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MP3 Pandit Jasraj - Multani & Din ki Puriya
4 MP3 Songs in this album (57:54) !
Related styles: World: Indian Classical, Classical: Vocal Music, Solo Male Artist
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Details:
Pandit Jasraj
Over the past three decades, Jasraj has been ruling the kingdom of success in the world of Indian classical music. He is one of those lucky few who have a name that spells out their achievement."Jasraj" means the "Monarch of success" or the “Reign of success."
Born in 1930 at Hissar in Harayana State, Jasraj is the youngest son of Pandit Motiram, who had a characteristic style of his own, known as the Mewati School. Jasraj was groomed in this tradition mainly under the watchful guidance of his eldest brother Pandit Maniram. The uncut diamond was polished and began to scintillate in its entire splendor. With Jasraj, the Mewati Gharana shot to instant fame and created a special audience. Jasraj has entered the mature age of sixty now. Over the years, his music also has matured in its approach and structuring. He was already gifted with an impressive voice together with all the essential embellishments that go to make sweet music. Now, the mode of using them shows more restraint and aesthetic awareness. Today, one notices a search for the deeper realities in his music, the spiritual approach in music already present in his Gharana for three generations.
Jasraj has toured widely across the world and impressed listeners everywhere. In all the prestigious conferences in this country, he is the most sought out figure. Several State and National level awards are to his credit
His repertoire includes a number of unusual Ragas and his concerts are a treat for his listeners when he opens his treasures before his listeners.
In this disc,. he has presented two beautiful evening melodies. Multani, one of the well-known ones and Din-ki-Puriya,.one of the unusual ones. Listeners will no doubt enjoy both of them.
Raga Multani
This is a late afternoon melody. It uses the same notes as in Raga Todi but the dropping of the second and sixth notes (Komal Re and Komal Dha) in the ascent gives it a different melodic structure.
The "Vilambit Chheez" is a famous one. "Gokul Gaon - Ka Chhora". The writer-composer "Sadarang" tells us that this Chhora (i.e. Lord Krishna) and the Lady from the township of Barsana (i.e. Radha) have captivated his mind.
Pandit Jasraj brings out the devotional mood of the composition in a well structured, leisurely manner, savoring the beauty of each note, enjoying nuances, adding small but decorative flourishes of his masterly style here and there. Equally notable is the use of his Saragams. He makes even the labels like "sa", “re”, "ga"meaningful; musically! Slowly he leads us into the drut (fast) composition wherein he expresses the sudden hurry of a lovelorn lady, whose lover has returned, ending the days of painful separation.
It is indeed a pleasure to see how an artist of great caliber combines musical purity and literary awareness in the same composition. All the fortes of his masterly style can be easily seen in his singing. Tunefulness, emotional and aesthetic appeal command of rhythm mastery over “taan” patterns, learnedness and craftsmanship; everything that has gone to acclaim him as a "master".
Din-Ki-Puriya
This is an unusual variety of the raga Puriya, presented by Pandit Jasraj. This also is an evening melody. It differs from Puriya in its employment of the flattened sixth note (i.e. Komal "Dha"). In Puriya the notes used are as follows: Sa, Re (Komal), Ga, Ma (Teevra), Dha (Suddhua) and Ni. Din-Ki-Puriva uses the same scale and the same mode of development with the noticeable change of Shuddha Dha to Komal Dha.
Jasraj begins to unfold the beauties of this melody with the usual invocation "Shri Anant Hari Narayan." Then he begins to develop the melodic structure in the pleading attitude of a young woman whose lover has made it too late to visit her palace. His alaps as well as the use of “Sargam" are very appealing and reflect the pangs of the heart effectively. At times, Jasraj shifts to the lower register and makes the seriousness of the pleading even more poignant. In the “Antara" portion of the Vilambit Khayal, he displays amazing flexibility of his voice in different types of taans. Later in the speedier section, this feeling is heightened even more.
Drut Teental follows immediately. The test of the composition depicts the heart of a woman who is pleading to her girlfriend to accompany her to her lover''s dwelling. She also requests her other girlfriends to weave garlands to be put around the lover''s neck. Jasraj has very powerfully reflected the uncontrollable eagerness of the lady’s heart to meet her lover. Din-Ki-Puriya will be appreciated by every listener no doubt!
Ajit Soman
Tabla: Nizamuddin Khan
Harmonium: Appasaheb Jalgaonkar
Production assistance: Anand Modak
Recorded at Western Outdoor Advertising Pvt. Ltd., Bombay in May 1983
Cover photo: Jayant Joshi
NICV 068
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