EMI's double-CD collection of Ravi Shankar's works including Western instruments, however, is one of the exceptions, for it adds a great deal even to the conversation carried on by those who have paid attention to the career of the man widely considered modern-day India's greatest musician. The attraction here, in a nutshell, is that this CD set brings together music recorded between 1967 and 1982, much of it only sporadically available up to now. There are two concertos for Shankar's sitar (a large Indian lute with sympathetically resonating strings) and orchestra, plus works he wrote for collaborations with violinist Yehudi Menuhin and flutist Jean-Pierre Rampal. For purposes of comparison, there's also one performance by Shankar alone.
ndian percussionist Trilok Gurtu, the son of vocalist Shobha Gurtu, who had played with Don Cherry (1976), with Oregon (1984) and with John McLaughlin (1989), perfected a technique that draws equally from Indian tabla and dhol drums, from jazz music (cymbals, hi-hats) and from other ethnic cultures (gongs, congas, cowbells, snares). He even dipped resonating instruments in buckets of water to produce sounds that he could not produce with traditional instruments. He began his mission with the intense mixture of Indian music, jazz-rock and world-music of the CD Usfret (1988), featuring the likes of trumpeter Don Cherry, guitarist Ralph Towner, Indian violinist Lakshminarayana Shankar, Swedish bassist Jonas Hellborg, French keyboardist Daniel Goyone and his own mother, vocalist Shobha.
When I was about 14 years old in 1988, I heard Pandit Bhimsen Joshi voice very first time in my life in an Indian National Integration song called 'Mile Sur Mera Tumhara'. The moment I heard his voice, I felt like my spine was shaking with an ultimate bliss and I still have the same feeling whenever I listen to his voice. In my opinion and experience, he has Khayal's greatest male voice. Although 'Pandit Bhimsen Joshi' born in Karnataka (South India), he achieved greatest success in North Indian Classical Music.
I guess I don't need to introduce this legendary Indian Mandolin Player called 'U. Shrinivas' who had single handily rose the fame to Mandolin Instrument among the Indian Classical instruments. IMO, Mandolin never would have got so much attention among the Indian music followers without the efforts of this great musician. Sadly, this great musician passed away on 19th September 2014, just at the age of 45 due to the complications arose in his liver transplantation.
One of the best collections of Indian Vocal Music ever. Some rare and hard to find tracks and musicians are included in this very large disc set - 14 discs in total. The inlays within the pack provide song track details as well as the history of each musician. For anyone wishing to gain an insight into the Classical tradition, this is one of the best collections to start with. Saregama is proud to present this premium pact of 14 CDs that is a labor of respect and adulation. Comprising of vocal music spread over 108 years. The next step was to then select the 100 artistes featured herein over 135 tracks, their Gharanas their Gayakis and the Guru Shishya Parampara imbibed by them. This pack gives connoisseurs a glimpse of the creativity of performing artistes their methodologies their thinking patterns and how & why their signature styles also been artistes of repute with a prowess of their own.
Ustad Vilayat Khan is IMO, the greatest Indian sitar player evolved in 20th Century. He not only conquered the sitar world, but experimented in wide range of ragas that any artist simply don't even dare to meet those high standards. Vilayat Khan has extensively recorded the Indian Classical Music all through his career that spanned nearly 7 decades. So, It's very challenging thing to summarize his career in a box set. However, for this 3 CD box, Saregama label pulled Vilayat Khan's some of very important music recorded between 1955 to 1990. IMO, A Holy Grail for the Indian Classical fans. Enjoy.