we remember the 20th death anniversary of tabla wizzard Pandit Samta Prasad (1921-1994)

Pandit Samta Prasad (July 20, 1921, – May 31, 1994) was an Indian classical musician and tabla player from the Benares gharana. He played tabla in many Hindi films including, Meri Surat Teri Ankhen (1963) and Sholay (1975), and film music composer Rahul Dev Burman was one of his disciples.

He was the son of Pandit Hari Sunder, also known as Bacha Mishra, his grandfather was Pt. Jagannath Mishra, and his ancestors included Pt. Pratap Maharaj, also known as Gudai Maharaj.

He was awarded the Sangeet Natak Akademi Award in 1979, given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama and the Padma Bhushan, the third highest civilian honour given by Govt. of India in 1991.

Tks to Parthasarathi Mukherjee for sharing this poto of his guru.

Early life and training

Pandit Samta Prasad was born on 20 July 1921, in Kabir chaura, Banaras (Varanasi), Uttar Pradesh into a family steeped in the tradition of tabla and pakhawaj of Benaras gharana, sometimes referred as Poorab baaj school.

His preliminary taalim (training) began with his father, who died when Samta was seven. Thereafter, he took the discipleship of Pt. Bikku Maharaj, himself a disciple of Pt. Baldev Sahai, and began to practise for long hours daily.

Career

Samta Prasad gave his first major performance at the “Allahabad Sangeet Sammelan” in 1942, where he impressed the musicians present there, and soon established himself as an accompanist as well as a soloist.

Throughout his career, he performed in various parts of India, such as Kolkata, Mumbai, Chennai and Lucknow. He also represented the Indian cultural team while abroad, in such places as France, Russia and Edinburgh.

He also played the tabla in Hindi films like, Jhanak Jhanak Payal Baje, Meri Surat Teri Ankhen, Basant Bahar, Asamapta and Sholay. It is believed that music director,S.D. Burman postponed the recording of the song, “Nache mora manwa magan tikta dhighi dhighi” being sung by Mohd. Rafi in the film Meri Surat Teri Aakhen until the arrival of Pandit Samta Prasad from Banaras.

He died in May 1994 in Pune, India. He was on a visit to Pune to conduct a coaching workshop organized by Naad Roop. The workshop was a success, but Panditji’s unexpected demise left a permanent scar on the minds of those who attended the workshop.

Awards and recognitions

He was awarded “Padma Shri” in the year 1972, and received the “Sangeet Natak Akademi Award” in 1979 and the President Scholarship in 1987. He achieved thePadma Bhushan in 1991.

Disciples

Amongst his noted disciples are Pandit Bhola Prasad Singh, Patna, Shashanka Bakshi, Nitin Chatterjee, Naba Kumar Panda, Rahul Dev Burman (R.D.Burman), Gurmit Singh Virdee, Partha Sarathi Mukherjee, Satyanarayan Bashisht, and his son, Pandit Kumar Lal Mishra, now a noted tabla player himself.

(Source: 05/2014 – Wikipedia.org)

Fully Tabla solo (part 1)…

… and part 2.

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Hamburg (30th May 2014): Mefhil (House concert) for Indian Classics with Sarode + Tabla

short review of a house concert on 30th May 2014 in Hanseatic City Hamburg with
Debanjan Bhattacharjee (Sarode) + Subrata Manna (Tabla)… and guest guitarist Daniel Luedke
After  touring two weeks it was the last concert given by Debanjan before flying back to Kolkata (India).
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Debanjan Bhattacharjee met Baba (sarod legend Ali Akbar Khan) on his birthday as litttle boy… it seems this uniquly coming together had a deep influence on Debanjan’s own musical carreer as Sarodian (in a positive sense)…

Hamburg Concert on 23rd May 2014… f.l.t.r.: Subrata Manna (Tabla), Daniel Luedke (guitar), Debanjan Bhattacharjee (Sarode)

Bielefeld Concert on 25th May 2014… with Subrata Manna (Tabla) and Debanjan Bhattacharjee (Sarode)

the HH audience of 3 generations full of expectations shortly before start of the house concert at 09:00 pm (30th May 2014)

house concert on 30th May 2014 with Subrata Manna (left) and Debanjan Bhattacharjee (right)

part 1 of house concert on 30th May 2014 with Subrata Manna (Tabla) and Debanjan Bhattacharjee (Sarode)

part 1 of house concert on 30th May 2014 with Subrata Manna (Tabla solo)

part 2 of house concert on 30th May 2014 with Subrata Manna (Tabla), Debanjan Bhattacharjee (Sarode) and Daniel Luedke (concert guitar, 12-string-guitar)

ElJay (cultural journalist, radio presenter) together with Debanjan Bhattacharjee (Sarode) on 30th May 2014

(!! No reproduction/reprint without given permission in written form !!) 

IMCRadio presents StudioTalk with Mandolin player Sugato Bhaduri (Kolkata): MUSIC FOLLOWS BEHAVIOUR.

On 29th May 2014 we have German holiday (ascension) and as 5th Thursday in May the promotion initiative IMC – India meets Classic will re-broadcast as special one of its StudioTalk productions with Sri Sugato Bhaduri (Facebook) under the topic “Music follows Behaviour“. – The radio show will be presented in English with the original recordings and onair @ radio multicult.fm at 03:00 pm EST (09:00 pm CET) and worldwide as webradio. – Enjoy our special feature “Studiotalk” !

Sugato Bhaduri @ Raga Charukesi

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Thank you to all our new members…. end of May we counted >11,111 in our FB group

direct link: htttp://tinyurl.com/indianclassical-fb

31st May 2014: Indian Classical concert (Sitar + Tabla) + Odissi-Tanz in Hamburg

Universum Altona eV presents…

On stage: 1. Anjan Saha (Sitar) + Swapan Bhattacharya (Tabla) / 2. Kaberi Sen (Odissi-Tanz)
Datum: 31. Mai 2014 – 20:00 Uhr
Ort: Amalia-Rodrigues-Weg 6 (22761 Hamburg, Nähe S3/21 – Bhf Diebsteich)
Eintritt: 20,00 Euro (ermässigt: 15,00 Euro)

 

We remember the 22nd death anniversary of Tabla legend Shaik Dawood Khan (1916-1992)

…the young SDK (1932)

Shaik Dawood Khan (16 December 1916 – 21 March 1992)also known as Ustad Shaik Dawood & Sheik Dawood, was a performer on the Indian tabla. He was formerly a staff artist in All India Radio.

Ustad Shaik Dawood Khan was born in Sholapur. His father Hashim Sahib was a draughtsman in the PWD (Public Works Dept.), Bijapur.

Shaik Dawood received his training under several notable masters. These include Mohammad Kasim of Sholapur, Ustad Alladiya Khan of Hyderabad, Ustad Mohammad Khan of Hyderabad, Ustad Chote Khan of Hyderabad, and Ustad Mahboob Khan of Miraj.

In his lifetime he accompanied most of the great musicians of the era. These include Aftab-e-Mausiki Ustad Fayyaz Khan, Ustad Vilayat Hussain Khan (vocal), Ustad Bade Ghulam Ali Khan, Ustad Barakat Ali Khan, Roshanara Begum, Abdul Wahid Khan (Begum Akhtar’s Guru), Pandit Bhimsen Joshi, Pandit Sawai Gandharva, Pandit Basawaraj Raj Guru, Nazakat Salamat, Mushtaq Hussain Khan, Pandit D. V. Paluskar, Pandit Vinayak Rao Patwardhan, Ustad Allaudin Khan, Ustad Ali Akbar Khan Girija Devi,,Pandit Ravi Shankar, Ustad Vilayat Khan.

In his life he received numerous awards. These include the prestigious Sangeet Natak Akademi Award – 1991. Unfortunately he was too ill to attend the award ceremony and died shortly after the awards ceremony.

(Source: 05/2014 – Wikipedia.org)

SDK as solist (1969)…

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Ustd. Nisar Hussain Khan with Raga Yaman (1965)
(being accompanied by Ustd. Shaik Dawood (Tabla) and Ustd. Qhayam Hussain Khan (Sarangi))

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DE – Raga CDs of the Months (05/14): Evening & Night Ragas – Violin (part 1 and 2)

part 1 of Evening & Night Ragas… with listening examples on the violin

N. Rajam on violin

N. Rajam on violinThe Indian self understanding of >late evening< following a long working day is “be funny” and “joyfulness”. The raga group of kafi, bageshri and sindura ragas represent this mood. The evening ragas like yaman, shree, marwa and purvi can wake the emotions of prosperity and active live.

Evening and night ragas – part 1 with some listening examples of the Indian violine … first time the violine was introduced in India at it’s times of the British colonialisms at the end of the 18th early 19th century. This western instrument was picked up in the southern part of India enthusiastically and soon became an integrative part of the Carnatic (South Indian) music.

The violin has the ability to reproduce every shadow nad nuance of the vocal music, however only some few representatives exist in the Northern part (Hindustani Music) less than in the Southern part of India. Especially the women established themselves as violin players like Kala Ramnath, Anupria or Sunita, daughter of the female violinist Minto Khaund or Sangeeta Shankar, Kala’s cousine and Gingger the niece of L. Shankar (violinist) and daughter of L. Subramaniam (violinist), all representatives of the younger music generation…

dates of broadcasting …

part 1: 19th May 2014 – 04:00 p.m. EST (10:00 pm CET) @ TIDE Radio (DE)
part 1: 18th May 2014 – 09:00 a.m. EST (03:00 pm CET) @ radio multicult.fm (DE)
part 2: 19th May 2014 – 05:00 p.m. EST (11:00 pm CET) @ TIDE Radio (DE)
part 2: 18th May 2014 – 10:00 a.m. EST (04:00 pm CET) @ radio multicult.fm (DE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

part 2 of Evening & Night Ragas… with listening examples on the violin & sitar

Part 2 of “evening and night ragas” is completing part 1 as here the promotion initiative IMC – India meets Classic presented the violin as a Western instrument, which found its way into the North Indian (Hindustani) and South Indian Music (Carnatic) … and herefore some raga examples, e.g. the evening raga Yaman, the night ragas Rageshri and Durga and the raga Maru Behag, a mixture of an evening and night raga.

In part 2 IMC – India meets Classic continues its path following the violin in India and its exceedengly importance for Indian Classical Music… In comparision with the violine the sound picture of evening and night ragas on the sitar is being opposed. Together with the violinist Kala Ramnath the sitar maestro Purbayan Chatterjee presents in a jugal bandi, the Indian form of a duet, the late evening raga Bageshri and here about an interpretation of the rhythmic lively and light vocal style Tarana. An All India Radio release presents Purbayans guru and great ideal Pandit Nikhil Bannerjee in a Sitar solo of the evening raga Desh.

The violin has been accepted in the northern part of India at all, but in a smooth way. As no other instrument from the Western area the violin has established deeply in the South Indian Music style. Presentation forms and performances we know today had been developed in the golden age of the South Indian Classic between 1750 and 1850 (e.g. compositions of Thygaraja, Dikshitar and Syama Sastri). The violin was introduced into the South of India by Baluswamy Dikshitar in the early 19th century.

As representatives of the South Indian Music IMC – India meets Classic presents in part some violinists, e.g. Dr. N. Rajam. She has the biggest impact onto the Indian Classical Mucis of all female violinists in India … and combines the North Indian style with the South Indian form, too. On her CD RADIANT she presents the midnight raga Malkauns, which exists as Raga Hindolam in the Carnatic Music, too. Both belong to the Bhairavi Thaat System, the ascendenting and falling scales existe each of 6 notes (swaras): Sa – ga – ma – da – ni – Sa.

Dr. N. Rajams daugther, Sangeeta Shankar, did many different music art works of both traditions (Hindustani, Carnatic) together with her mother. IMC – India meets Classic presents Sangeeta as a solist together with the tabla virtuoso Ustad Zakir Hussain playing the late night raga Bageshree.

Kumaresh & Ganesh (Source: Flickr | Sriram Bala – http://goo.gl/hClUwQ )

The brothers and violin duo Ganesh & Kumaresh (see photo) are two of the leading artists of the South Indian Music (Carnatic). Ganesh and Kumaresh develope the violin play techniqually to a very expressive form … with their CD SUNDARAM (= beauty) they document the South Indian form Ragam Tanam Pallavi by an individual composition of Ganesh, which is according to the evening raga Vasanta in South India. Vasanta is one of the eldest Ragas in India, performed since more than 1000 years. Typically for the South Indian Vocal and Instrumental Music Ganesh and Kumaresh are being accompanied instead of the Tabla by the Mridanga, the traditional drum of India and the Ghatam, a vessel like sound body made of clay.

Reference: IMC – India meets Classic seperatelly will have in one of its next special features a deeper focus onto the Indian violin and its figure for fusion, jazz and world music and presents some extra ordinary violin players, e.g. Dr. Lakshminarayana Shankar, known as L. Shankar, his brother L. Subramaniam, titled in his home country as the “The God of Indian Violin, “The Paganini of Indian Classical Music or his pupil (Shishya) S. Harikumar and others …

DE – Raga CDs des Monats (05/14): Abend- & Nachtragas – Violine, Teil 1 und 2 (evening & night raags) …

Teil 1  von Abend- & Nachtragass mit Hörbeispielen der indischen Violine …

N. Rajam on violin

Nach einem arbeitsreichen Tag wird im indischen Verständnis der späte Abend als die Zeit des “Lustig seins und der Fröhlichkeit verstanden. Diese Stimmung verkörpern die Ragagruppe von Kafi, Bageshri und Sindura Ragas. Die Abendragas wie Yaman, Shree, Marwa oder Purvi können Glückseligkeit und ein Gefühl der Lebendigkeit wecken.

Die Violine wurde erstmalig im kolonialen Indien des frühen neunzehnten Jahrhunderts eingeführt. Sie ist im südlichen Teil Indiens enthusiastisch aufgenommen worden und war bald ein integrierter Bestandteil der karnathischen, der südindischen Musik.

Obgleich das Instrument die Fähigkeit besitzt, jede Schattierung und Nuancierung der Gesangsmusik zu reproduzieren, gibt es weniger Vertreter im Norden als im Süden Indiens. Besonders aber die Frauen konnten sich auf der Violine in Indien etablieren, wie Kala Ramnath, Anupria oder Sunita, Tochter der Violinistin Minto Khaund oder Sangeeta Shankar, Kalas Cousine und Gingger, die Nichte von L. Shankar (Violine) und Tochter von Dr. L. Subramaniam (Violine), alles Vertreterinnen einer jüngeren Musikergeneration…

Sendetermine…

Teil 1: Mo., 19.05. 2014 – 22:00-22:58 Uhr CET (04:00 pm EST) @ TIDE Radio (DE)
Teil 1: So., 18.05. 2014 – 15:02-16:00 Uhr CET (09:00 am EST) @ radio multicult.fm (DE)
Teil 2: Mo., 19.05. 2014 – 23:00-23:58 Uhr CET (05:00 pm EST) @ TIDE Radio (DE)
Teil 2: So., 18.05. 2014 – 16:02-17:00 Uhr CET (10:00 am EST) @ radio multicult.fm (DE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Teil 2 von Abend- & Nachtragas… mit Hörbeispielen auf der Violine u. Sitar

Teil 2, Abend- und Nachtragas ergänzt sich Teil 1. Hier stellte IMC – India meets Classic die Violine als westliches Instrument vor, das in die nordindische und südindische Musik Einzug fand … und präsentierte dafür Ragabeipiele, wie den Abendraga Yaman, die Nachtragas Rageshri und Durga oder den Raga Maru Behag, eine Mischung aus einem Abend- und Nachtraga.

Auch in Teil 2 beschaeftigt sich IMC – India meets Classic mit der Violine und ihrer herausragende Bedeutung in der indischen Klassik … Als Hörvergleich wird dem Klangbild der Violine die Interpretation von Abend- und Nachtragas auf der Sitar gegenübergestellt.

Der Sitarmeister Purbayan Chatterjee präsentiert mit der Violinisten Kala Ramnath in einem Jugal Bandi, dem indischen Duett, den Spätabendraga Bageshri, in einer Interpetation des rhythmisch-lebhaften und leichten Gesangsstils Tarana. Purbayans Lehrmeister und grosses Vorbild, Pandit Nikhil Bannerjee, wird als Solist den Spätabendraga Desh präsentieren, einer Aufnahme aus dem All India Radio Archiv.

Die Violine wurde im Ganzen im Nordteil Indiens, in der Hindustani-Musik kühler aufgenommen. Wie kein anderes Instrument aus dem Westen hat sich die Violine in der südindischen Musik etablieren können. Stilformen und Musikdarbietungen, die wir heute kennen, wurden in dem goldenen Zeitalter der südinsichen Klassik, zwischen 1750 und 1850 entwickelt (u.a. Kompositionen von Thygaraja, Dikshitar und Syama Sastri). In den Süden Indiens wurde die Violine von Baluswamy Dikshitar im frühen 19. Jahrhundert eingeführt.

Darum stellt IMC – India meets Classic in Teil 2 Violinisten als Vertreter der südindischen Musik vor. Dr. N. Rajam, der man den grössten Verdienst unter allen Violinistinnen Indiens für die indisch klassische Musik zusprechen kann, kombiniert die nordindische mit der südindischen Musik. Den Mitternachtsraga Malkauns auf ihrer CD RADIANT gibt es auch in der karnatischen Musik als Raga Hindolam. Sie gehören dem Bhairavi Thaat an, in der aufsteigenden wie absteigenden Skala jeweils aus 6 Noten bestehend: S – g – m – d – n – S.

Dr. N. Rajams Tochter, Sangeeta Shankar, hat mit ihrer Mutter Musikwerke aus beiden Traditoinen realisiert. IMC – India meets Classic präsentiert sie als Solistin mit dem Tablavirtuosen Ustad Zakir Hussain und Spät-Nacht-Raga Bageshree.

Kumaresh & Ganesh (Source: Flickr | Sriram Bala – http://goo.gl/hClUwQ )

Die Brüder und das Violin-Duett Ganesh & Kumaresh sind zwei der führenden Künstler der südindischen, karnatischen Musik. Ganesh and Kumaresh entwickelten das Violinspiel technisch zu einem kraftvollen Ausdruck und … präsentieren aus ihrer CD Sundaram (= Schönheit) die süd-indische Form “Ragam Tanam Pallavi, mit einer eigenen Komposition von Ganesh, die dem südindischen Abendraga Vasanta entspricht. Er ist einer der ältesten Ragas in Indien, der seit mehr als 1000 Jahre gepielt wird.- Typisch in der südindischen Vokal- und Instrumentalmusik begleiten anstatt der Tabla die Mridanga, die klassische Trommel Indiens und der Ghatam, ein gefässartiger Klangkörper aus Ton.

Hinweis: Dem Thema Fusion & Weltmusik, in der die indische Violine durch herausragende Künstler wie Dr. Lakshminarayana Shankar – bekannt als L. Shankar, seinen Bruder L. Subramaniam, in seiner Heimat betitelt als “The God of Indian Violin, “The Paganini of Indian Classical Music oder dessen Schüler S. Harikumar eine grosse Bedeutung erfährt, wird sich IMC – India meets Classic in einer seiner weiteren Sondersendungen gesondert widmen.

IMCRadio’s home channel TIDE (Radio + TV) celebrates 10 years broadcasting…

Infos: www.tidenet.de/aktuelles/10jahre

TIDE Channel (Radio + TV) celebrates 10 years broadcasting

Das Programm:

19 Uhr: Der offizielle Teil mit geladenen Gästen, Soulsängerin Love Newkirk (live), Filmen und Hörgeschichten. (Moderation: Madita van Hülsen + Martin Wilhelmi).

Es sprechen: Claudia Willke (Chefredakteurin TIDE), Prof. Dr. Insa Sjurts (Geschäftsführerin der Hamburg Media School), Margret Beck (Senatskanzlei “Amt Medien”), Jürgen Heuer (Verwaltungsrat TIDE)

ab 21 Uhr: Der öffentliche Teil für Alle mit Musik von Queer Pop-Dreamteam Stefan Kossanyi und DJ Frankie Dare

(Mit freundlicher Unterstützung von Die Bullerei, Fritz Kola, elbPaul und el rojito.)

Listen to TIDE’s birthday party live stream in an external player
via Mp3 (high quality) | ogg | Mp3 (low quality)

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The program:

07:00 pm CET (01:00 pm EST): The official part with invited guests, soul singer Love Newkirk (live), movies and radio plays.
(Moderator: Madita van Hülsen + Martin Wilhelmi).

Guest Speakers: Claudia Willke (Editor in Chief TIDE), Prof. Dr. Insa Sjurts (Managing Director of the Hamburg Media School), Margaret Beck (Senate of Hanseatic City Hamburg, Department “media”), Jürgen Heuer (Board TIDE)

from 09:00 pm (03:0o pm EST): The public part for all with music by Queer Pop-Dream Team Stefan Kossanyi and DJ Frankie Dare

(with Courtesy of  Die Bullerei, Fritz Kola, elbPaul and el rojito.)

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(Source: 05/2014 – TIDE Community Channel (Facebook) | PR Department – Tina Fritsche)

 

Anoushka Shankar on German/Austrian Concert Tour 2014/2015…

Traces of You Gallery (Source: http://www.anoushkashankar.com/galleries/)

Anoushka Shankar returns to the forefront of ‘Progressive World Music’ with the release of her highly anticipated seventh studio album entitled “Traces Of You”. Produced by long time friend and critically acclaimed multi musician and composer Nitin Sawhney, “Traces Of You” is inspired by the idea that everything in the universe leaves an indelible mark, or a subtle “trace” on everything it comes into contact with. Featuring appearances by her half-sister Norah Jones, noted Hang exponent Manu Delago, world-reknowned percussionists Tanmoy Bose and Pirashanna Thevarajah, and others. Ground-breaking as ever, Anoushka debuts a breathtaking new musical union, pairing the sitar with the intricate sounds of a relatively new instrument the Hang Drum, played by it’s foremost exponent Manu Delago. Three forms of love, love for her father, her husband, and her son, proved to be the ultimate inspiration for some of the deepest and most personal music Anoushka has yet written.

Releasing on the prestigious Deutsche Grammophon label internationally on 4th October 2013, and 7th October 2013 in the UK, “Traces Of You” looks set to mark a new chapter in Anoushka’s career, defining her creative vision and punctuating her unique instrumental career (Source: 10/02/2013 – | news (official A. Shankar website).

“Pieces from Traces of You” Tour

• 

  Laeiszhalle Hamburg (Photo credit: Wikipedia)

  22.5.2014 HAMBURG, Laeiszhalle, Großer Saal

• 24.5.2014 KÖLN (Cologne), Kölner Philharmonie
• 25.5.2014 WÜRZBURG, Vogel Convention Center
• 27.5.2014 WIEN (Vienna), Wiener Konzerthaus
• 29.5.2014 Dresden, Semperoper
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• 19.03.2015 FRANKFURT / MAIN, Alte Oper Frankfurt, Konzert

Lasya from Anoushka’s album “Traces Of You” (2013)

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Traces of You (official trailer / Deutsche Grammophon)

Anoushka Shankar with percussionist Pirashanna Thevarajah and Manu Delago in London, Old Street. Video Producer: Stefan Krösbacher, Sound recording & mastering: Julian Hepple (Source: http://www.klassikakzente.de)

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Traces of You concert 2013 in Dortmund (compilation)

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