Ustad ji draws so much from his previous generation be it Imdad ji or Enayat ji or Wahid ji or Vilayat ji. He carries every generation he has heard with him. 🙏🏻
My salutations to 'The 313' --- whoever you might be! ---You have very truly understood the meaning & mode of the Indian music --- and particularly the Hindustani melodies in their purest form played by ustads -- Shahid Parvez and the likes. Your are right ... "this is not Music, this is Veda, Upanishads, Bhagavat Gita ....the highest human mental stage in Sound." //GOPAL// Cleveland, OH
Only very few people can render this Raag Darbari Kannada beautifully by exploring its full spectrum. The notes are very subtle and one slip can disturb the magnanimity of Raag Darbari Kannada. Ustadji is simply wonderful with his prowess on the instrument.
Check out Amjad Ali Khan’s interview during Harvard Club Mumbai Event: what his dad’s plea was at the Raj Bhavan in the 60s. I do not want to spoil thew suspense. But it was sublime.
It is just an amazing vehicle for journey towards infinity! Let us have such travel on and on and on!!! Salute, O Dear Great Ustad Shahid Parvez who became one of my the most favorites, I would be lucky if I may get any chance to meet you in my life!
Ustad Shah Sahib has beautifully covered "Kin Bairan Kann Baharay" and "Yaare Man Biya" and "Anokha Ladla" in the madhiya lay and in durat AND Pandit Chatterjee Sahib as always gave a soulful sangat on tabla
what a master piece...The exceptional tonal purity and meditative interpretation makes this one of the finest pieces of Indian music I ever heard in my life. But shame, no one mentions the name of the brilliant tabla player who accompanies him. He really deserves it. Thanks for sharing this treasure!!!
The grandeur and majesty enjoyed by nearly eight thousand years of of a very profound musical format treasured/preserved for "artists" like this brilliantly endowed by his gharana and his "mitti" - "Bharat Mata" !!!.. 😔😔😔🌞🌞🌞 !!!...
Shahid Parvez is a genius who exercises the greatest responsibility with his sitar vadan. No one has ever excelled in mastering and controlling the medium of his instrument as he has done. And this Darbari cannot be touched by any other sitarist. It is the most complete exposition of this gambhir and majestic raga. One traverses through the lofty pillars and arches of the Mughal courts and palaces. It summons to mind the ramparts and forts of bygone days. What unfinished love stories are being recounted here by this great Master. Uff!!
I don't know why m crying while listening to this beautiful raga .. feeling that there is something so much important is missing in life .. Ustadji , touching your feet .. will pray to god to give my rest life to you but you have to promise that you will keep on learning sitar like that only .. 😊😊
Truly magical. Shahid ji was accompanied on tabla by the tabla virtuoso Pandit Anindo Chatterjee. Two great musicians of our country. I love this raga very much. Maitreyee Sarcar HF FRSA, Surtarang Broadcast, worldwide. @maitreyeehffrsa
Epic rendition. The difficult andolans in this raag have been rendered with great mastery producing an introspective grave and majestic effect. The alaaps are soulful and mellifluos. The bandishes are very convincing. The most satisfying sitarist of our times.
I heard him also long days back at Kala mandir , Kolkata . Certain times his hand movement in air vibrates the tune in our ear and mind. Just beyond expressions.
India best sitarist ever!!!!!!! This does not mean any disrespect to Ustad Valayat Khan Sahib, may God bless his soul!! This man has taken sitar to a level that has not been seen before and most likely will not be seen again!!!!!
Respect your sentiments. However, both sitar technique and depth of raga development perhaps reached a superlative and sublime zenith in both Vilayat Khan and Nikhil Banerjee, which is still unsurpassed. Both had very different approaches but my word, weren't they divine. Shahid Parvez is brilliant no doubt but still a little short of divinity, I think...
i agree witchya whole-heartedly about Nikhilda. No disrespect to the Vilayat Khan school of exposition but I never vibe'd with it, with the exception of Shahid Parvez and Budhaditya Mukherjee.
Momentous. It reminded of Ustad Vilayet Khan Sahib's Darbari Kanara at the 1960 Dover Lane Music Conf in Calcutta.Now forgotten great Pandit Samta Prasad was on the tabla. In attendance were Ustadji's mother (the extraordinary Ustad Enayet Khan Sahib's wife), Manisha (his then-wife), his sister, and of course the devout younger brother Ustad Imrat Khan. That magical night Ustadji had attained "sur". Parrvez Sahib is on his way there.
UVK sahib, i remember had ceremoniously refused to accept an award from Indian Government, declaring it unfit to recognize a brilliance of his stature. He later accepted a recognition of "Aftaabey Sitaar". The reason I say this, is to show reverence to a soul, who eclipsed mortal achievements. He had arrogance, (haath kaan mein) , might i dare say. But he was brilliance, personified. Salut! Ustad, SP is going strong en route.
TANSEN created the MIDNIGHT MELODY which can CURE INSOMNIA, HYPERTENSION, DIABETES, ANXIETY NEUROSIS. Legendary strokes of SHAHID PARVEJ in a very EMOTIONAL ASPECT.
I wont go into intricacies, am much lame to speak about the depth of 'Raga Darbari'. But I have grown old hearing Sitars and Sarod, an outlook which i gathered from my father, who still loves this form of music like a guy gifted with a birthday present. Comparisons of any kind would be injustice to the "league" which Angels, of this stature belonged. Ustad Vilayat Hussain Khan sahib, Ustad Amjad Ali Khan, Pt. Budhaditya Mukherjee, Pt. Nikhil banerjee. A constellation indeed.
Sitar is perhaps the best instrument for playing Raagas like this, due to the subtle meendkari possible in Sitar. Ust. Shahid Parvez has rendered it beautifully as usual.... Very enjoyable intricacies of notes.
Late Pt. Bhimsen Joshi once said in an interview that, an artiste must never neglect the Raga while performing. If an artiste is involved in showing his expertise (Kasrat), the Raga "disappoints" and sits in a corner away from the artiste....
Wow! What a reverential approach to the very reason for existence - the Raag being rendered, and the idea of rooting the artist to it... nice thought indeed!
Sanjay Deshpande: 'If an artiste is involved in showing his expertise (Kasrat)...' utterly or to some people bitterly true. It has become aadaat to some musicians.
Ustad ji have that great expertise to show kasraat to render the beautiful raag. But unluckily there are so many who don't have expertise to understand that greatness.
As a westerner accustomed to expecting everything I see and here to have a structure for my structured mind logic to be able to filter into emotion, whiclst loving this music I have found it difficult to comprehend what it is where it comes from and indeed why it should exist, and furthermore it is referred to as 'classical' music. Tonight, being very tired in mind and emotions, and wondering where this musician was coming fron in the first instance, and trying to see where if it was me on the end of the instrument how and why I could come up with this kind of dancing. being therefore weak in keeping a structure of logic in my brain and filtering it into emotions, floating around it occured to me that this is driven not by the musician we see as the mortal, but by the dancing eternal voluptuous dragon spirit of ourselves that can be eternal. This smusic therefore is a fusion as I see it between our physical temple and our spirit, without any mind or emotional input. To me therefore it is perhaps the holiest of music as it ignores what we as a human,( a social creature) put into it, and we simply observe and live alongside our conjured up spirit, that which is created by God, the mind and emotions we create ourselves and so is not so holy. The dragon I see in me therefore, being mindless in the normal way of thinking, and unemotional, is simply a creature that loves his life, and shows that by allowing to be conjured up like the proverbial snake to dance voluptuosly in the glory of what God has given us.
g miller having reread my comment yes i can see what you mean. I do stand by it though. I think the word used by you 'effusive' is I suppose the simple way for me of understanding it. The music is basically the music of an effusive spirit, with the controlling self put to one side. thanks for reading my post.
This is exactly what Indian classical music is ! I'm really surprised you got a grasp of its core essence without actually learning it formally. And I do not believe it is fair to call it 'classical' music because it is evolving even as we speak. Thumris (ICM style) came into being not more than a 100 years ago.
I think you are pretty much on the right track. I think in the end this is why we humans play music, knowing it conciously or not. Makes me wonder about birds and howling dogs/wolves and if their supposed lack of intellect as we know it is what allows or forces them to just be, and what allows us to refine our instincs/habits In the turmoil our modern lifes are, never really having silence or rest, everytime i come back to indian music it cleanses me, allow me to let myself go. Practically any music that not ignores the dragon you talk about
Hi. Just to add to this. Indian Classical Music is full of strict structure. This involves a formal, highly technical pedagogical tradition with an oral transmission of composition analogous to a written tradition. The word classical seems exactly the appropriate English language term for this. If you move past the 'Alaap' to the 'gat'/composition at 29:30 this will be much more apparent. I think without knowing the structure it can seem unstructured. Although very complex, some general aspects of the structure of a performance - principally the rhythm cycle - can be learned in minutes if you listen to it with someone who knows the structure, or perhaps by watching the right videos. You'll then be able to follow what's being 'said'. The structure is both in the rhythm and melody, and an argument could perhaps be made that both are more technically developed than in the western classical tradition, if these can be meaningfully compared. I'm not sure the comparison is very worthwhile. Within that very formal structure and rules system, there is improvisation. Hope this helps
It's a peach therefore of the spiritual life as a sinuous fire breathing dancing and joyous existence, that has only one deficiency, that it lives on it's own, humanity being the armour given to it to socialise. This kind of holy music does not translate the human, but the spirit.
The sitar is like very tasty bread. All was going well but suddenly, Pandit Anindo Chatterjee comes and puts butter and honey on top! Fabulous!♥️
Ustad ji draws so much from his previous generation be it Imdad ji or Enayat ji or Wahid ji or Vilayat ji. He carries every generation he has heard with him. 🙏🏻
Is raag sunne ke bad mehdi hasan sahab ki ek gazal yad agaye..."ku ba ku feil gayi baat sana sayi ki"
Absolute beauty ! in this era no one is near by you, you are unparalleled-- , wishing your and your tabla hands happy and healthy life
شهید پرویز در لحظه خلق این اثر روی زمین نبود💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓💓
❤
My salutations to 'The 313' --- whoever you might be! ---You have very truly understood the meaning & mode of the Indian music --- and particularly the
Hindustani melodies in their purest form played by ustads -- Shahid Parvez
and the likes. Your are right ... "this is not Music, this is Veda, Upanishads, Bhagavat Gita ....the highest human mental stage in Sound."
//GOPAL//
Cleveland, OH
We are Indian , it's a blessing for us that we can listen this shastriya Sangeet .
peheli meend me hi shudh Ni ka Aabhas laga rahe hai khanshahib
itni bechani wo bhi darbari me,wah ji kamal hai
Only very few people can render this Raag Darbari Kannada beautifully by exploring its full spectrum. The notes are very subtle and one slip can disturb the magnanimity of Raag Darbari Kannada. Ustadji is simply wonderful with his prowess on the instrument.
Check out Amjad Ali Khan’s interview during Harvard Club Mumbai Event: what his dad’s plea was at the Raj Bhavan in the 60s. I do not want to spoil thew suspense. But it was sublime.
Super rendition d the subtle note of the Raha. Ustaad ji has such an command and versatility . Long live gurujan.
I feel this one is Shahid bhai's best darbari, among a lot many played by hìm so far.
It is just an amazing vehicle for journey towards infinity! Let us have such travel on and on and on!!! Salute, O Dear Great Ustad Shahid Parvez who became one of my the most favorites, I would be lucky if I may get any chance to meet you in my life!
One of the best raaga. A unique control on swar and laya. So sweet to listen.
Till there are musicians who could play raga Darbari so well, there is hope for Hindustani music.
Ustad Shah Sahib has beautifully covered "Kin Bairan Kann Baharay" and "Yaare Man Biya" and "Anokha Ladla" in the madhiya lay and in durat AND Pandit Chatterjee Sahib as always gave a soulful sangat on tabla
Sir, I think the second bandish is "nain ko nain milaye rakhungi". Altogether a beautiful rendition as you said.
The Majesty of the RAAGA so exquisitely performed is or cannot be one that occurs on every occasion! An Holy affair, perhaps!
Absolutely astounding rendition of Darbari!
One of the truly greatest musicians of this generation
what a master piece...The exceptional tonal purity and meditative interpretation makes this one of the finest pieces of Indian music I ever heard in my life. But shame, no one mentions the name of the brilliant tabla player who accompanies him. He really deserves it. Thanks for sharing this treasure!!!
Great Anindo Chattaregee has accompanied on Tabla
sitar as an instrument when heard seriously forgetting everything else around us, transforms you towards the divinity of Nad brahma.
Very Correct Mr. Mohan Rao
The grandeur and majesty enjoyed by nearly eight thousand years of of a very profound musical format treasured/preserved for "artists" like this brilliantly endowed by his gharana and his "mitti" - "Bharat Mata" !!!.. 😔😔😔🌞🌞🌞 !!!...
Shahid Parvez has his on way to play Sitar . He plays it so nicely with soft touch. I have always loved to listen to all what he plays .. Jasi MAGON
Shahid Parvez is a genius who exercises the greatest responsibility with his sitar vadan. No one has ever excelled in mastering and controlling the medium of his instrument as he has done. And this Darbari cannot be touched by any other sitarist. It is the most complete exposition of this gambhir and majestic raga. One traverses through the lofty pillars and arches of the Mughal courts and palaces. It summons to mind the ramparts and forts of bygone days. What unfinished love stories are being recounted here by this great Master. Uff!!
Listen to Pandit Budhaditya Mukherjee's Darbari and tell me you find your statement wrong!
Mindblowing..........What a expression ........Bohot Khub Ustaad ji ........Long Live
I don't know why m crying while listening to this beautiful raga .. feeling that there is something so much important is missing in life ..
Ustadji , touching your feet .. will pray to god to give my rest life to you but you have to promise that you will keep on learning sitar like that only .. 😊😊
I feel the same. We share similar feelings brother
When I heard Pundit Ravi Shankar play live, my tears flowed like rain. It was one the best nights of my life.
It is the raag it is filled with emotion and much devotion
@@larrybeckham6652 You heard Panditji live. I'm green with envy.
i also feel some thing deep sorrow
a realy master,,,,great shahid parvez,many thanks for sharing
beautyful perforformence, thank you khan
saheb,
Perfect. Ustadji is the best. Wish him long life
This is such a joy to hear..!! Salute to the Great Maestro and his wonderful team.
Truly magical. Shahid ji was accompanied on tabla by the tabla virtuoso Pandit Anindo Chatterjee. Two great musicians of our country.
I love this raga very much.
Maitreyee Sarcar HF FRSA,
Surtarang Broadcast, worldwide.
@maitreyeehffrsa
amazing rendition, a true bliss by all means ! it starts to pour from 25:55
अद्भुत
Epic rendition. The difficult andolans in this raag have been rendered with great mastery producing an introspective grave and majestic effect. The alaaps are soulful and mellifluos. The bandishes are very convincing. The most satisfying sitarist of our times.
সালাম হে ওস্তাদজী! দীর্ঘজীবী হোন
(দ্য বেস্ট অফ হিন্দুস্থানি মিউজিক)
One comment says masterly. Yes indeed masterly, of such a great Raag . The player has surrendered his soul to it and become one with it while playing.
Absolutely fantastic. Soul stirring. Face to face with the Supreme 🙏
I heard him also long days back at Kala mandir , Kolkata . Certain times his hand movement in air vibrates the tune in our ear and mind. Just beyond expressions.
Very nice. It is my favorite raag.
India best sitarist ever!!!!!!! This does not mean any disrespect to Ustad Valayat Khan Sahib, may God bless his soul!! This man has taken sitar to a level that has not been seen before and most likely will not be seen again!!!!!
Respect your sentiments. However, both sitar technique and depth of raga development perhaps reached a superlative and sublime zenith in both Vilayat Khan and Nikhil Banerjee, which is still unsurpassed. Both had very different approaches but my word, weren't they divine. Shahid Parvez is brilliant no doubt but still a little short of divinity, I think...
i agree witchya whole-heartedly about Nikhilda. No disrespect to the Vilayat Khan school of exposition but I never vibe'd with it, with the exception of Shahid Parvez and Budhaditya Mukherjee.
you are full of yourself....
I disagree strongly with you and with the person whose comments are below yours. For me, SP is divine.
you havent heard of Pdt. Budhaditya Mukherjee then... from the same Ettawah or Vilayat Khani riyawaz
शाहिद जी जैसा दूसरा कोई नहीं!!!!!!
Pranam Ustadji and Pandit ji. 🙏🙏
Greatest living Sitar player. I feel ustadji is the best sitar player after Vilayat khan saab.
राग ।दरबारी ।अति ।मधुर ।जिस स्वर पर ठहर जाओ वही स्वर अच्छा फूलो जैसा खिलने लगता हमारे रिषिओ। सही कहा है कि स्वर ही ईश्वर है
Outstanding performance.
Mind blowing rendition
Salaam Salaam to the Great Artist and his team
God Bless
Thanks
Kasturi G
govindarajulu - Kasturi Ry8
Amazing and powerful.
This is amazing 😘
simply awesome!!!
feels Royal as like raag name 'Darbari'
Absolutely Blissful, mindblowing, heavenly....
Outstanding!!!
Absolutely brilliant!
Simply sublime, Ustadji!
That's amazing and outstanding 👌👌👏👏
Just go with music and feel free take a deep breath
Very divine! Pervezji and Anindiji are ethereal combination! God bless both. Of late Pervezji does not seem to be giving public performances
simply the best!
Beautiful
Momentous. It reminded of Ustad Vilayet Khan Sahib's Darbari Kanara at the 1960 Dover Lane Music Conf in Calcutta.Now forgotten great Pandit Samta Prasad was on the tabla. In attendance were Ustadji's mother (the extraordinary Ustad Enayet Khan Sahib's wife), Manisha (his then-wife), his sister, and of course the devout younger brother Ustad Imrat Khan. That magical night Ustadji had attained "sur". Parrvez Sahib is on his way there.
+Sumita Bhattacharyya He has been there for a long time .
Sumita Bhattacharyya
SK
UVK sahib, i remember had ceremoniously refused to accept an award from Indian Government, declaring it unfit to recognize a brilliance of his stature. He later accepted a recognition of "Aftaabey Sitaar". The reason I say this, is to show reverence to a soul, who eclipsed mortal achievements. He had arrogance, (haath kaan mein) , might i dare say. But he was brilliance, personified. Salut!
Ustad, SP is going strong en route.
The concert this reminds you of sounds very interesting. Is there a recording (Audio / Video) ?
Sumita di! Who says Pt. Samta Prasad is forgotten. He is an immortal star in the Tabla Galaxy.
Thank you.
Just love it
Aaaahhaaaa.. kya kehneee raag Darbari Aanand aagya.
Awesome rendition.
beautiful!!!
TANSEN created the MIDNIGHT MELODY which can CURE INSOMNIA, HYPERTENSION, DIABETES, ANXIETY NEUROSIS.
Legendary strokes of SHAHID PARVEJ in a very EMOTIONAL ASPECT.
Breath taking... waaah
I wont go into intricacies, am much lame to speak about the depth of 'Raga Darbari'. But I have grown old hearing Sitars and Sarod, an outlook which i gathered from my father, who still loves this form of music like a guy gifted with a birthday present. Comparisons of any kind would be injustice to the "league" which Angels, of this stature belonged. Ustad Vilayat Hussain Khan sahib, Ustad Amjad Ali Khan, Pt. Budhaditya Mukherjee, Pt. Nikhil banerjee. A constellation indeed.
Under full moon, around still waters one can immerse oneself within himself& with this music find your soul deep within
Pradeep Gogia
Hats off pandit ji. Pranam
waaw this music came to me in the right time my mind is so tired
shaikhdishgan1 y
Great Artist .Excellent Performance.
🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏a lot of respect goes to the artists.
Sitar is perhaps the best instrument for playing Raagas like this, due to the subtle meendkari possible in Sitar. Ust. Shahid Parvez has rendered it beautifully as usual.... Very enjoyable intricacies of notes.
You are beyond the place I preserve you in my heart.
What is this place where you take me with you.
stunning!
Amazing.The best.
Ohhhh I like this music in deep night with Rain and and🤔🤔🤔......
Unparalleled! Period.
Very nice! Good vibrations form the tones of 432Hz! Bravo!
lovable.
AS USUAL .. SUPERB ..!!!
I like this raga too.
अप्रतिम
Beautiful rendering specially aalap. Vilayat Khan influence is very obvious
Peace full
Itne bade ustad ko log dislike kaise karte hain yaar Main to bada hairan hoon ashamed on you guys
oy ruwa dita ee zalma,,,dangres man i am criaing
Parvez you are genius.
Very good songs
Lajawaab!
Late Pt. Bhimsen Joshi once said in an interview that, an artiste must never neglect the Raga while performing. If an artiste is involved in showing his expertise (Kasrat), the Raga "disappoints" and sits in a corner away from the artiste....
Wow! What a reverential approach to the very reason for existence - the Raag being rendered, and the idea of rooting the artist to it... nice thought indeed!
Mr. Sanjay ji ,have you found any mistake in this raga played by Ustadji ?
Sanjay Deshpande Pom
Sanjay Deshpande: 'If an artiste is involved in showing his expertise (Kasrat)...' utterly or to some people bitterly true. It has become aadaat to some musicians.
Ustad ji have that great expertise to show kasraat to render the beautiful raag.
But unluckily there are so many who don't have expertise to understand that greatness.
Divine.
superb
Kya bat its amajing
As a westerner accustomed to expecting everything I see and here to have a structure for my structured mind logic to be able to filter into emotion, whiclst loving this music I have found it difficult to comprehend what it is where it comes from and indeed why it should exist, and furthermore it is referred to as 'classical' music.
Tonight, being very tired in mind and emotions, and wondering where this musician was coming fron in the first instance, and trying to see where if it was me on the end of the instrument how and why I could come up with this kind of dancing.
being therefore weak in keeping a structure of logic in my brain and filtering it into emotions, floating around it occured to me that this is driven not by the musician we see as the mortal, but by the dancing eternal voluptuous dragon spirit of ourselves that can be eternal.
This smusic therefore is a fusion as I see it between our physical temple and our spirit, without any mind or emotional input. To me therefore it is perhaps the holiest of music as it ignores what we as a human,( a social creature) put into it, and we simply observe and live alongside our conjured up spirit, that which is created by God, the mind and emotions we create ourselves and so is not so holy.
The dragon I see in me therefore, being mindless in the normal way of thinking, and unemotional, is simply a creature that loves his life, and shows that by allowing to be conjured up like the proverbial snake to dance voluptuosly in the glory of what God has given us.
+Magneto de Winter What? What are you talking about? Your statement is but effusive nonsense.
g miller having reread my comment yes i can see what you mean. I do stand by it though. I think the word used by you 'effusive' is I suppose the simple way for me of understanding it. The music is basically the music of an effusive spirit, with the controlling self put to one side. thanks for reading my post.
This is exactly what Indian classical music is ! I'm really surprised you got a grasp of its core essence without actually learning it formally. And I do not believe it is fair to call it 'classical' music because it is evolving even as we speak. Thumris (ICM style) came into being not more than a 100 years ago.
I think you are pretty much on the right track. I think in the end this is why we humans play music, knowing it conciously or not. Makes me wonder about birds and howling dogs/wolves and if their supposed lack of intellect as we know it is what allows or forces them to just be, and what allows us to refine our instincs/habits
In the turmoil our modern lifes are, never really having silence or rest, everytime i come back to indian music it cleanses me, allow me to let myself go. Practically any music that not ignores the dragon you talk about
Hi. Just to add to this. Indian Classical Music is full of strict structure. This involves a formal, highly technical pedagogical tradition with an oral transmission of composition analogous to a written tradition. The word classical seems exactly the appropriate English language term for this. If you move past the 'Alaap' to the 'gat'/composition at 29:30 this will be much more apparent. I think without knowing the structure it can seem unstructured. Although very complex, some general aspects of the structure of a performance - principally the rhythm cycle - can be learned in minutes if you listen to it with someone who knows the structure, or perhaps by watching the right videos. You'll then be able to follow what's being 'said'. The structure is both in the rhythm and melody, and an argument could perhaps be made that both are more technically developed than in the western classical tradition, if these can be meaningfully compared. I'm not sure the comparison is very worthwhile. Within that very formal structure and rules system, there is improvisation. Hope this helps
Aah!
It's a peach therefore of the spiritual life as a sinuous fire breathing dancing and joyous existence, that has only one deficiency, that it lives on it's own, humanity being the armour given to it to socialise. This kind of holy music does not translate the human, but the spirit.
So right
magnifique. imrat me fait plus vibrer mais c est tres subjectif.
Who played the amazing heart touching tabla in this wonderful raga?
I'm from his gharana... Etawah
Naad comes from sublime beyond; if anyone does Gymnastics NAAD is far away. Most perfectly said by Music Legend Pt Bhimsen Joshi ji.🙏🙏🙏🕉🙏🙏🙏
Only one, is now to play Darbari perfectly
VAH
17:20
for something similar but different, have a listen to 'Timbarma' by Ali Farka Toure and 'Almost Independence Day' by Van Morrison
It really starts jumping at about halfway through with the drums. I'm looking for suggestions of anything as incredible as this entire track.
I recommend you to find darbari by Ust Vilayat Khan
Thank you, it's very good, I just had a listen to it.
...one where Pt. Shankar Ghosh plays the tabla....
you should listen to darbari by abid Hussain khan in the original veena. all these sitar tracks are frivolous if not mundane in comparison.