitas. «Mi gran suerte fue la de tener del lado paterno instrumentistas y del materno cantantes. Mi abuelo materno me inició al canto. Y mi tío paterno, tras la muerte de mi padre, me enseñó el sitar y el surbahar . Seguí esas dos enseñanzas en paralelo y mi tío materno, que era cantante, me guió en las dos disciplinas. Me hacía practicar ejercicios al sitar y al canto. Cada uno me aportaba sus conocimientos de la música india. De los que pude absorber una amplia paleta de expresiones».
Mr. Cantero, your analysis is superb. He belongs to the legends of Indian Classical Music - he simply revolutionsed the playing ethics of Sitar music and at a time there were many giants - he gradually evolved into a Master of all by his dedication and drive !
Bilal Hassan Alaap is the introduction of the raga.. Jor is the slow tempo piece played after the alaap section.. Jhala is the climax of the piece played in high speed..
I think this was recorded in London during his last tour and if so I was present in this perfromance at St.Luke's church.
It was a grey, cold wet morning. Famous Indian Actress Sahrmila Tagore compered the programme.
At one point in jhala the sun broke through the clouds and skylights and fell on Ustadji - it was an etheral moment, as if the sun itself decided to join the Aftab e Sitar on stage - I had goose bumps
Khansahib is a great inspiration to me since childhood
i know I'm quite randomly asking but do anybody know of a good site to stream new tv shows online ?
@Lucas Abraham I watch on flixzone. You can find it by googling :)
@Lucas Abraham I use flixzone. Just google for it =)
@Liam Edison yea, I have been using Flixzone for years myself :D
Evidently from his twilight years when tayyari and wizardry had left him, but when he began to concentrate more on raga interpretation. However whatever he did, he was vintage Vilayat Khan. All Sitarists today, great or small, listen to his recordings and learn from him. He is a beacon that will shine for ever on the firmament of Sitar vadan. Now Ustad Shahid Parvez is the true torch bearer of this great man's art.
Shahid bhai and Budhaditya Mukherjee ji also 🙏🏻
Unic sound ❤
Pranam 🙏
Thank you for sharing such jewel.
Listen to this at three or four in the morning .Divine.
Never have I ever heard a Lalit which was so complex yet so simple; so deep and so beautiful!! There is no match to this rendition of Ustad Ji's Lalit! Khan Sahab has literally taken my expectations from a performance from 10 to 1000! 🙏🙏
a rarest gift to the music lovers.
Played with great feelings capturing the true mood of Lalit. May God bless his soul.
Thank you for sharing this recording.
Yes, Mr.Lester Frost, you have so nicely put it in its true perspective.
Thanks for uploading, I am speechless, really devine. With regards to the great maestro.
Essence of Lalat... mesmerizing....
Vilambit is meditative..
Ustad-ji at his best..in London or NY or Bombay..
Thank you so much for uploading it here. Really appreciate it.
Vilayat Jan fue un maestro determinante en la evolución de la música clásica indostaní pues, sin alejarse del estricto cumplimiento de sus reglas básicas milenarias, abrió un horizonte extraordinario a su contemporaenidad, permitiéndose el lujo de ampliar lo que hasta entonces parecía intangible. Descendiente de una saga de intérpretes virtuosos, seis generaciones preceden a Vilayat Jan en el arte del sitar, debe a su padre Enayat Jan la iniciación al toque del instrumento mayor de la música indostaní. Mas, debido a la temprana muerte de Enayat, sería uno de sus tíos quien le adentraría en los misterios de la Imdadkhani gharānā, escuela estilística que lleve el nombre de su abuelo paterno Imdad Jan. Pero, al mismo tiempo, su misma madre Bashiran Begum y su tío materno le enseñarían el cante clásico khyāl. Esa doble iniciación sería el detonante de una capacidad creatividad fulgurante y compleja que le permitió entender al sitar como si en él se fundieran sonoridades que hasta entonces se le habían ignorado. El propio Vilayat reconoce la gran suerte que supuso haber nacido en una familia en la que confluían generaciones de probados virtuosos, confluencia que le abriría perspectivas insólitas. «Mi gran suerte fue la de tener del lado paterno instrumentistas y del materno cantantes. Mi abuelo materno me inició al canto. Y mi tío paterno, tras la muerte de mi padre, me enseñó el sitar y el surbahar . Seguí esas dos enseñanzas en paralelo y mi tío materno, que era cantante, me guió en las dos disciplinas. Me hacía practicar ejercicios al sitar y al canto. Cada uno me aportaba sus conocimientos de la música india. De los que pude absorber una amplia paleta de expresiones».
Mr. Cantero, your analysis is superb. He belongs to the legends of Indian Classical Music - he simply revolutionsed the playing ethics of Sitar music and at a time there were many giants - he gradually evolved into a Master of all by his dedication and drive !
Gracias Saif
Really divine ! one and only Ustadji !!
As close to divinity as one can humanly get. Thank you.
amazing raga . Thanks for share :)
Beautiful!
Oh Almora, near Kasar devi. 10pm. December with little snow. I had a disc man. I'm still in that snowy night.
A wonderful piece
In a word great.
Beautiful
I love it
kmaal
very nice good
What is "Jor" and what is "Jhala" ?
Kindly koi sitaaria bata dega to bohot meherbani hogi.
Kindly.
Bilal Hassan
Alaap is the introduction of the raga..
Jor is the slow tempo piece played after the alaap section..
Jhala is the climax of the piece played in high speed..
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