The Patiala style established by him is based on a traditional (Gwalior style) where improvisational ideations are woven around and reproduced as reflections of the composition. (This makes forays prescription dominated style where improvisational for disciplined by the grammatical dictates of the composition). Bade Ghulam Ali khan’s individual stamp arose from the distinctiveness of his vocal and mental prowesses- a mind which saw music as a canvas for total freedom of movement, quest and expression of beauty and creation of patterns which spell superhuman virtuosity. Patterns of notes and note accentuations (alankars like gamaks, murkis, zamzamas, meends, choots and taans) and also patterns of rhythmic units (largely intricate tihais). This mind was aided by an unprecedented dexterity, vitality, range and flexibility of voice. The effect on the listeners to the end of his career remained in one word-electrifying.
Popularly known as Sartaaz-e- Mehfil, Ustad Bade Ghulam Ali khan resents three enchanting ragas in this collector’s album.
The powerful renditions tuly reiterates the fact that when it comes to expressions and virtuosity, nobody can match “Sartaaz –E- Mehfil” Balde Gulam Ali khan’s caliber.
1. RAGA: JAUNPURI (1988) Khayal Vilambit Ektaal Anganwa Mein Darsan Tarana Teentaal
2. RAGA: BHUPALI (1988) Khayal Vilambit Ektaal “Prabhu Rang Bhina” Khayal Drut Teentaal “Dev Maheshwar Mahadev” Tarana Teentaal
3. RAGA: KAUSHIDHWANI (1993) Khayal Vilambit Roopak “Re Mana He Mana”Khayal Drut Teentaal “Ajahoon Aaye Balamwa”
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