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CDs & DVDs > Indian Classical Music > Musical Ecstasy (Jewels of Indian Classical Music) (Audio CD)
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Musical Ecstasy (Jewels of Indian Classical Music) (Audio CD)

Musical Ecstasy (Jewels of Indian Classical Music) (Audio CD)

Musical Ecstasy (Jewels of Indian Classical Music) (Audio CD)

Specifications:

Various Artistes
Times Music (2008)

Item Code:
ICR598
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Musical Ecstasy (Jewels of Indian Classical Music) (Audio CD)

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About the CD

Male Vocalists
Pandit Bhimsen Joshi, Pandit Jasraj, Pandit Jitendra, Abhisheki & Pandit Mallikarjun Mansoor

Pandit Mallikarjun Mansoor

He sang for more than sixty years. And he sang till almost the very last weaving a special urgency and earnestness in his treatment of melody. The late Pandit Mallikarjuna Mansoor who sang with a new creative impulse each time was born in Mansoor village in Dharwar Karnataka in 1910 Pandit Mansoor was trained initially in the basics of carnatic music from Shri Appaya Swami. He then received training in the Gwalior Gharana style under Pandit Neelakanta Bua, followed by training in Jaipur Atrauli Gharana tradition by Ustad Manji Khan and Ustad Bhurji Khan. His style has thus been an assimilation of the influence of these three musical traditions. He was bestowed with Sangeet Natak Academy Award the Padma Vibhushan and the Kalidas Sammaan (From the Madhya Pradesh Government).

Pandit Jitendra Abhisheki

Pandit Jitendra Abhisheki was a popular musician who strode the classical and the Marathi stage music with equal ease. Born in 1932 in Mangeshi Goa as a son of the head priest he received his classical training under Pandit Jagannath Purohit. Influenced intensely by both the immense traditions inherent in Indian classical Music as well as the scope it provided for modern innovation, Pandit Abhisheki gave full rein to his creative abilities by blending Marathi theatre. He received several awards including Padmashri and the Sangeet Natak Akademi Award.

Pandit Abhisheki Absorbed several ideas form all his teachers to form his own style of Hindustani classical. He was a doyen of Agra-Jaipur Gharana and one of the greatest Maestros of Indian classical music. He believed in improvisation and developing ones own style rather than sticking with the style of the guru or a Gharana and encouraged his students to do the same as exemplified by the innovative style of his student shubha Mudgal.

Pandit Bhimsen Joshi

Pandit Bhimsen Gururaj Joshi leads the renaissance of Indian classical music with utmost passion and dedication. Born on 4th February 1922 in the small town of Gadag Karnataka he is renowned for his unmatchable brilliance and charismatic personality. A burning passion for music has made him a living legend. It is this passion for music that urged him to run away form home and pursue musical studies after he heard the recordings of Abdul Karim Khan at a local store. After he returned home he started his tutelage under the Sawai Gandharva (Pandit Rambhan Kundgolkar) who was himself a pupil of Abdul Karim Khan for 10 to 12 years. This rigorous training chiseled his already tuneful voice and his constant quest for newer domains enabled him to develop his own distinctive style laced with brilliance.

Pandit Jasraj

A three year old Jasraj with just the seven notes as his inheritance form his departed father Pandit Moti Ramji stepped out into the cold world of harsh realities. Today those seven notes create his rainbow his bridge to a mystical realm of sound that lies beyond the applause the awards the tittles the trophies and the honors connecting him to the music of the infinite. This doyen of the Mewati Gharana Sangeet Martand Pandit Jasraj is on the fore most vocalists in the Indian classical music scene today. Born in 1930 he underwent intensive training under the tutelage of his older brother Sangeet Mahamahopadhyaya Pandit Maniram. His style also carries traces of the Jaipur and Gwalior Gharanas.

One can hear the whisper of the unknown and experience in his singing the stillness of the unheard sound. He has groomed a number of disciples who are all set to carry the Mewati Gharana into the next generation. He also gives credit to the appreciative listening public for having been a major influence in his career and for boosting his performance levels. Panditji is famous for his unique contributions such as Jasrangi Jugalbandi an innovative form of Jugalbandi based on the ancient moorchanas technique where a male and a female singer sing two different ragas simultaneously.

1Pandit Mallikarjun Mansoor
Raga Sawani
Vilambit Jhap taal
Drut Madhyalaya – Jhap taal
2Pandit Jitendra Abhisheki
Raga Jai Jai Bilawal
Vilambit – Rupak Taal
Drut – Teen Taal
3Pandit Bhimsen Joshi
Raga Bageshwari Bahar
Roopak Taal
4Pandit Jasraj
Raga Basant
Madhya Laya – Teen Taal
Performed at the morning Ragas festival Ahmedabad 1988
Accompanists
Tabla: Balkrishnan Iyer
Vocal Support: Rajshekar Mansoor
Sarangi: Pandit Inder Lal
Harmonium: Mehmood Dhaulpuri

A performed at Vasant Aagman Ahmedabad
Accompanists
Tabla: Subhash Kamat
Harmonium: Chandrakant Nayak
Tanpura 1: Shekhar Kumbojkar
Tanpura 2: I.S. Kabla
Vocal Support: Shounak Abhisheki

Live performances at Rare Ragas Festival Mumbai
Accompanists
Tabla: Shri Trimbak Jadhav
Harmonium: Shri Purushottam Walawalkar

Live performance at 150 years of the times of India celebration Kolkata 1989
Accompanists
Tabla: Gobinda Bose
Harmonium: Late Guru Gyan Prakash Ghosh
Vocal Support: Tripati Mukherjee

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