Raag Jaijaiwanti (Alap, Jor, Gat)
Album : AIR Recording (1959-1960) ~ Vol 1 ~ Baba's Sublime Sarod
Courtesy: thuryina's Channel on Youtube
*Ustad Allaudin Khan (1862-1972), of the Maihar gharana, was one of the central figures of the golden age of Hindustani classical music. He is said to have mastered 30 instruments before settling on the sarod as his instrument of choice, and he was perhaps the only Ustad who could read and write Western music.
Unlike the polyphonies nature of Western style orchestration, Indian classical music is essentially a solo act. Orchestration, therefore, is an alien concept. However, Baba’s eclectic and itinerant background was packed with adventures, which extended his musical experiences. When several children in the small princely state of Maihar were orphaned after an epidemic in the region, he started teaching them music and pioneered Western-style orchestration in Indian classical music as a way of keeping them busy.
During this phase he also fashioned instruments like the saranga (a bigger sarangi played like a cello), sitar banjo and nal tarang made from abandoned rifle barrels lying around the estate in Maihar. The Maihar Band, as they were called, went on to perform at several prestigious music conferences in North India in the 1920s. The band will perform a short piece at the NCPA too.
Before settling in Maihar, Baba spent a lifetime in pursuit of music of every kind and trained students like Ravi Shankar (sitar), Nikhil Banerjee (Sitar) his son Ali Akbar Khan (sarod) and his daughter Annapurna Devi (surbahar). Other students included Pt. Pannalal Ghosh, and Timir Baran.
Baba also composed new ragas, including Hemant and Manj Khamaj.
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