58th Sawai: Smt. Prabha Atre (Vocal)

Main Artist: Smt. Prabha Atre (Vocal)
Sangatkar:
Tabla: Ramdas Palsule
Harmonium: Suyog Kundalkar
Swaramandal: Atindra Saravadikar
Tanpura and vocal support: Arti Thakur, Ashwini Modak

Prabhatai started her performance with raga Bihag (bada khyal in
vilambit Ektaal - aiso mana mohan, chhota khyal in madhyalaya Teentaal
- nandakumvar ki chhabi nyari, tarana in madhyalaya Ektaal).

Prabhaji concluded the performance with a bhairavi bhajan - jagat
janani bhavatarini mohini tu navadurga.

All the sangatkar provided good sangat. Especially both Arti Thakur
and Ashwini Modak provided excellent voice support.

This was the last performance of the 58th Sawai Gandharva Sangeet
Mahotsav. The Mahotsav concluded after the customery playing of Sawai
Gandharva's recording.

That's all folks!

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Deepak Maharaj and Mamata Maharaj (Kathak)

I decided to sit back, relax and enjoy this excellent performance. I
hope you will pardon me for not writing detailed notes.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Smt. Padma Talwalkar (Vocal)

Main Artist: Smt. Padma Talwalkar (Vocal)
Sangatkar:
Tabla: Mayank Bedekar
Pakhawaj: Omkar Dalvi
Harmonium: Suyog Kundalkar
Tanpura: Sharvari Bhilwadkar, Ms. Garud

Padmatai started her performance with raga Nanda (bada khyal in
vilambit Teentaal - e bare sainya, chhota khyal in madhyala Teentaal -
dhan dhan bhaag nanda ko).

The ragavistar was systematic and leisurely. The aakari alap were full
throated and quickly created a very good atmosphere of raga Nand.
Typical Jaipur style taans were packed with a lot of power. The tivra
madhyam especially in the chhota khyal was lajawab. The fast taans
were crisp and well executed.

Padmatai continued her performance with raga Durga (bandish in
madhyalaya Jhaptaal - sakhi mori rumajhuma, madhyalaya Teentaal - mata
bhavani kaali). Durga was also sung very beautifully.

Padmatai concluded her performance with an abhang - govinda govinda
mana lagaliya chhand. What laya! Kya baat hai!

All sangatkar provided very good sangat.

Overall it was a fantastic performance.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri Upendra Bhat (Vocal)

Main Artist: Shri Upendra Bhat (Vocal)
Sangatkar:
Tabla: Omkar Gulwadi
Harmonium: Avinash Dighe
Pakhawaj: Rajgopal Gosavi
Tanpura: Devavrat Bhatkhande, Nagakiran Naik

Upendraji started his performance with raga Puriya Kalyan (bada khyal
in vilambit Ektaal - aaj so ban, chhota khyal in madhyalaya Teentaal -
bahut din bite bite ajahu na aaye more shyam)

Upendraji's voice was in a great shape right from the start. The
swaralagav was energetic and full throated. I however felt that
vilambit Ektaal lay was a bit faster than the one typically employed
by the Kirana singers. The ragavistar was very systematic, well
planned and succeeded in captivating the audience very quickly. The
tar shadja was power packed and sung very well in eekar as well as
aakar. The laykari was done beautifully. Taans were powerful and
layadar.

Upendraji continued his performance with a lighter piece shyam na
abtak aaye in Mishra Khamaj.

Upendraji concluded his performance with an abhang indrayani kathi
devachi alandi lagali samadhi dnyaneshachi.

Omkar Gulwadi and Avinash Dighe provided excellent tabla and harmonium
sangat. Especially Omkar Gulwadi's laydaar vilmabit theka was superb.
The solo tabla pieces were also very well played.

Overall an excellent performance.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Ustad Shakir Khan (Sitar)

Main Artist: Ustad Shakir Khan (Sitar)
Tabla: Ramdas Palsule
Tanpura: Prachi Apte

Shakirji started his performance with raga Yaman.

The alap were played elaborately and beautifully with many surel and
delicate meends. Jod and jhala were systematic, short and sweet. This
was followed by a very beautiful gat in madhyalaya Rupak. The mukhda
of the bandish was very subtle - I think starting half a matra after
the sam. The taans and laykaari was well planned and superbly played
to achieve a very beautiful effect. After this Shakirji played a
beautiful and sweet gat in madhyalaya Teentaal. This was followed by a
gat in drut Teentaal. This featured some very well executed fast
taans. Jhaala, though at a supersonic speed was surel and devoid of
noise.

Shakirji continued his performance with a dhun in raga Mishra Pilu in
Madhyalaya Teentaal.

Ramdas Palsule provided excellent tabla sangat. His solo pieces were
crisp, laydaar and complimented the suited mood very well.

Overall a lovely performance!

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Smt. Meena Fatarphekar (Vocal)

Main Artist: Smt. Meena Fatarphekar (Vocal)
Sangatkar:
Tabla: Hanumant Phadtare
Harmonium: Pramod Marathe

Meenatai started her performance with raga Madhuvanti (bada khyal in
Vilambit Ektaal - ye koyaliya aayee ruta basanta, chhta khyal
madhyalaya Teentaa - more kartar aayee)

The ragavistar was systematically done in typical Kirana style. Taans
were well planned. Meenaji's voice hower sounded a bit shaky.

Meenaji continued her performance with a thumri in Mishra Khamaj -
kahe satawo mohe shyam).

Hanumant Phadtare and Pramod Marathe provided good tabla and harmonium sangat.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Pt. Rajan and Pt. Sajan Mishra (Vocal Jugalbandi)

Main Artists: Pt. Rajan and Pt. Sajan Mishra (Vocal jugalbandi)
Sangatkar:
Tabla: Arvindkumar Azad
Harmonium: Dr. Arvind Thatte
Tanpura: Dr. Mohan Darekar, Mayur Mahajan

The artists started their performance with raga Miya ki Todi (bada
khyal in Vilambit Ektaal - raj darabar mundarava baje, chhota khyal in
madhyalaya Teentaal - langar ka karu aaj na maro)

The alaps sung as part of ragavistar in the initial phases of the bada
khyal were sung in an unhurried manner and incorporated a lot of
singing in the mandra saptak including the kharaj (mandra shadja) and
created a very beautiful atmosphere of Todi. I especially enjoyed
their approach to Pancham. Good justice was also done to the tar
Shadja. There many dazzling taans. I however felt that Todi
performance was a bit stretched.

Miya ki Todi was followed by a Tarana in madhyalaya Ektaal in raga
Gujari Todi on a farmaish.

Mishra brothers continued their performance with a Bhairavi tappa -
sona yaar mile, They concluded the performance with bhajan in Bhairavi
- bhavani dayani.

Arvindkumar Azad and Dr. Arvind Thatte provided superb tabla and
harmonium sangat. Especially the theka played with soft touch by
Arvindkumar during the vilambit khyal was absolutely beautiful. I also
enjoyed the pieces played on harmonium by Dr, Thatte during the Tappa.

Overall a very good performance as is expected of Pt. Rajan and Pt.
Sajan Mishra.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Debapriya Adhikari (Vocal) and Samanvay Sarkar (Sitar)

Main Artists: Debapriya Adhikari (Vocal) and Samanvay Sarkar (Sitar) -
Jugalbandi
Tabla: Ramdas Palsule
Tanpura: Samiksha Bhobe

The artists started with raga Desi (alap, jod, bandish in madhyalaya
Rupaktaal - mana tu dhir dharo, bandish in drut Teentaal - gunda gunda
la ri malaniya).

The alap were surel, leisurely and systematic. Jod featured
interesting meendwork involving kharaj (mandra shadja) progressing all
the way to tar Shadja. The bandish was a beautiful composition with
sam at tar Shadja. Taans were well thought, well rehersed and very
well coordinated. The drut bandish presentation featured well executed
fast taans.

The artists continued their performance with a tapa-khayal in raga
Bahar (Adha Teentaal gulashan mein bulbul chahaki). Tappa style taans
were well presented by both the artists.

Ramdas Palsule provided very good tabla sangat. His solo pieces were
crisply played and were consistent with the raga presentation.

Overall a very interesting and memorable performance.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri Sameer Dubale (Vocal)

Main Artist: Shri Sameer Dubale (Vocal)
Sangatkar:
Tabla: Bharat Kamat
Harmonium: Chaitanya Kunte
Tanpura: Nilesh Pande, Nilesh Dhakaras

Sameerji started his performance with raga Bilaskhani Todi (bada khyal
in vilambit Jhoomra - dhana dhana bhag tero, chhota khyal in
madhyalaya Ektaal - mano mori baat banawari chhedo na ab, drut
Teentaal - jagadambika ambika)

The ragavistar was systematic and unhurried. The alap were well
thought and sung in full throated yet surel aakar. The tar shadja was
sung with a lot power. Sargam was sung with an interesting layakari.
Taans were energetic and very well executed. Chhota khyal bandish was
sung beautifully with a lot of attention to the lyrics. I found the
selection of bandishes to be very good - I think all of them by
Ramarang.

Sameerji continued his performance with raga Shuddh Dhaivat Bibhas
(bandish in madhyalaya Teentaal - he narahari narayan and drut Ektaal
- taroan ginat ginat mai to raina bisayi). The taans in this
performance were quite remarkable.

Sameerji concluded his performance with a bhajan - ek sur charachar chhyo.

Bharat Kamat and Chaitanya Kunte provided good tabla and haronium sangat.

Overall a very good performance that had been thoughtfully planned.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Smt. Malini Rajurkar (Vocal)

Main Artist: Smt. Malini Rajurkar (Vocal)
Sangatkar:
Tabla: Bharat Kamat
Harmonium: Dr. Arvind Thatte

Malinitai started her performance with raga Kaushik Ranjani (bada
khyal in vilambit Ektaal - eri mayi piya parades gavan kina, chhota
khyal in madhyalaya Teentaal - barakha ritu baran hamari re)

I am great admirer of Malinitai's singing and her style of
performance. Today she started with a brief alap followed by the
heartbreaking sam on tar Shadja. And things only got better after
that. As always the ragavistar was desciplined and made up of
energetic alapi with each avartan building up like a wave at the
seashore and coming down with a big splash at the sam. The taans were
packed with power.

Malinitai continued with a tappa in Bhairavi - chandra jahanuwe dil
tujhe kari sanyahu salu mukhada. This tappa also had the sam on tar
shadja - sung to perfection by Malinitai. Malinitai concluded the
performance with sargam S d P d M P g M in drut Teentaal.

Dr. Arvind Thatte and Bharat Kamat provided excellent harmonium and
tabla sangat.

Overall it was yet another great performance by a great artist.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Pt. Shivakumar Sharma (Santoor)

Main Artist: Pt. Shivakumar Sharma (Santoor)
Tabla: Vijay Ghate
Tanpura: Madan Oak

Panditji started his performance with raga Jhinjhoti (alap, jod
followed by gats in Rupak and Teentaal).

The alap and jod were brief (his shortest at Sawai thanks to sarkar -
to use Panditji's words) but played very delicately and sweetly to
truely signify the nature of raga Jhinjhoti.

The gats, including the jhala in drut Teentaal towards the end were
played with a tender hand and enhanced the lovely mood of Jhinjhoti.

Panditji concluded his performance with a Pahadi dhun in Dadara. What beauty!

Vijay Ghate provided excellent tabla sangat. His solo pieces
emphasized layakari and were consistent with the delicate nature of
the raga.

Over all it was a masterly performance! This beautiful and sublime
Jhinjhoti will stay in the mind for a long time.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri Anand Bhate (Vocal)

Main Artist: Shri Anand Bhate (Vocal)
Sangatkar:
Tabla: Bharat Kamat
Harmonium: Suyog Kundalkar
Tanpura: Vinay Chitrav, Shri Badrayani

Anand started his performance with raga Marubihag (bada khyal in
vilambit Ektaal - rasiya aao na, chhota khyal in madhyalaya Teentaal -
tarapt raina dina).

Right from the beginnig Anand's voice was in great shape. Ragavistaar
was systematic, unhurried and did full justice to every note.
Swaralagav was powerful and full throated. Taans were well planned and
superbly executed. Obviously Anand's singing is highly influenced by
Bhimasenji's style but today I also felt some influence of Kesarbai's
Marubihag - especially the aakaar taans (or is it just me?). Some
dazzling long taans spanning three octaves were sung with a great
style and finesse during the chhota khyal.

Anand continued his performance with a dadra - jadu bhareli kaon
alabeli tore naina rasile.

Anand concluded his performance with a Kannada bhajan - saubhagyada
lakshmi baramma).

Bharat Kamat and Suyog Kundalkar provided excellent tabla and
harmonium sangat respectively. Especially the simple layadar Teentaal
theka Bharat Kamat played was lajawab.

Overall a superb performance!

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Pt. Chandrakant Limaye (Vocal)

Main Artist: Pt. Chandrakant Limaye (Vocal)
Sangatkar:
Tabla: Atulchandra Dadhe
Harmonium: Sudhanshu Gharpure

Chandrakantji started his performance with raga Bhimpalas (bada khyal
in vilambit Ektaal - piya mose kahe na bole, chhota khyal in
madhyalaya Teentaal - balama tara gaya).

Chandrakantji's voice sounded a bit tired. May be it is a problem with
me but most of the times I felt the komal nishad to be a bit sharper
(chadha) and the tara shadja a bit flatter (kami). The madhyalaya
bandish composition was beautiful (Vasantrao's ?) and I enjoyed the
laya in which it was sung.

Chandrakantji continued his performance with raga Chandramohini (his
own creation). He sang his own composition - kahe bulaye ab tum mose
in madhyalaya Teentaal. The raga employed both madhyams, komal nishad
with all other notes being shuddha. I heard traces of Vachaspati
(komal n S G teevra m P komal n S), Marubihag (S shuddha M) and Gavati
(tar S D). I understood the aroha-awaroha as - 'n S G m (teevra) P n
S'/S' D m (teevra) P G m (teevra) G R S and the arohi phrase - S M
(shuddha) m (teevra) G R S.

Chandrakantji followed this with sanvare aijaiyo jamuna kinare mero
gaon (Kumarji's composition made popular by Vasantrao).

Atulchandra Dadhe and Sudhanshu Gharpure provided good tabla and
harmonium sangat respectively.

Overall though the performance had quite a few interesting elements it
was a bit disappointing with respect to pitch correctness.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri. Sharad Khaladkar (Shehnai)

Main Artist: Shri Sharad Khaladkar (Shehnai)
Tabla: Sunil Khaladkar
Shehnai: Ram Khaladkar
Duggi: Abhay Kulkarni

Sharadji started his performance with raga Brindavani Sarang - gat in
Jhaptaal followed a gat in Teentaal.

For some reason Sarang was played very briefly - just for 10 minutes or so.

Sharadji continued his performance with Thumari - yaad piya ki aaye).
This was played much more elaborately.

All sangatkar provided supportive sangat.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Pt. Jasraj (Vocal)

Main Artist: Pt. Jasraj (Vocal)
Tabla: Satyajit Talwalkar
Harmonium: Mukund Petkar
Mridangam: Shridhar Parthasarathi
Tanpura/Vocal Support: Ratan Mohan Sharma, Ankita Joshi, Suresh Patki,
Simantini Thakar

Panditji started his performance with raga Darbari (bada khyal in
vilambit Ektaal - jai jai shree durge, chhota khyal in madhyalaya
Teentaal - ajab teri duniya malik).

While it took a few minutes of initial singing mixed with mic related
issues for Panditji's voice to warm up, after that it was a treat to
ears as usual. That too with impeccable range of kharaj to tar tar
shadja! The meends were at their silky best. I especially love
Panditji's arohi approach to the komal gandhar in Darbari.

During the madhyalaya Teentaal bandish there was a small jugalbandi
between Satyajit Talwalkar and Parthasarathy. This was quite well done
and did not disturb the mood of the raga.

Panditji continued his performance with raga Bahar (bandish in Teental
- kaliyan chitak chitak naye naye ras).

Panditji followed this with a bhajan om namo bhgawate vasudevay.

Mukund Petkar on harmonium, Satyajit Talwalkar on tabla and
Parthaasarathi on mridangam provided good sangat.

Overall yet another performance that will stay in the mind for a long time.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Jugalbandi: Pt. Vishvamohan Bhatt (Mohan Veena) with Pt. U. Sriniwas (Mandolin)

Main Artists: Pt. Vishvamohan Bhatt (Mohan Veena) and Pt. U. Sriniwas (Mandolin)
Tabla: Vijay Ghate

The artists began their performance with raga Yaman described by
Panditji as 'the simplest and most difficult raga'. The artists played
alap, brief jod and then switched to a gat in vilambit Teentaal
followed by a gat drut Teentaal.

While I am not in a position to comment on the specifics of the
performance, I salute the sense of tunefulness and aesthetics of both
the artists. Understandably there were many fast passages, including
the fast Teentaal session and sawal-jawab towards the end. However the
sanctity of sur and raga was respected and care was taken to avoid
being noisy.

The artists concluded their performance with the bhajan vishnav jana to.

Vijay Ghate's tabla sangat was excellent.

Overall a very interesting and memorable performance.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Smt. Savani Shende-Sathe (Vocal)

Main Artist: Smt. Savani Shende-Sathe
Sangatkar:
Tabla: Ramdas Palsule
Harmonium: Suyog Kundalkar
Tanpura: Anuradha Patwardhan, Madhura Gadre

Savani started her performance with raga Puriya Dhanashree (bada khyal
in vilambit Ektaal - kesar rang sham chhayi, chhota khyal in drut
Ektaal - tore jaya jaya karatar, tarana in drut Ada Chautaal).

Savani has a beautiful and tuneful voice. The ragavistaar during
vilambit khyal was systematic, elaborate and quite laydaar. Tara
shadja was sung with a lot of power. Taans were well thought and well
executed. Tarana was packed with a lot of power.

Savani continued her performance with raga Hemant (bandish in
madhyalaya Ektaal - chalo sakhi aao aao)

Savani concluded her concert with an abhang - bolava vitthal karava
vitthal jivabhav)

Suyog Kundalkar and Ramdas Palasule provided very good tabla and
harmonium sangat respectively that included many excellent solo
pieces.

Overall a memorable performance.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Uma Garg (Vocal)

Main Artist: Uma Garg (Vocal)
Tabla: Bharat Kamat
Harmonium: Suyog Kundalkar
Tanpura: Kanchan Laghate, Neela Vaidya

Umaji started her performance with raga Multani (bada khyal in
vilambit Ekataal - tu saheb jamal, chhota khyal in madhyalaya Teentaal
- balama more tumasang lagi preet). Umaji continued her performance
with a thumri in Mishra Khamaj - manat nahi shyam).

While some of the taans were well excuted, I found the performance to
be a bit mellow.

Suyog Kundalkar and Bharat Kamat provided supportive sangat.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Begum Parveen Sultana (Vocal)

Main Artist: Begum Parveen Sultana (Vocal)
Tabla: Mukundaraj Deo
Harmonium: Dr. Arvind Thatte
Tanpura: Vidya Jaeel, Sachin Shete

Parveenji started her performance with raga Jog (bada khyal vilambit
Ektaal - parama sukha payo, chhota khayal madhyalya Teentaal - sukha
dukh dono aaj viraje)

Parveenji's voice was in great shape. Each note she sang - from the
kharaj to tar tar shadja - was packed with power and had a perfect
pitch. The supersonic taans were as beautiful as ever.

Parveenji continued her performance with raga Maluha Mand (bandish in
Jhaptaal - so hi deta rab he and tarana in drut Teentaal).

This was followed by Marathi geet - rasika tujhyach saathi mi ek geet
gaate. Kya baat hai!

Parveenji concluded her performance with Bhavani Dayani - bajan in Bhairavee.

Dr. Thatte's accompaniment was superb as usual.

Mukundaraj Deo provided good tabla sangat.

Overall a dazzling and memorable performance in spite of the strict
time limit (she sang for less than one hour)!

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Pt. Hariprasad Chaurasia

Main Artist: Pt. Hariprasad Chaurasia
Sangatkar:
Tabla: Anutosh Deghariya
Bansuri: Shri Sunil Avachat
Tanpura: Bhushan Vaze

Before starting the performance Panditji said that he would annonce
the name of the raga later. The raga had all shuddha notes except
madhyam which was always teevra. Komal dhaivat showed up quite a bit
(more than shuddha dhaivat). Komal rishabh also made guest appearance
a few times! Pardon me but I could not figure out the aaroha-awaroha.
The raga had a beautiful romantic mood with some haunting touch as
well.

Panditji played alap, jod followed by gat in Jhaptaal in this raga,
the name of which he announced in the end as Latangi!

After this Pandiji played a gat in raga Des set to Teental. Panditji
concluded his performance with a Pahadi dhun in Dadra.

I am a big fan of Panditji and an admirer of his vision of a
performance. He ensures that all members of audience have something
special for them!

Anutosh Deghariya's tabla sangat was very beautiful and admirably
completely devoid of noise and gimicks.

Sunil Avachat provided excellent bansuri support.

Overall a great performance as usual.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri. Bhuvanesh Komakali (Vocal)

Main Artist: Shri Bhuvanesh Komakali (Vocal)
Sangatkar:
Tabla: Prashant Pandav
Harmonium: Suyog Kundalkar
Tanpura: Vinay Chitrav, Swarup Sardeshmukh

Bhuvaneshji started his performance with raga Puriya Dhanashree (bada
khyal in vilambit Ektaal - bala gayi jyot, chhota khyal in madhyalaya
Teentaal - aajara din duba)

Bhuvanesh has a beautiful voice that sounds similar to Kumarji's voice
in madhya and taar saptak but also sounds powerful in the mandra
saptak.

Right from the brief alaps, Bhuvanesh created a beautiful atmosphere
of Puriya Dhanashree. His swara lagav was tuneful and pleasing.
Especially the komal rishabh and komal dhaivat with respective meends
to shadja and pancham were lajawab. Ragavistaar in sthaayee as well as
antaraa of the bada khyal was elaborate and systematic. Taans were
crisp, well planned and superbly executed. The madhyalaya bandish was
also very well sung.

Puriya Dhanashree was followed by Kumarji's beautiful madhyalaya
Teentaal bandish mul bula ke puchho na (I think in raga Shuddha
Shyam). This was also sung quite well. Especially the tivra madhyam
was remarkable. This was immediately followed by teentaal bandish
sawan ki sanj in Shyam Kalyan - again sung extremely well.

Bhuvaneshji concluded his performance with a nirguni bhajan - sunta
hai guru gyani. This was the icing on the cake resulted in a hair
raising experience.

Suyog Kundalkar's harmonium sangat deserves a special mention. It was
never overpowering but accurate in sur as well as laya. Also the
independent pieces were very well thought and consistent with the
gayaki.

Prashant Pandav provided excellent tabla sangat.

Overall a fantastic performance bringing back memories of Kumarji's gayaki.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri Sudhakar Chavan (Vocal)

Main Artist: Shri Sudhakar Chavan
Sangatkar:
Tabla: Prashant Pandav
Harmonium: Prabhakar Pandav
Tanpura: Rameshwar Dange, Purva Shah
Vocal Support: Shivanand Swami

Sudhakarji started the performance with raga Madhuvanti (bada khyal in
vilambit Ektaal - madhubana me shyam ne murali bajayi, chhota khyal in
madhyalaya Teentaal - main aaun tore mandirava). Sudhakarji concluded
his performance with an abhang avagha ranga ek jhala.

While initially Sudhakarji's voice sounded a bit shaky, it warmed up
nicely during the taans. The taans were powerful and well executed.

All the sangatkar provided supportive sangat.

- Bansuriwala

--
Sent from my mobile device

58th Sawai: Shri Bhaskar Nath (Shehnai)

Main Artist: Shri Bhaskar Nath (Shehnai)
Sangatkars:
Tabla: Charudatta Phadke, Nanak Chand

Bhaskar started the performance with raga Multani. He played brief
alap, bada khyal in vilambit Ektaal followed by gats in madhyalaya
Teentaal and drut Ektaal. Bhaskar concluded his performance with a
ragamala based dhun in Dadra.

Bhaskar's playing was poweful yet quite tuneful. I also liked the
tonal quality a lot. The clarity of taans was remarkable.

While quite good by any standards, I must add that for a lad studying
in 10th std. this was an outstanding performance.

All sangatkars provided approprite support.

- Bansuriwala

--
Sent from my mobile device

Live from 58th Sawai Gandharva Sangeet Mahotsav

Namaskar!

The 58th Sawai Gandharva Sangeet Mahotsav starts today. I will be
writing review blogs after each performance.

- Bansuriwala

--
Sent from my mobile device