Palghat Raghu Bursting Mridangam Solo
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- čas přidán 22. 02. 2013
- Palghat Raghu On Fire With The Mridangam.Great Mridangam Solo Experience.Cracking,Bursting,Firing,Amazing Mridangam Solo By Palghat Raghu.
A Must Watch Video For Carnatic Lovers
Enjoy The Bash With Full Bassss!!!!!!!!!!!!!!!!!!!!!! - Hudba
One of the most terrific thanis that I've ever listened to, and there are only a few of them!! What speed, naadam, thoppi, ghumkis and clarity! Plus seamlessly interweaving several nadais, a hallmark of Shri Raghu!
It's as if the mridangam is talking to you, singing to you, whispering to you, thundering to you.... incredible, immense, incomparable talent!
What thoppi-thalai modulation !! This man is one of his kind in that i love the way he retains the basic structure of the PMI tradition unfailingly, yet introducing the catchy Gumki-Faran interplay signature to the PSP tradition into his play, in such a way that paved the way for many other youngsters to explore this unique blend for modern mridangam connoisseurs...Having said that, i still believe that a lot of this man's genius is yet to be tapped successfully by aspiring vidhwans of today.
This was from the album Bhavalu performed by KVN, VVS, and Raghu in 1967 in the US.
Correct !
It sounds like Palakkad Mani Iyer and Pazhani Subramania Pillai are playing as one player!
That's a perfect tribute to this great Vidwan of Mridangam. He had mastered the crafts of both of those masters you mention above. I remember my father used to say "Mani Iyer never even looked at the stalwart singers clapping the Thalams for his solos, he preferred to look directly at the audience and his mathematics was never off by even a nano-beat." Same can be said of Raghu Sir, as well!
@@jrmss2024 you are cent true. Even Geniuses like MDR said "when Raghu is playing, there is no need to put talas." Such was his precision.
@@Dan50900 Indeed. Great masters, humble people and immortal musicianship from them.
@@jrmss2024 absolutely 🙏🏼🙏🏼
Very true👏👏👏
I had the honour and blessings to learn under his tutelage for about Three years before I moved away from Chennai...but I kept listening to his concerts both live and recorded for ever...
One of the finest mridanga I have ever heard.
One of our God of MRIDANGAM...Blessed to hear this at least in the form of a Recording...
raghu saar in this avartanam shows his fascination for the great palani subramaniya pillai style of playing and milks the bass to the fullest; palghat raghu was one of a kind;
BEYOND WORDS, EASILY AMONG THE BEST OF THE BEST...though credited with blending PMI and PSP very well, undoubtedly 80% PSP in this one at the least...
absolutely brilliant..beyond words. thanks for sharing!
Bliss..!!
The methodic built up of the avarthanam is just extraordinary..!!
A true MASTER..!!
I believe this thani was part of Nonesuch records recorded in the US in the 60s along with KVN and VVS. There is also a recording of KVN with Ustad Alla Rakha and Palghat Raghu as part of the same series.
ahhh hands down my favorite mrudangist
every music lover should watch this thani avardhanam . S.RAGUVEERAN SIVASUBRAMANIYAM
I never heard such a brilliant thani ❤
awesome. one of the best thanis I've heard. what sheer mastery he exhibits in his performance. hats off to the person who uploaded it.
One of shri shri Palgat Raghuji's best !
Any idea when this recording was made? My guess is that this was in the 60's-70's period, from the quite distinctive thoppi play at the beginning. Later on his style changed quite a bit, so much so that for average listeners like me, they are indistinguishable !
Any way, what a beautifully constructed thani. Everything in proportion, without any undue haste or histrionics. Superb nadam on both sides of the mridangam....what more can one ask for? Thanks to my friend Sreenath for pointing me towards this video.
i would like to hear only the [G]old style......... [which we could not able to hear at present days].........of playing of our one and only " Raghu Sir " !! AWESOME !! AMAZING !!
KONERIRAJAPURAM MRIDANGAM VIDHYAARTHI
Oh man !!! Awesome!
AwEsOmE!!!!!
From 11.01-12.16 Thisram, the train going sound which he is famous for..
indeed
Just spectacular!
Legendary!!
Amazing Thani.. What naadam and naadai !!
outstanding
One of the best
👏👏🙏🙏 wonderful
Majestic thani ❤️
Wow !!!! Thank you for sharing this ..
With a great ease, he just makes the Mridangam recite his mind.....!!!!
exellant performance. wow what a wonderful play
Wow! Thanks for sharing. I would have loved to be at that concerts, sounds like KVN, to hear the accompaniments!
Very Very graceful and pleasing to the ears!
Whixh concert is this and where... Because the balance in the vadhyam has been bruoght out extreemly well...
Very powerful beats from start to finish, full of energy!
Both sides at a time 2 jathiees wonderfull🙏👏👏
Wondarful, extraordinary, pranams to great gurus. Thanks
Pranams to the legend🙏🙏🙏
Not finding an appropriate word to salute to His majestic playing!
I really admired that old quality of audio , the sound looks very pure
Truly magnificent! Beautifully structured tani. The way the tani is led into the final crescendo is this legendary Vidwan's forte. If there was a mridangam which sang a composition, this is it - at the hands of this great Master.
is it miruthangam no vocal violin flute veena every voice is there
miracle one
No comments. As he will be always a gr8 mrudangam maestro for his thundering strokes & 'GUMKIS'.
🙏🙏🙏🙏🙏
I believe this is from the Hollywood bowl LP with K V Narayanaswamy .
😊
If only they had the recording equipment we have now...
I thought the recording quality of this was actually pretty cool! The bass tones later on sounded electronic and compressed. The whole thing sounded like a mix of Death Grips instrumental tracks, Marcus Gilmore, and dark ambient music.
@@bulletfastspeedwell to be fair this is probably heavily audio enhanced, but either way the recording is suprisingly high quality
Whatever be the playing palghat mani iyers mridangam playing cannot be compared with current players especially krm.
More than 3/4 of today's mridangam "instant noodle" crap just can't come near what this doyen, just like other greats of the past (UKS, KRM, TKM, PMI, PSP) etc have produced, as controversial as this may sound.
Give me an artist who will allow a 15 to 20 minute mridangam-only thaniaavarthanam. I am sure the mridangists will be delighted to exhibit a thani which has a spirit of this recording if not similar.
When a mridangist (most modern ones) is more interested in "selling" his art cheap & looking for instant gratification rather than striving to uphold its dignity at all costs, the modern day scenario can only take place. Hear the doyens speak (UKS, PRR, PMI, TS) & you will understand they never sell the art for "2 pennies" like the modern day "mercenaries" do. Why would I as a singer even want to give such a species 15-20 minutes to "disgrace the art". "You came, you've done your job, & now you can go" is the same mentality I would have as a main artist, unless I see "spiritual,aesthetic" value in the vidhwan reminiscent of that of the greats of the yesteryears.
Unfortunately the singers you are talking about are also imaginary. The moment you take a thani above 10 mins in a typical 2 hour concert, your chances of making to the next concert with the same person are very narrow. I agree that there are some mridangam players who "sell" their art but then for a "spiritual and aesthetic" thani you need to give the accompanying artist the freedom to build it up over time. In olden times, thanis typically used to be of minimum 20 mins ( correct me if i am wrong), which used to give the mridangam artist ample time and freedom to exhibit the tonal quality of the instrument. The camaraderie between singers and their accompanying artists in those days was a cherishable experience compared to the superiority seeking mentality nowadays.
Mridangists of the yesteryears chose artists they preferred to accompany. PMI was an excellent example. KRM is no less vocal. Blaming the main artist for not giving the mridangist due time for build up seems futile, because great vidhwans choose great ones in turn to accompany for. Even today, we have great singers like Abhishek Raghuram & Kunnakudi Balamurali Krishna who are no less "excellent percussionists" themselves, & just listen to how gleefully "Anantha Ananthakrishnan" or "Sundar Kumar" build up their thani much to the admiration & appreciation of the enthusiastic main artist. It still boils down to the "attitudes" & "mindsets" of "wannabe great percussionists" these days. The greats have shown what "all" it takes to be lifetime achievers, importantly "asserting themselves" & the importance of the nadha-sarvalaghu vadyam on par with the main performing artiste. Not being able to attain that only speaks of how "incomplete" the mridangists these days are overall, in comparison.
"It still boils down to the attitudes & "mindsets of wannabe great percussionists". You forgot the vocalists too. What you asserted, just proves my point that the rapport between the vocalists and the accompanying artists is the main factor. The instant noodle crap only comes when there is no bonding or understanding between the vocalist and the accompanist. The number of videos in CZcams itself where sundarkumar and anand have practiced with both balamuralikrishna and abhishek raghuram asserts the fact that all the 4 of them have a solid understanding between each other hence the ease with which the former two play the thani. How many concerts have you seen where both these singers are accompanied by artists other than the mentioned two and sumesh narayanan, very few indeed. Unfortunately, the 3/4th of the mridangists that you are talking about are not in a state to choose their vocal artists, given the cost of living nowadays. Since, we do not know their stories, we are not in a position to comment on their so called "wannabe" attitude.