Pt hariprasad chaurasia biography of michael jackson

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India&#;s most versatile classical musician

ON August 22, some odd music aficionados gathered at the Godrej Dance Academy Theatre at Mumbai’s National Centre for Performing Arts complex, for a listening session of the works of legendary multi-instrumentalist and teacher Baba Allauddin Khan. For two hours, musicians, musicologists, connoisseurs and music students absorbed and celebrated the genius of the Maihar gharana maestro, as flautist Nityanand Haldipur guided them through rare and priceless recordings.

It was an evening filled with magic and nostalgia. After all, there haven’t been too many commercially-released recordings of Baba, who passed away in Though many enthusiasts would have heard his work on the Saregama HMV compilation Chairman’s Choice — Great Gharanas: Maihar, it covered only a minuscule percentage of his actual repertoire.  As such, this session was an ‘ear’-opener.

We shall discuss more about the session later. But before that, a little bit about the maestro. Three aspects of his musical personality clearly stand out: his sheer versatility, his role as a teacher and his contribution as an innovator. While diehard classical music followers would know many of the things mentioned below, not-too-familiar listeners would be fascinated to read about his achievements.

In every sense of the word, Baba Allauddin Khan was a unique musician. Though his specialities were the fretless stringed instrument sarod, the violin and the sursingar, a bass and larger kind of sarod, he could play some 30 musical instruments. From his generation, he and Ustad Hafiz Ali Khan played a major role in popularising sarod. But going by the sheer number of instruments Baba played, it wouldn’t be an exaggeration to say he has been India’s most versatile classical musician ever.

The world, of course, generally knows him as the person who taught sarod great Ali Akbar Khan (his son), sitar maestros Ravi Shankar and Nikhil Banerjee, flautist Pannalal Ghosh, sur

Full Translation:

Influence from the outside: a mixture of indie and India with Jaipur Junction.

Some bands breathe the atmosphere of a specific landscape or city where the songs have been created. How does this inspiration from the outside find its way into the music.

In these series we study the influence of a specific location on the creative process of artists. For today: Jaipur Junction.

Text: Lisanne Lentink

Photo’s: Lisanne Lentink (NL) & Vishal Nair (IND)

Indie and India, it’s not a very common combination. But Jaipur Junction is doing it. Avoiding the common rules. No boundaries. Interesting, or perhaps this cultural crossover might scare some people off. Sometimes the band is being labeled as “world music”, although the band doesn’t like to carry this label. With their new ideas they’re currently growing more towards indie music. 

Their first album was released in October and at the moment they’re working on a second album, although the members live thousands of kilometers apart of each other. 

Singer Sarita Rav and drummer Otto de Jong met in the summer of in Sarita’s hometown Jaipur, capital city of the Indian state of Rajasthan. Sarita teaches music at a cultural centre to locals and tourists, Otto was doing some small jobs at this centre and took a few classes from Sarita. It didn’t take long before the two decided to start making music together. Jaipur Junction was born.

Different business as usual

We meet Otto in his studio, just outside of Utrecht, the dim light of winter is coming thru the windows. A part of the interview is being done by a video call with Sarita in India. In Sarita’s room on the other side of the telephone we see an old, small harmonium and a tanpura. An instrument that looks like a mixture of a sitar and a lute. Sarita plays a little for us. The extended sounds of the tanpura make their way t