""Live In Aspen" is the fascinating cross fertilization of western meets eastern classical music. All works presented live in Aspen, except the opening one and an older traditional Indian folk piece, are by Amjad Ali Khan. Variety is accomplished not only by the intertwining of east/west styles but also by the fact that different musicians exit and return throughout the concert. Sharon Isbin opens the album with a solo piece, before she is joined by Ayan Ali Bangash on two versions of "Sacred Evening." It is hypnotically soothing as well as amazingly articulate. Next, Amaan Ali Bangash joins Isbin on "By the Moon." The two-part number replicates the pattern of an introduction ("Alap Behag") which is followed by "Raga Behag" with a goal of evoking happiness. East merges seamlessly with west as the artists communicate via the universal language of music that leads to a thrilling finale. The live audience instantly confirmed that with their supportive applause." (AllAboutJazz; 4 uit 5 sterren)
Ustad Vilayat Khan was a sitar maestro who belonged to the Etawah gharana (school) of Hindustani classical music. If you have listened to other schools, you will recognize that there is a difference of style among all of them. It's not easy to describe in words all the qualities of this music. But all the same, it can be enjoyed by everybody alike. The tradition of this music goes back more than 2000 years, and we cannot be sure exactly how it shaped up, but even in the 20th century, what we hear is some masterful music created by a few devoted musicians. They are so few and far between that all these masters have become synonymous with their instruments. Performances are becoming more and more rare. This speaks for both the difficulty of becoming a master of this music, and for the unfortunately dwindling interest. I think we can safely say that Ustad Vilayat Khan is one of the towering masters of the sitar. A few listens to this CD can tell you that. (Rateyourmusic)
"I heard ustadji’s raga Durga for the first time so closely. It is indeed mesmerizing. Ghulam Mustafa's voice is fantastic." (Indianraga.com)
Recorded live in concert, Sunny Towers, Calcutta, December 25th 1995 Raga Bhairav, named after the incarnation of Shiva is one of the principal morning ragas, however it is not often recorded, partly because morning ragas tend to be less frequently performed than others, and partly because variants and combinations such as Ahir Bhairav have become more fashionable. ...[excerpt from booklet]. This was the first Rashid Khan CD I owned. Still one of my favorites, both the performance and the recording quality are great. (Amazon)
"Nazakat (1932-1983) and Salamat Ali Khan (1934-2001), musicians and brothers from Pakistan, traced their musical heritage 10 generations to the court of Emperor Akbar the Great. Having learned the art from their father Vilayat Ali Khan of the Sham Chaurasi garana. They came to Europe and the United States beginning in 1969 as part of the expanding world interest in Hindustani music. This particular recording was made in Cologne, Germany, on June 14, 1970, and features three ragas. Darbari Kanada, goes back to the 16th-century court (Darbari is the royal designate) and is associated with late night; its mood is of nobility, strength, and devotion, focusing on the world as illusion. The second raga, Raga Rageshvari is somewhat less intense and serious, and while performed in the evening, its brings out love, romance, and peace. The final raga is in light, romantic style. The Ali Brothers here give a superb performance, weaving their improvisations, and the recording itself is fine in every way." (Discogs)
At 75 years, Hangal may be the last representative of a generation that valued tradition and simplicity over show. She has been singing publicly since the late '20s and still performs with a group that includes her daughter and granddaughter. These performances of ragas from the "Kirana Gharana" are an important rarity amid the multiple recordings of familiar virtuosos. (AllMusic)
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