DOCSLIB.ORG

More Than Just a Tabla Wizard

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
More Than Just a Tabla Wizard «» FR1DAYREV1EW SPOTLIGHT FRIDAY, JANUARY 25, 2019 ft **3C In 1974, he formed the group Traya with his sons Nayan and Druba (a sarangi player), and per­ formed and conducted lec-dems at universities across the globe. "During his extensive travels, he developed a close rapport with iconic musicians such as Ye- hudi Menuhin, Benjamin Britten, Larry Adler, Louis Armstrong, Duke Ellington and Dave Bru- beck," says Nayan. Wide perspective More than "My father would make us (sister Tulika is a trained vocalist) listen to Beethoven, Bach and Ameri­ can Country music. He hated just a tabla building boundaries around art. He would say open-mindedness is the way forward in life. Some­ one who believed in wholesome wizard development of personality, he didn't let us give up academics because we were into music. He Pt Nikhil Ghosh was a even encouraged us to pursue arati, originally known as Arun gan on December 11 with the in­ er's versatility. Known more as a sports. He was an athlete, while vocalist, percussionist, Sangeetalaya, was established in imitable Ustad Zakir Hussain's sitar and tabla exponent, Nayan my uncle (Pannalal Ghosh) was a educator, author and 1956. Twelve years later, it moved Taalanjali at the Nehru Centre in Ghosh is an equally skilled vocal­ researcher. The maestro's to the present premises. Mumbai, followed by Kathak ace ist, who also plays the surbahar Last week (January 17 to 20), Pt. Birju Maharaj's performance. and pakhawaj. Nayan's son Ish- musician-son Nayan Ghosh Sangeet Mahabharati bustled Born in Barisal in East Bengal aan is also a tabla artiste. recalls his father's with artistes, music-lovers and (now Bangladesh), Pt. Nikhil's Pt. Nikhil kept enriching his Nikhilbabu's admirers, who had musical journey took him from music owing to his close associa­ pioneering efforts gathered for 'Shat Pranam', an his calm riverside village to the tion with stalwarts such as Ustad busy, narrow streets of Bombay. | event organised by his musician- Fayyaz Khan, Pt. Omkarnath CHITRA SWAMINATHAN son Nayan Ghosh to pay tribute Like his sitarist-father Akshay Ku­ Thakur, Ustad Bade Ghulam Ali to the maestro on his birth cen­ mar Ghosh and dhrupadia- khan and Ustad Abdul Wahid he camera zooms in on the tenary. The performance arena- grandfather Hara Kumar Ghosh Khan. He trained under Ustad marble plaque that reads, was as surreal as Pt. Nikhil he took to music, but his brother, Amir Hussain Khan, Guru Gyan boxing champion and an archer." 'Sangeet Mahabharati, Ghosh's music - the stage was the celebrated flautist Pannalal Prakash Ghosh and Ustad Ahmed At the peak of his career, Pt. T Ghosh, had a huge influence on foundation stone laici oy ustad erected under a huge banyan Jan Thirakwa. Nikhil decided to devote much of him and played a major role in (From top) Ahmed Jan Thirakwa, on Octob­ tree, there was an amphitheatre­ "These legends had a deep im­ his time to teaching. He was eag­ his musical choices. Pt. Nikhil er 20,1969.' It then takes you in­ like seating with the cool evening pact on his mind and music. He er to share with young enthu­ Ghosh, Pt. side a room that has photographs breeze wafting across. was a keen observer and learner. siasts the treasure he had assimi­ Pannalal of Swami Vivekananda and Ra- "The response from artistes Versatile master Also, whichever part of the world lated. He developed a teaching Ghosh, bindranath Tagore. From behind and art-lovers has been over­ "My father was not only a bril­ he was, he never skipped his dai­ method and improved upon the Nayan a row of vertically-arranged sitars whelming. It is at such moments, liant tabla player, but an amazing ly riyaaz" recalls Nayan. notation system established by Ghosh, Pt. you see Pt. Nikhil Ghosh instruct­ more than ever, that I realise how vocalist too. He was a master of But, the one thing he found Pt. V.D. Paluskar and Pt. V.N. Nikhil ing a student. These visuals are my father lives in so many hearts. both melody and rhythm. A tra­ difficult was to choose between Bhatkhande by using Roman let­ performing from an episode of the Great Because, apart from being an ac­ ditionalist with a progressive out­ being a singer and a tabla artiste. ters and symbols. His efforts re­ with Ustad Masters series, made by Mumbai complished musician, he was a look, his expansive repertoire Finally, in 1945, Pt. Nikhil decid­ sulted in the book Fundamentals Vilayat Khan Doordarshan on the tabla legend fine human being," says Nayan drew from the stylistic features of ed in favour of the latter with the ofRaga and Tala with a New Sys* and Ustad and the landmark institution of Ghosh, who heads the Ajrada, Farukhabad, Lucknow tern of Notation in 1968. He fol­ Bismillah help of his guru Ustad Thirakwa. music and research he set up in institution. and Punjab gharanas," says the lowed it up with a Manuscript Khan • PHOTOS: "And then, he was unstoppable, NAYAN GHOSH the metropolis. Sangeet Mahabh­ The centenary celebration be­ son, who has inherited his fath­ making his mark both as an ac­ Book for easy notation. companist and soloist. He be­ "He didn't stop at that. In 1961, lieved the onus is on the artiste to he undertook the Herculean task make every performance a musi­ of documenting and compiling cal experience. He would say per­ an Encyclopaedia on music that cussion should not be viewed as would have minute details about just a mathematical exercise. forms of music, ragas, talas, biog­ And that it is not only about raphies, technical terms, history, speed and technique. According instruments, gharanas and more. to him, percussion can be poetic Around 250 scholars were in­ too. He insisted that irrespective volved in this assignment. Sadly, of whether a musician is an in­ he passed away in 1995 before strumentalist or a vocalist, he/ completing it. But we ensured she should bring out the distinct the work did not stop. His dream personality of each project was released in 2011, 50 composition." years after he began, as The Ox­ A much-in-demand tabla ar­ ford Encyclopaedia of the Music of tiste, Pt. Nikhil was also invited to India. Pt. Nikhil Ghosh has left perform at international festiv­ his name in the pages of India's als. He composed music for films. musical history," says Nayan. .
Load more

Recommended publications
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Brevard Indian Classical Music Society Presents Sitar, Santoor & Tabla
    brEVard iNdiaN ClaSSiCal MUSiC SoCiEty PrESENtS Sitar, SaNtoor & tabla Sponsored by BIMDA Event Chair: Subhash Rege, Mahesh Soni, Gladwyn Kurian SaNtoor Sitar tabla Nandkishor Muley Dr. Kanada Narahari Shankh Lahiri VENUE Brevard Hindu Mandir 1517 Avenida del Rio Melbourne, FL 32901 Date: Saturday, April 10th Program Starts: 4:30 pm Dinner: 7:45 pm MANDATORY Covid-19 Vaccination required to attend ... FREE to all Members PLEASE RSVP > BIMDA Email Invitation Brevard IndIan ClassICal MusIC soCIety Presents Nandkishor Muley SaNtoor Santur (Santoor) maestro Nandkishor Muley is considered the leading performer of this ancient, delicate instrument from the vibrant land of India. Nandkishor comes from a long lineage of musicians. Educated early in vocals and Tabla from his father Dattatraya and uncle Shrikant Muley. He is holding Masters degree in Indian music and Kathak dance from M.S. University of Baroda. Nandkishor had already received acclaim in India before entering study on the Santur with Pundit Shivkumar Sharma, which led to his current high esteem as a principal figure in Indian music. Nandkishor has been accredited with German Grammy Award, the famous ìSurmaniî award, the Excellence Art and Cultural Educator award from United Arts of Florida (USA), just to name a few. Nandkishor is widely travels different parts of world for his musical performances. His lectures and workshops on Indian Vocal & Instrumental classical music are highly educative to enrich learners & artists. He is an adjunct professor of Indian music and dance at Stetson University and University Of Central Florida (UCF) in Orlando. Florida. Brevard IndIan ClassICal MusIC soCIety Presents Dr. Kanada Narahari Sitar Dr Kanada Narahari (Kanada Raghava) was born in Manchikeri, a small village in western ghats, Karnataka, India to his illustrious parents, Vidvan Narahari Keshava Bhat and Sumangala Bhat.
    [Show full text]
  • Blowing East : a Set of Performance Practice Instructions for a Western Flautist Presenting Japanese and Indian Inspired Works
    Edith Cowan University Research Online Theses : Honours Theses 2007 Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works Asha Henfry Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Practice Commons Recommended Citation Henfry, A. (2007). Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works. https://ro.ecu.edu.au/theses_hons/1301 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1301 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Stephen M. Slawek Curriculum Vitae
    Stephen M. Slawek Curriculum Vitae 10008 Sausalito Drive Butler School of Music Austin, TX 78759-6106 The University of Texas at Austin (512) 794-2981 Austin, TX. 78712-0435 (512) 471-0671 Education 1986 Ph.D. (Ethnomusicology) University of Illinois at Urbana-Champaign 1978 M.A. (Ethnomusicology) University of Hawaii at Manoa 1976 M. Mus. (Sitar) Banaras Hindu University 1974 B. Mus. (Sitar) Banaras Hindu University 1973 Diploma (Tabla) Banaras Hindu University 1971 B.A. (Biology) University of Pennsylvania Employment 1999-present Professor of Ethnomusicology, The University of Texas at Austin 2000 Visiting Professor, Rice University, Hanzsen and Lovett College 1989-1999 Associate Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1985-1989 Assistant Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983-1985 Instructor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983 Visiting Lecturer of Ethnomusicology, University of Illinois at Urbana- Champaign 1982 Graduate Assistant, School of Music, University of Illinois at Urbana- Champaign 1978-1980 Archivist, Archives of Ethnomusicology, School of Music, University of Illinois at Urbana-Champaign Scholarship and Creative Activities Books under contract The Classical Music of India: Going Global with Ravi Shankar. New York and London: Routledge Press. 1997 Musical Instruments of North India: Eighteenth Century Portraits by Baltazard Solvyns. Delhi: Manohar Publishers. Pp. i-vi and 1-153. (with Robert L. Hardgrave) SLAWEK- curriculum vitae 2 1987 Sitar Technique in Nibaddh Forms. New Delhi: Motilal Banarsidass, Indological Publishers and Booksellers. Pp. i-xix and 1-232. Articles in scholarly journals 1996 In Raga, in Tala, Out of Culture?: Problems and Prospects of a Hindustani Musical Transplant in Central Texas.
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 03 December 2015 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Clayton, Martin and Leante, Laura (2015) 'Role, status and hierarchy in the performance of North Indian classical music.', Ethnomusicology forum., 24 (3). pp. 414-442. Further information on publisher's website: http://dx.doi.org/10.1080/17411912.2015.1091272 Publisher's copyright statement: This is an Accepted Manuscript of an article published by Taylor Francis Group in Ethnomusicology Forum on 01/09/2015, available online at: http://www.tandfonline.com/10.1080/17411912.2015.1091272. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Role, Status and Hierarchy in the Performance of North Indian Classical Music Martin Clayton and Laura Leante1 In this article we describe and interpret the interactions that take place between participants in performances of North Indian classical music.
    [Show full text]
  • THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full
    [Show full text]
  • Booklet (Adobe Acrobat Format)
    N G L A A C M : M G RAGA RECORDS Nayan Ghosh on Shree Rag Ira Landgarten: People sometimes have different descriptions or interpretations of a rag — it’s implications, it’s mood, the way it’s performed — that’s why we’d like to hear specifically about Shree rag directly from you. Nayan Ghosh: Shree rag is definitely one of the most revered among ragas. It has a gravity, an intensity that is really difficult to match. The rag itself has a very strong inherent strength. It is a dusk-time rag. My uncle (Pannalal Ghosh) was one of the two or three artists who were almost synonymous with Shree Rag; the others being Ustad Ali Akbar Khan and D.V. Paluskar. My father used to mention about his meetings with Mamman Khan, the uncle of the Sarangi legend Bundu Khan. Mamman Khan always brought in references of Shree Rag to whatever he spoke about. That was everything for him. The Shree Rag as my father taught me — he used to teach me more the alaps and the actual rag, and the first time I received my training in Shree Rag was very interesting. It was at a hill station near Bombay; no cars go up it, you have to walk all over the hill station. There are ponies and hand-pulled rickshaws and all that. It’s a beautiful hill station and one evening he took us to an edge of that hill station, on the cliff, and we were facing the west side and in front of us between our mountain and the opposite one was a deep valley down.
    [Show full text]
  • Dual Edition
    YEARS # 1 Indian American Weekly : Since 2006 VOL 15 ISSUE 13 ● NEW YORK / DALLAS ● MAR 26 - MAR 25 - APR 01, 2021 ● ENQUIRIES: 646-247-9458 ● [email protected] www.theindianpanorama.news THE INDIAN PANORAMA ADVT. FRIDAY MARCH 26, 2021 YEARS 02 We Wish Readers a Happy Holi YEARS # 1 Indian American Weekly : Since 2006 VOL 15 ISSUE 13 ● NEW YORK / DALLAS ● MAR 26 - MAR 25 - APR 01, 2021 ● ENQUIRIES: 646-247-9458 ● [email protected] www.theindianpanorama.news VAISAKHI SPECIAL EDITIONS Will Organize Summit of will bring out a special edition tomarkVAISAKHIon April 9. Democracies, says Biden Advertisementsmay please be booked by April 2, andarticles for publication may please besubmitted by March 30 to [email protected] "We've got to prove democracy works," he said. I.S. SALUJA First historic Mars WASHINGTON (TIP): President Joe Biden shared with media persons his helicopter flight on April 8: thoughts on a wide range of issues, and NASA also candidly answered their questions, March 25, at his first press conference The flight since assuming office on January model of NASA's 20.2021. Ingenuity During the press conference, Mr. Mars Biden remarked on and responded to Helicopter - questions regarding migrants at the Image: NASA / JPL U.S.-Mexico border, the COVID-19 contd on page 48 WASHINGTON (TIP): NASA will U.S. President Joe Biden holds his first formal attempt to fly Ingenuity mini << news conference as president in the East helicopter, currently attached to the Room of the White House in Washington, U.S., belly of Perseverance rover, on Mars March 25, 2021.
    [Show full text]
  • DU MA Percussion Music
    DU MA Percussion Music Topic:- DU_J19_MA_PM 1) Which of the following is not a Yati? इनमे से कौन यत नहं ह? [Question ID = 213] 1. Pipilika / पपीलका [Option ID = 850] 2. Mridanga / मदृ ंगा [Option ID = 849] 3. Anagat / अनागत [Option ID = 852] 4. Sama / समा [Option ID = 851] Correct Answer :- Mridanga / मदृ ंगा [Option ID = 849] 2) Which artist was famous for ‘Dance Accompaniment? नयृ के साथ संगत करने म कौन से कलाकार स थे? [Question ID = 186] 1. Pt. Pagal Das / पं. पागल दास [Option ID = 742] 2. Pt. Birju Maharaj / पं. बरज ू महाराज [Option ID = 743] 3. Pt. Kudau Singh / पं. कु दऊ सहं [Option ID = 744] 4. Pt. Kishan Maharaj / पं. कशन महाराज [Option ID = 741] Correct Answer :- Pt. Kishan Maharaj / पं. कशन महाराज [Option ID = 741] 3) Which gharana plays with variation of ‘Theka’ ? ‘ठेके ’ के वतार के साथ कस घराने का वादन होता है:- [Question ID = 215] 1. Delhi gharana / दल घराना [Option ID = 857] 2. Ajrada Gharana / अजराड़ा घराना [Option ID = 858] 3. Banaras Gharana / बनारस घराना [Option ID = 860] 4. Lucknow gharana / लखनऊ घराना [Option ID = 859] Correct Answer :- Delhi gharana / दल घराना [Option ID = 857] 4) Which Gharana is influenced by the compositions of Pakhawaj ? कौन सा घराना पखावज़ क बंदश से भावत है? [Question ID = 249] 1. Delhi / दल [Option ID = 993] 2. Ajrada / अजराड़ा [Option ID = 996] 3.
    [Show full text]
  • Performing Modernity Musicophilia in Bombay/Mumbai
    TISS Working Paper No. 3 March 2013 PERFORMING MODERNITY MUSICOPHILIA IN BOMBAY/MUMBAI TEJASWINI NIRANJANA Research and Development Tata Institute of Social Sciences © Tata Institute of Social Sciences TISS Working Paper No. 3, March 2013 Contents Introduction ......................................................................................................................................1 Musicophilia and Modernity .............................................................................................................3 Studying Music in Bombay ...............................................................................................................5 Theatre and Hindustani Music ..........................................................................................................6 Musical Pedagogy ..............................................................................................................................7 Lingua Musica ...................................................................................................................................9 References .......................................................................................................................................11 Additional Data Sources ..................................................................................................................13 Appendix I ......................................................................................................................................14 iii iv ABSTRACT This
    [Show full text]
  • Detailed Catalog
    Last Update QUESTZ WORLD January 2017 Address : K304 Binayak Enclave, 59 K C G Road, Kolkata 700050 Mobile : (+91) 90516-72666 Email : [email protected] / [email protected] Web : www.questz.world Corporate Web : www.w2n.co PRODUCT ARTISTS PRODUCT TITLES TRACK DETAILS CODES MRP (INR) MRP (USD) # Indian Classical Music ## SITAR Nikhil Banerjee (Sitar) & Sankha Chatterjee (Tabla) Hemant Alap, Jor, Jhala Q-MI-CJ-010 200 15 Vilambit & Drut In Teen Taal Nikhil Banerjee (Sitar) & Swapan Chaudhuri (Tabla) Gauri Manjari Alap, Jor, Jhala Q-MI-CJ-038 200 15 Vilambit In Teen Taal Drut In Ek Taal Nikhil Banerjee (Sitar) & Anindo Chatterjee (Tabla) Lalita Gauri Alap, Jor, Jhala QW-IC-007 200 15 Vilambit In Pancham Sawari Taal Drut In Teen Taal Vilayat Khan (Sitar) & Sankha Chatterjee (Tabla) Aftab-E-Sitar Bageshri (Alap, Jor, Jhala, Gats In Teen Taal) Q-MI-CJ-028 200 15 Tilok Kamod & Bihari (Alap In Tilok Kamod, Gats In Bihari In Teen Taal) Vilayat Khan (Sitar) & Samta Prasad (Tabla) Yamani Alap, Jor, Jhala QW-IC-009 200 15 Vilambit In Teen Taal Drut In Teen Taal Mushtaq Ali Khan (Sitar+Surbahar) & Keramutulla Khan (Tabla) + Video Documentary On Him Birth Centenary Tribute (CD+DVD) Shudh Basant (Surbahar) Q-MI-CA-039 300 21 Kedar (Sitar) Hindol (Sitar) Video Documentary In DVD Mushtaq Ali Khan (Sitar) & Keramutulla Khan (Tabla) Sitar Sudhakar Darbari Kanada Q-MI-CJ-040 200 15 Bihag Bhairavi Santosh Banerjee (Sitar+Surbahar) & Amit Banerjee (Tabla) Lilting Legacy (Double Audio-CD) Surbahar CD - Abhogi Kanada Q-MI-CJ-048 300 21 Surbahar CD - Darbari Kanada Sitar
    [Show full text]