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Archive for the ‘India Music Week (2013)’ Category

ARC & IMW presents… three (Compilation) Albums for the INDIA MUSIC WEEK (Free Download + Audio Stream)

Posted by ElJay Arem (IMC OnAir) on October 12, 2013


!  Tks to the ARChive for Contemporary Music for organizing the INDIA MUSIC WEEK !

Compilation with musicians and singers (Ghazal, Qawalli) from Pakistan…

 13 tracks from 13 albums by Peter Gabriel’s label Realworld Records in UK

Amarrass Records and ‘Raichand’ by Barmer Boys ( Rajasthani quartet




 streaming at…


streaming… (@Facebook)

What is the ARChive?

The Archives of the ARChive for Contemporary Music

The Archives of the ARChive for Contemporary Music

The ARChive of Contemporary Music is a not-for-profit archive, music library and research center located in New York City. The ARChive collects, preserves and provides information on the popular music of all cultures and races throughout the world from 1950 to the present. Since the ARChive’s founding in 1985 our holdings have grown to over 2 million sound recordings, making the ARChive the largest popular music collection in the United States. And we are growing daily as hundreds of record companies, publishers, distributors and artists from around the world donate new materials to the ARChive. In addition to sound recordings and publications, the ARChive actively collects all books, magazines, videos, films, photographs, press kits, newspapers clippings, memorabilia and ephemera relating to the history of popular music–over three million items. We also maintain an electronic database of 35,000 people working in the music industry and 500,000 sound recordings catalogued at the ARChive.

In early 2009 ARC forged a partnership with Columbia University in New York City to create innovative academic initiatives and online content to help with the study, understanding and enjoyment of popular music from all over the world.

For the past four years, the ARChive has concentrated on collecting, cataloging and documenting the history of popular music from the non-Western world, available as an encyclopedia of world music to be published by Pantheon/Random House. The permanent, non-circulating collection is currently available through telephone searches, to research members comprised of the press and music industry, and to individuals for special projects. The goal of the ARChive is to one day allow students, educators, historians, musicians, authors, journalists, and the general public access to the rich musical heritage of the past 40 years.

The ARChive was established because for decades the record industry has done little to preserve its own heritage, and over the years many irreplaceable recordings and artifacts have been misplaced or destroyed. Even as the new medium of CDs has placed many out of print recordings back in circulation, many re-issues have different or truncated material, and many CDs themselves are already out of print. The record industry has yet to act to preserve its own heritage, as the film industry recently did after realising that nearly half of all films produced before 1950 have been lost.

American libraries and sound archives, including the Library of Congress, have also been slow or resistant to preserving emerging popular music. Most consider popular music “commercial” and therefore less worthy of saving–or more able to survive on its own. The ARChive is America’s only non-affiliated (University or Federal) broad based music archive. We believe that all forms of popular music–jazz, be-bop, bluegrass, country, rock, rap, blues, enka, reggae, calypso, zydeco, zouk and countless othersÑare important culturally. Not only do they entertain, they reveal to the world a great deal about a people and their values.

The ARChive of Contemporary Music was founded by B. George, the Director, and David Wheeler (1957-1997).

Why the ARChive?

The-Archive-of-Contemporary-Music-Logo-1 There is a wonderful short story by Emanuel Boundzeki Dongala called “Jazz and Palm Wine.” In it, the Earth is invaded from outer space and the advance ships land in Zaire. Aliens conquer the world. Spacemen explore the various cultures and societies on this planet and decide, quite rightly, that the only things of value are palm wine, a West African intoxicant, and Jazz. The tipsy, hip and benign rulers make Sun Ra the president of the United States and John Coltrane the Pope. “A Love Supreme” replaces the “Gloria” in the liturgy.

We view the past through the artifacts that survive, and future societies (or spacemen) will reshape the past, creating their own version of our cultures. So the ARChive collects and preserves everything that’s issued, hoping to define “what happened” in terms broader than those usually described by selectiveness or availability. Taste, quality, marketing, halls of fame, sales, stars and value are as alien to us as they are, well, to aliens. The ARChive’s job is to make sure “A Love Supreme” will be there when it’s needed.

Join the ARChive

The list below indicates the various levels of annual charitable donations you can make to become a Friend of the ARChive. Friends receive our newsletter (2-3 times a year), an invitation to attend two free cocktail parties that precede our semi-annual record sales (getting first dibs and drinks in a relaxed setting) and get advance notice of our star-studded annual benefit party.

You can make a donation or join the ARC online via our page (best for matching funds) or through paypal. Paper people can always post a check.

(Source: ARC – Official Website)


Real World Records celebrates India Music Week with this playlist of 13 tracks taken from classic titles in its CD catalogue, each one transporting you to the ancient culture of India. Find out more about each of the albums and listen to a song from each title below.

Until October 31, Real World Records is offering a free download of the track ‘Dil Ki Doya‘ taken from Paban Das Baul & Sam Mills collaborative album Real Sugar.

Download the “Dil Ki Doya” MP3 / Listen to the full playlist

1) Raga Darbari Kanhra-Drutgat by Gopal Shankar Misra

The expressive, liquid sound of the vichitra veena wonderfully fulfills Indian classical music’s aim of musical instruments emulating the human voice. Dr. Gopal Shankar Misra (1957-1999), recognized as a music master by the age of twenty-two, was a virtuoso of this ancient, rare instrument. Born in Kanpur, he learned from his father, an acclaimed academic and musician who played tablasitar, and revived the venerable vichitra veena by creating playing-technique for it. Gopal carried on his father’s work, taking the rare old instrument to new levels of artistry during his life.This 1999 recording, completed shortly before his untimely passing, stands as a beautiful testament to an extraordinary man’s all-too-short lifetime of devoted work.Discover more about the album “Out Of Stillness”

2) State of Bengal vs Paban Das Baul – Al Keuto Sap

Tana Tani plunges traditional Indian Baul singer Paban Das Baul into the dub-heavy melee of England’s Asian breakbeat scene, where his ecstatic, smoky vocals soar over juddering beats and squelchy basslines, and his urgent, hypnotic rhythms morph into frenetic drum ‘n’ bass breaks.The collaboration began in Sam “State of Bengal” Zaman’s East London studio in 2002 and subsequently continued at Paban’s Paris home. Paban’s music is the soul of itinerant India, melded here with the nocturnal soul of London in a vibrant sonic confluence of the Thames and the Ganges.Discover more about the album “Tana Tani”

3) Raga Bhairavi by K. Sridhar and K. Shivakumar

Initiated into the South Indian Carnatic musical tradition from early childhood, sarod player Sridhar and his brother, the acclaimed violinist Shivakumar, are descendants of twelve generations of virtuosic musicians. As children, both studied with the famed Usted Zia Mohiuddin Dagar, a specialist in the classical devotional Dhrupad Dhamar style of Northern India.Two music traditions co-exist in India – the North (Hindustani) and the South (Carnatic); both share the same basic systems but differ greatly in the instruments used, the ragas played, and the concepts of musical expression. It is quite rare for musicians to master both traditions; the brothers Sridhar and Shivakumar have done so, creating what Sridhar calls “a yoga of sound.”Discover more about the album “Shringar”

4) Paban Das Baul & Sam Mills – Dil Ki Doya

Paban Das Baul hails from the Murshidabad district of West Bengal, where the spirit of syncretism among Tantric, Vaishnava, Muslim and Buddhist traditions is manifested through music, dance and song. Legendary for his inspired lyrical beauty and his improvisational genius on the tambourine-like dubki – which he learned from Sufi fakirs in his childhood – he is the new generation of India’s mystic “madman” Baul tradition.This fresh collaboration with English guitarist Sam Mills (ex-23 Skidoo) – who immersed himself in Bengali songs, learned the language, and envisioned how the music of the Bauls could stretch to incorporate sounds from western pop and beats from Africa, funk and beyond – remains a gem of cross-cultural musical fusion.Download this trackDiscover more about the album “Real Sugar”

5) Maryaadakadaya by U. Srinivas

From childhood, U Srinivas was heralded as a prodigy of South Indian Carnatic music, who almost single-handedly took the mandolin — an instrument previously nearly unknown in India — to unique new heights of performance and a solid place in the pantheon of Indian classical repertoire. Uppalapu Srinivas was born in Palakol, Andhra Pradesh, in 1969; he picked up his father’s mandolin at just six years of age. In his distinguished professional career, he has collaborated with such luminaries as Zakir Hussain, John McLaughlin, Michael Nyman and Michael Brook.This track is from an exquisite, candle-lit, live performance recorded in 1994 at Real World Studios by this charismatic genius of South India’s Carnatic classical music tradition.Discover more about the album “Rama Sreerama”

6) Sweet Pain (Joi Remix) by Nusrat Fateh Ali Khan and Michael Brook

In 1997, Real World commissioned the leading lights of England’s “Asian Underground” movement to remix the music of Pakistan’s great qawwali singer Nusrat Fateh Ali Khan. Asian Dub Foundation, Nitin Sawhney, State Of Bengal, The Dhol Foundation and Fun^Da^Mental chose tracks from Nusrat’s classic Mustt Mustt, while Talvin Singh, Joi, Aki Nawaz and Earthtribe reconstructed cuts from Night Song, Nusrat’s collaboration with the evocative Canadian guitarist Michael Brook. As the recording was being completed, Nusrat suddenly died, leaving Star Rise as a striking tribute to the master by the next generation of Indo-Pakistani talent.Joi was the brothers Farook and Haroon Shamsher, who matched their love of Bengali, Bollywood and qawwali music with a passion for hip hop, soul, funk, reggae and other urban stylings. Haroon tragically died at the age of 33 in 1999. They released three albums on Real World, and contributed this great remix.Discover more about the album “Star Rise”

7) Calcutta City by Amjad Ali Khan

Amjad Ali Khan was born in 1945 in Gwalior, in Madhya Pradesh, famous as the home of Miyan Tansen (c1500-1590), one of Indian music’s seminal figures and court musician to Akbar, the greatest of the Moghul emperors. A sixth-generation sarod player, Khan descends from ancestors who developed and shaped the instrument over more than two hundred years. He learned from his father Haafiz Ali Khan, who was a court musician up until India’s Independence in 1947.The sarod is a refined version of the Afghan rubab, a folk instrument which still dominates Afghan music today. It was Amjad Ali Khan’s great great great grandfather, Mohammad Hashmi Khan Bangash, who brought the rubab to India two centuries ago. The name sarod is from the Persian ‘sarood’ – which means ‘melody,’ alluding to the instrument’s sweetly melodic tone.Discover more about the album “Moksha”

8) Run by U. Srinivas and Michael Brook

A collaborative experiment by India’s premier mandolin player and the renowned Canadian guitarist/producer, Dream was constructed in 1995 from performances at Real World Studios, with guests Nigel Kennedy, Nana Vasconcelos, Sikkil R Bhaskarnan, Caroline Lavelle, Tchad Blake, and Richard Evans, among others. It evolved into a work in four pieces – Dance, Think, Run and Dream – which capture Indian music’s meditative spirit in combination with Western atmospherics.Grooves, melodies, drones and discords creep up and mesmerise; samples of Indian bicycle bells and even melodies from the studio’s metal stair railings were seamlessly woven into this modern work of distinctive, cross-cultural fusion.Discover more about the album “Dream”

9) I) Rupak Taal II) Adha Taal by Pandit Shivkumar Sharma

This serenely beautiful evening raga is an original composition by India’s foremost virtuoso of the santoor – a trapezoidal instrument of the hammered dulcimer family that is rare in the classical tradition. A household name in India, Pandit Shivkumar Sharma is among the few classical musicians whose name and influence have transcended traditional audiences, contributing to a much broader popularisation of classical music throughout India.Single-handedly lifting his Kashmiri folk instrument to full acceptance within the classical solo field, he has established a lineage of disciples – including his son, Rahul, who is featured on this recording. Father and son play the jugalbandi (duet), with Shafaat Ahmed Khan ontabla and Manorama Sharma on tanpura. Produced by John Leckie, it was recorded at Real World Studios in 1998.Discover more about the album “Sampradaya”

10) Svetasvatara Upanisad by Various Artists

The Mahabharata is one of the world’s greatest books and the longest poem ever written. More than 100,000 stanzas long – fifteen times the length of the Bible – it tells the tale of a long and bloody family conflict, but its Sanskrit title more broadly translates as “the great history of mankind.” There is an old adage in India: “Everything in The Mahabharata is elsewhere. What is not there, is nowhere.”For director Peter Brook’s 1989 film version of the ancient epic, based on the history of India, an international selection of actors was intentionally cast, to show that the true nature of the verses is the story of all humanity. For the soundtrack, a monumental collaboration of international talent was also enlisted, featuring musicians from India, Iran, Turkey, Japan, Denmark, and France; this 1990 recording is the timeless result.Discover more about the album “The Mahabharata”

11) Melody of Kashmir by Rahul Sharma

Rahul Sharma is an ascending master of the santoor, the dulcimer-like folk instrument from his family’s native Kashmir valley region that his legendary father and mentor Shivkumar Sharma elevated into the classical idiom.His album, including this lovely Kashmiri folk melody, was recorded live in concert in 2002 when Rahul Sharma performed at the Festival Settembre Musica in Turin, Italy. This beautiful live recording of intricate and soul-stirring instrumental music evokes the atmosphere of the breathtaking Himalayas, delicately blending both the traditional folk and classical influences of Indian music.Discover more about the album “Music of the Himalayas”

12) Tanusree by The Ananda Shankar Experience

Ananda Shankar was born in Almora, Utta Pradesh in 1942. The son of dancers Uday and Amala Shankar and the nephew of Pandit Ravi Shankar, he grew up in a creatively charged atmosphere and went on to study sitar at the Hindu University in Banares with the esteemed Dr. Lalmani Mishra. Moving to southern California in the late 1960s — when the pop world was fascinated by all things Indian — he produced some of the most influential sitar tracks of the swinging era, jamming with the likes of Jimi Hendrix. Returning to India, he achieved great prominence in film, TV and theatrical composition, but steadfastly also remained a cult figure in the secret history of western pop music.This final studio recording before his untimely death in 1999 saw Ananda pushing boundaries yet again, teaming up with eclectic London producer Sam “State of Bengal” Zaman to mesh elements of Indian classical music with breakbeat, hip-hop, and tabla-driven beats in an exhilarating, at times zany, fusion of 60s pop and 90s grooves.Discover more about the album “Walking On”

13) Sri Jagadamba by Shruti Sadolikar

Shruti Sadolikar was born in Kolhapur in 1951 to a renowned musical family. Trained in Indian classical music from childhood – initially by her father, who himself was taught by Alladiya Khan, founder of the Jaipur-Atrauli gharana – she went on to study for 12 years with the acclaimed raga composer Gulubhai Jasdanwala. She earned a master’s degree from SNDT Women’s University in Mumbai, where she wrote her thesis on Haveli Sangeet, a type of temple music. Recipient of many awards for Hindustani vocal music, she is a highly respected teacher and performer in the khyal style.This song is based on the Sanskrit verses of Sri Shankaracharya (788-820 AD), in praise of the Hindu goddess Jagadamba (aka Durga). The album Gifted presents elegant performances by nine great female vocalists from around the globe; it was originally released in 2003 and was newly reissued this year.Discover more about the album “Gifted”

Posted in India Music Week (2013) | Leave a Comment »

Live (stream) @ India Music Week (12th Oct): Vocalist Ruchira Panda with Tabla & Harmonium…

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… | @Facebook


live on stage: MS Ruchira Panda (vocal) with Dibyarka Chatterjee (Tabla) + Sri Anirban Chakrabarty (Harmonium)


Date: Saturday October 12th – 07:30pm – 09:30pm
Location: Chhandayan Center for Indian Music (CCIM), 4 West 43rd Street, Suite 618
New York, NY 10036, United States
Landmark: Between 5th & 6th Avenues

Watch this concert streamed LIVE online here , The price is $6.

(The streaming starts 10 minutes before the concert and ends shortly after the concert ends. There will be no video outside of these times. But, access can be purchased anytime before or during the concert. For support on the Pay per view purchasing system, please call 855-896-9300 or +33 177 126 888)

Buy in hall ticket here.

Artist(s): Ms. Ruchira Panda (vocal), Dibyarka Chatterjee (Tabla) and Sri. Anirban Chakrabarty ( (Harmonium)

There will be a free pre-concert lecture by Dibyarka Chatterjee from 6 to 7 pm. The other two musicians of the concert may also join in session.



Ruchira, an outstanding vocalist groomed in the Kotali gharana has earned an enviable distinction amongst the younger musicians in the realm of Hindustani Classical Music. The competent upholder of this rich heritage was born in high traditional family of educationalists, arts and music. She had the privilege of being initiated to this parampara and went under the protégée of the great maestro musician Pandit Manas Chakraborty, her one and only Guru. The master mind of her guru noted the quality of her gifted and rare voice and creative capabilities. Being a perfectionist and trend setter his strict and vigilant guidance moulded her musical genius into a unique blend of highest order. Her gayaki speaks out for her keen interest in aesthetics, spiritual awareness and serenity which is seldom found in modern days. She carefully keeps up with the purity and nuances of the Kotali gharana aligning with the multifarious gayaki of her Guru and his predecessors. The flawless manner in which she brings out the texture of the ragas and taans shows that a rigorous training, hard, and sincere labour has gone into her making as a vocalist and culminated her craftsmanship to what it is- perfect and finished to every detail. Her cognition and remarkable ability to execute intricate combinations of notes in rare ragas, specially her delineation of innovative sargams and taans confirm her eagerness to reach out to wider and wider dimensions. Her voice, the crest of a class can execute a total feast of melody and classicism in khayal, thumri and other semi classical forms. Her music is not only perfect craftsmanship but a rare blend of immaculate precision and emotive imagination, which takes the listeners into a peaceful journey through the unseen and unheard marvels of a new world. She craves for perfection and attains it with ease, the more she attains bigger becomes her reach, richer she becomes newer becomes her dimension. To her, Music is not only an art to perform but a love to live with – it’s a voyage towards eternity that can only be realized by feeling one and the same with Music.

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))


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India Music Week (N.Y.): LADIES SPINNING (the turn tables)… Women in Indian Electronic Music (Essay)

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

One of six essays by Indian sound enthusiast and radio host ElJay Arem, exploring Indian/Eruopean electronic musical crossfertilizations… _________________________________________________________________________________


LADIES SPINNING (the turn tables)… Women in Indian Electronic Music (IEM)

Author: ElJay Arem (emusic [at]

Asian Underground… 

In the chronological process with reference to the beginning of Indian electronic music in 1996-1997 let us first pay reference to the lady without whom one could hardly imagine the beginning of the “Asian Underground”…


Ethno Techno…

Beside Sweety Kapoor a dazzling figure is Natasha Atlas. This artist with Moroccan origin and a distinctive individual profile was born in 1964 in Belgium. Natasha identifies herself with the Sufism, a mystic spiritual form of the Islam…

Trance Electronica…

The Iranian musician and singer Azam Aliafgerad, simply Azam Ali grew up in the Indian Federal State Maharashtra after birth in Teheran and emigration to India at the age of four…

Asian fusion…

Before we turn to the recent generation of musicians let’s present the last Grand lady of Indian descent. Sheila Chandra was born in April 1965 in London. With the initial members Steve Coe on the piano and Martin Smith on guitar Sheila had setup the formation Monsoon in spring 1981…

(North) Indian Classics…

Following the minimalistic sound of Sheila Chandra we turn to the generation of the 80th. Here a very well-known name crosses our path: the Sitar player Anoushka Shankar. She was born in June 1981 in London as the daughter of the probably most famous Sitar maestro of North Indian Classics – Ravi Shankar…


In the Hip Hop and R’n’B scene of London Veronica Metha is simply known as Veronica or “Miss V” as expressed by the title of the recent CD project…

Fully length of article read as following PDF. – Let’s Vibe !

(Source: 10/2013 – IMW – India Music Week | Essays)



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India Music Week (N.Y.): Indian Electronic Music on the European Continent (Essay)

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

One of six essays by Indian sound enthusiast and radio host ElJay Arem, exploring Indian/European electronic musical crossfertilizations… _________________________________________________________________________________


Indian Electronics on the European Continent (part 1 & 2)

Author: ElJay Arem (emusic [at]

… we look about musical activities in the European community which we can assign to the genre of Indian electronic music. At present the European community consists of 27 countries with approx. 500 million humans and three further countries, who already applied for a full membership: Croatia, Turkey and Macedonia as former Yugoslavian republic.


What makes Cologne so special – the starting point of our musical discovery journey – is that it has a world-wide meaning for electronic music as a whole. 1951 was decided by the director Hanns Hartmann of the North-West German broadcasting (nordwestdeutscher Rundfunk) to furnish a studio for electronic music…

Direct neighbour to Germany…

At Codarts three musicians became acquainted with each other, who published as trio Aesh their debut album of the same name in the year 2007. Aesh, that are Celine Wadier, trained in the oldest Indian vocal form, the Dhrupad, the Tabla player Heiko Dijker resident in Amsterdam we can found as programmer on the laptop and keyboards and Martijn Baaijens, likewise keyboard and on the Sarode…

City of Love… Ile-de-France…

The label Digital Bled represents the Portuguese Joao Pedro Veloso or just simply known as DJ Pedro. Pedro established himself in the suburbs of Paris in the 70’s. Already at the age of 11 years Pedro sucked the music of one of his neighbours, who was a trumpet player. One day he brought home a bandoneon to Pedro…

Portugal – Brazil (Sao Paulo)…

…a language relative of the Portuguese Pedro Veloso (Digital Bled) from Paris. Under the label Atman an artist from Brazil could establish himself in the scene of the Indian electronic music.

Fully length of article read as following PDF. – Let’s Vibe !

(Source: 10/2013 – IMW – India Music Week | Essays)



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Live @ India Music Week (12th Oct): Carnatic Vocalist M.S. Sheela with Violin + Mridangam

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… | @Facebook


live on stage: Carnatic vocalist M.S. Sheela

IMW_logo-newon stage: M.S. Sheela (vocalist), Sri Mysore Srikanth (violin), Sri B. Sivaraman (Mridangam)
date: Oct 12, Saturday, 05:00 pm
tickes: free access
venue: SSVT (Sri Siva Vishnu Temple) Auditorium, Lanham

Smt. M.S.Sheela is a leading Carnatic classical vocalist who has made her mark in classical, light as well as devotional genres of music. She has the rare distinction of being a top rank artist of AIR and Doordarshan in both classical and light music. Sheela was initiated into music by her mother late Smt. M. N. Rathna, a popular musician of yesteryears. Strict and rigorous training under Sangeetha Kalanidhi Dr. R. K. Srikantan added luster to her musical prowess. She has a postgraduate degree in Music from Bangalore University, and is a gold medallist. M. S. Sheela has performed widely across the nation and abroad. She has been performing regularly on All India Radio and Doordarshan, and has featured on the Radio Sangeeth Sammelan, Trinity Festival, National Programmes and numerous special features. She has performed in USA, Canada, Australia, UK and the Middle East. M. S. Sheela has a large number of audio releases to her credit. She has been featured in ‘Srividyadarshana’ (compositions of Jayachamarajendra Wodeyar), ‘Ninada’ (compositions of Veene Sheshanna) and ‘Sadashiva Madhurya’ (compositions of Mysore Sadashiv Rao) series produced by All India Radio, Bangalore. Her renditions of Lalithasahasranama, Sharada Suprabhata, Venkateshwara Suprabhata, Soundarya Lahari etc are widely popular and in great demand. M. S. Sheela is the first woman artist from Karnataka who has a top rank in carnatic music. She is also the first top rank artist from the state in Sugama Sangeetha (light music). Also a trained Bharatanatyam Dancer, Sheela used to give dance performances till the early 90’s. M. S. Sheela has won several prestigious awards such as “Outstanding Senior Female Vocalist” by Madras Music Academy, “Rajyothsava Award” by Karnataka State Govt., “Best Female Playback Singer (1997-1998) from Karnataka State Film Chambers, and “Gaurava Puraskara” of Karnataka Sangeeta Nritya Academy. She is also an ‘Asthana Vidushi’ of Sri Jagadguru Shankaracharya Mahasamsthanam Dakshinamnaya Sri Sarada Peetham, Sringeri.

Sri. Mysore Srikanth is a senior disciple of Vidwan Sri. H.K. Narasimhamurthy of Mysore. He started learning violin at a very
young age and has undergone rigorous training for more than twenty years. Srikanth has been giving performances from his fifteenth year, and has been featured in all prestigious music sabhas & organizations in India and abroad. He has accompanied top artists like R.K.Srikantan, Dr.M.Balamuralikrishna,T.N.Seshagopalan ,T.V.Sankaranarayanan, O.S.Thiagarajan, Trichur Ramachandran, Hyderabad Brothers and Yesudas to name a few. He was adjudged the Best Violinist by Krishna Gana Sabha (1995), The Indian Fine Arts Society (2000, 2007, 2008) and the Music Academy (2002). Srikanth, graded artist of All India Radio & Doordarshan, performs regularly for AIR Doordarshan and other TV channels. He has recorded several commercial CDs & cassettes with many great artists.

Sri B. Sivaraman is a leading mridangam artist and a disciple of ‘Sangeetha Kalanidhi’ Dr. T.K. Murthy. Dr. T.K. Murthy follows the tradition of his renowned teacher and guru, Sri Tanjavur Vaidhyanatha Iyer. Sivaraman started performing in concerts at the age of 15. He came to limelight soon, when he got the unique opportunity to play along with his guru. He actively participated in the research work of ’72 Melakartha Talas’ and 108 Talas’ by Dr. T.K. Murthy. Sivaraman is a regular performer in leading Sabhas and music festivals. He is an ‘AGrade’ artist of All India Radio, Chennai. Sivaraman has been conferred various prestigious awards and prizes from music institutions and sabhas. He has traveled extensively all over India and United States. Sivaraman has played along with tabla maestro Ustad Zakir Hussain at San Jose, USA in 2007. He received the ‘Best Mridangist of the Year 2012’ award from Krishna Gana Sabha, Chennai.

more details & tickets here…PDF Download )


(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live @ India Music Week (12th Oct): Carnatic Vocalist Smt. Bala Raidu (+ Violin/Mridangam)

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… | @Facebook


live on stage: Carnatic vocalist Bala Raidu with Violin + Mridangam

IMW_logo-newon stage:
Smt. Bala Raidu (Andhra Pradesh), Sri A.R. Balaskandan (Violin), Shri Y.T. Shenturaan (Mridangam)

date: Oct 12, Saturday, 02:30pm
venue: Saraswati Hall
o rganizer: The Hindu Temple Society of North America

more details & tickets here… (PDF Download:  Music program Navaratri13 )


(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live @ India Music Week (12th Oct): Pandita Tripti Mukherjee (vocalist) of Pandit Jasraj Institute

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… | @Facebook


live on stage: Pandita Tripti Mukherjee (organized by Pandit Jasraj Institute for Music Research)


stage: Ms. Tripti Mukherjee sings Indian Classical (Hindustani) Music

date:Oct 12, Saturday, 2pm (New York City)
tickets: $25, $40.
venue: Hunter College’s Ida Lang Auditorium, E.69th and Lexington, NYC

more details & tickets here…


(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live (stream) @ India Music Week (11th Oct): Sitar player Veena Chandra

Posted by ElJay Arem (IMC OnAir) on October 11, 2013

India Music Week (6th-13th Oct 2013)… | @Facebook


live on stage: Veena Chandra presented by Skidmore College Music Dept. (N.Y.)


date: Oct 11, Friday, 8-10pm – free entry

venue: Arthur Zankel Music Center
Organizer: Skidmore College Music Dept., Saratoga Springs, NY

Live Stream here

Biography (Source: SonicBids)

Good vibrations: Veena Chandra (Photo Credit: Leif Zurmuhlen)

Sitarist Veena Chandra (Photo Credit: Leif Zurmuhlen) – Source: Music of the Spheres.

VEENA CHANDRA is an internationally renowned sitarist, composer, teacher and choreographer. She is the founder and director of the Dance and Music School of India in Latham, NY (celebrating 26 years) where she teaches Indian classical music. She has been a faculty member at Skidmore College since 1990, teaching sitar in the Music Department.

Born in Dehra Doon, Valley of the Himalaya Mountain Range, Veena was inspired to play music by her Father, her first Guru. He loved sitar so much that he named her Veena, after the precursor to the sitar, in hopes that she would learn music. He was 95 years old when he passed away in 2010 and his hopes have validated themselves many times over as evident by the international acclaim & respect given to Veena Chandra.

She continued learning sitar with Shri Satish Chandra, a disciple of Ravi Shankar. Being invited by Pt Ravi Shankar to his concerts she was inspired by his music. She earned master’s degrees in music (stood third all over India in MMUS.) and sociology and a bachelor’s degree in teaching. She has been in the international Who’s Who since 1997. Mrs. Chandra has taught at Agra, Dayalbagh universities and colleges in India teaching sitar and sociology. She has been performing and teaching sitar for the last 55 years. She continued her advance training under the late Ustad Vilayat Khan Saheb. Ustad Vilayat Khan Saheb very much enjoyed listening to her Sitar and grew very close to Veena and her son Devesh.

She is a recent recipient of a New York State Folk Art Grant 2003, and Artists Decentralization Grant and several SOS & Meet the Composer grants. Currently she does lecture-demonstrations and performances at numerous performance halls, music festivals, colleges, universities, & schools in the U.S. and India. She has received artist award as a composer through the Albany League of Arts in 2002. She has received several years of Community Arts Grants (2000, 2001, 2008, 2009, 2010, 2011, 2012) through The Arts Center, Troy and NYSCA. She has several CDs to her credit, including two very popular recordings with renowned Pandit Bikram Ghosh on tabla. Veena Chandra’s 2009-2010 India tour was in part sponsored by NYSCA and The Arts Center of the Capital Region.

Veena Chandra has a rare ability to communicate the beauty and complexity of North Indian Classical music to the western listener. She is noted for her skill and sensitivity in the meend (bending of wire) and her ability to produce vocal sounds on the sitar. She characterizes the music of the sitar and tabla as relaxing and reflective of instincts and emotions. She explains that there is a triangular relationship between the artist, the art and the audience. She blends herself into the art and presents herself to the audience through the music. The power in her music is vitalizing and healing to the body, clarifying to the mind, and food for the soul. Listening to her magnificent, heavenly music on the sitar will not leave you untouched.

Discography (Source: SonicBids)

Rag Hansdhwani: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Bhairavi: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Kirwani: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Jog: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Yaman & Rag Saraswati: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Shivranjani: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Jansammohini: Veena Chandra: Sitar Bikram Ghosh: Tabla
Rag Kaunsi Kanda: Veena Chandra Sitar Bikram Ghosh: Tabla
Live Radio Performances: WAMC/NPR, WRPI,WSPN
Live Television Performances: WRGB 6 CBS, SACC 16 PBS, Time Warner cable TV channel-9, Different Voices of Community MNN PBS

Links (Source: SonicBids)



Skidmore Music Department Showcase (Oct, 2010):
“Rag Yaman – Rajakhani Gat in TeenTal” by Veena Chandra


Replay the recorded Live streaming on 11th Oct 2013 (Concert starts at 19:50 min)…
1st: Raga Hamsadwani (pentatonic raag: Sa, Re, Ga, Pa, Ni)… in 7 beat cycle + 16 beat cycle
2nd (from 43:00 min. on): late night Raga Bageshri (slow + fast tempo)


(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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special feature II for India Music Week (N.Y.): NADA – A Concept of Sound (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on October 11, 2013

Website: | @ Facebook page


special feature II for INDIA MUSIC WEEK: NADA – A concept of Sound
– part 1: Ahata – The external sound | part 2: Anahata – The inner sound.

IMW_logo-newIn Sanskrit means “Big sound”: Maha Nada. It teaches us the healing effect of the ragas. The complex set of rules for Ragas aim at only one aspect: to create one particular sound (nada). Our special for the INDIA MUSIC WEEK (6th-13th Oct, NewYork) deals with this external sound – ahata nada (as part 1). – As 2nd part we will present “Anahata Nada – The path from outer to inner sound“. – Come in and “Enjoy listening to good music !”

In an earlier broadcasting with the show “Nava Rasa-s, the nine moods of Indian Ragas” we experienced that the concept of beauty does not occur. The emotional frame is limited to love, laughter, pity, anger, courage, fear, terror, wonder and serenity.

Ragas not gloss over our sense of hearing, unlike in the visual arts. It’s about the experience of a higher reality and the truth, the genuine = Niranjana (the pure).

In Indian arts, e.g. music, dance and theater the acteurs are aware that the sense for harmony  is determined by the individual imagination and subtle perception of the viewer/listener. In the sound of the music only from the whole of matter, mind, emotions and life itself the creative element is visible. By the harmony of music the original is visible, and our human nature becomes visible, to. Harmony is perfection, a unit of truthful, unclouded perception by the perceiver. It is the Indian (or even Asian) understanding of self-realization. To experience this primary and the creativity of the universe in which God dwells, it is necessary an intellectual/menthal training.

special dates of broadcasting (for part 1 and 2)…
8th October 2013 – 08:00-10:00 am EST (02:00-04:00 p.m. CET) @ Radio RaSA (CH)
8th/9th October 2013 – 05:00-06:58 pm EST (11:00 pm-00:58 am CET) @ TIDE Radio (
11th October 2013 – 07:00-08:00 am EST (01:00-03:00 p.m. CET) @ radio (
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Katyayana (c. 200 BCE)

Katyayana (c. 200 BCE)

In Sanskrit, there exists the term Shabda (= sound or speech). Katyayana, the mathematician, Vedic priests and Sanskrit grammarian of the 3rd Century (BC), describes  Shabda as “speech of eternal validity“. The sound in the human language thus contains both the causal principle, which is subtly placed in sound and expressing the true meaning in the sense of the word (speech).

Om (or Aum) is the syllable that is inherent in the human body as the first vibration and resonance of the non-dualistic universe. Here about Bhartrhari , a writer from 5th century described Shabda as the “inner sound“. Shabda is a unifying insight, identical with Brahman, the supreme consciousness. With Brahman a higher reality can be experienced. Shabda exists and resonates in every living being. It is a kind of fundamental tone in the world. This inner sound, Anahata nada, may be listened from a human with the “inner ear”. With sound yoga (= Nada yoga) and listening to ragas as the external sound – Ahata Nada – one can come closer to this “inner sound”.


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special II zur India Music Week (N.Y.): NADA – Ein Konzept von Klang (Teil 1 und 2)

Posted by ElJay Arem (IMC OnAir) on October 11, 2013

Website: | @ Facebook page


special II zur India Music Week: “NADA – Ein Konzept von Klang”
– Teil 1: Ahata – Der äussere Klang | Teil 2: Anahata – Der innere (stille) Klang.

Im Sanskrit heisst „Großer Klang“: Maha Nada. Er lehrt uns die heilende Wirkung der Ragas. Ihr komplexes Regelwerk zielt nur auf eines: auf ein bestimmtes Klangbild. Mit diesem äusseren Klang – ahata nada – befasst sich der erste Teil unseres zweiten specials zur INDIA MUSIC WEEK (6.-13.10.2013, New York). – Auf Anahata Nada („Der Weg vom äusseren zum Inneren Klang“) kommen wir im zweiten Teil unserer heutigen Sendung “Nada – ein Konzept von Klang” ausführlich zu sprechen.

IMW_logo-newSchon In einer früheren Sendung „Nava Rasa-s, die 9 Stimmungsbilder der indischen Ragas“ haben wir erfahren, dass der Begriff des Schönen nicht vorkommt. Das emotionale Bild beschränkt sich auf Liebe, Lachen, Mitleid, Zorn, Mut, Angst, Schrecken, Staunen und Gelassenheit.

Ragas beschönigen unserem Gehörsinn nicht, anders als in den visuellen Künsten. Es geht um das Erfahren einer höheren Wirklichkeit und der Wahrheit, dem Echten = niranjana (pure).

Man ist sich in den indischen Künsten, der Musik, dem Tanz und Theater bewusst darüber, dass das Empfinden eines harmonischen Zustands von der individuellen Vorstellung und subtilen Wahrnehmung des Betrachters bestimmt wird.  Erst aus dem Ganzen von Materie, Geist, Empfindung und dem Leben selbst wird das Schöpferische im Klang der Musik sichtbar. Im Harmonischen der Musik ist das Ursprüngliche sichtbar, wir selbst werden sichtbar. Harmonie bedeutet also Vollkommenheit, eine Einheit von wahrhaftiger, ungetrübter Wahrnehmung durch den Wahrnehmenden. Es ist das indische Verständnis von Selbstverwirklichung. Um dieses Originäre zu erfahren, das Schöpferische des Universum, in dem Gott selbst innewohnt, bedarf es der geistigen Schulung.

Sondertermine für Teil 1 u. 2…
8. Oktober 2013 – 14:00-16:00 Uhr CET (08:00-10:00 pm EST) @ Radio RaSA (CH)
8./9. Oktober 2013 – 23:00-00:58 Uhr CET (05:00-06:58 pm EST) @ TIDE Radio (
11. Oktober 2013 – 13:00-15:00 Uhr CET (07:00-09:00 am EST) @ radio (
Sendetermine | streaming (Internet Radio & Mobile Radio) | podCast

Katyayana (c. 200 BCE)

Katyayana (c. 200 BCE)

Im Sanskrit existiert der Begriff Shabda, d.h. Klang oder Rede. Der Mathematiker, vedische Priester und Sanskrit-Grammatiker Katyayana aus dem 3. Jahrhundert vor Christi Geburt beschreibt Shabda als „Rede von ewiger Gültigkeit“. Der Klang in der menschlichen Sprache beinhaltet also Beides, das Ursächliche, das unterschwellig im Klang zum Ausdruck gebracht wird und die eigentliche Bedeutung im Sinne des Wortes.

OM (oder Aum) ist die Silbe, die im Menschen als die erste Schwingung und Resonanz des nicht-dualistischen Universums angelegt ist. Hierzu wird von  Bhartrhari, einem Autor aus dem 5. Jahrhundert, Shabda als innerer Klang beschrieben. Shabda ist eine vereinigende Erkenntnis, identisch mit Brahman, dem höchsten Bewusstsein. Mit Brahman kann eine höhere Wirklichkeit erfahren werden. Shabda existiert und schwingt in jedem Lebewesen. Es ist eine Art Grundton der Welt. Dieser innere Klang, Anahata Nada, kann vom Menschen mit dem „inneren Ohr“ gehört werden. Mit Klangyoga, Nada Yoga und dem Hören von Ragas, dem äusseren Klang – Ahata Nada – kann man sich diesem „inneren Klang“ näheren.

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