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Listen to Ragas!
Channulal Mishra - Spirit Of Benares
Spirit Of Benares
Code : Sense 041
Product Type : CD
Label : Sense
Ragas: Maru Behag, Khamaj, Kafi
Artist : Channulal Mishra, Nahul Misra - tabla, Yamin Khan - Harmonium, Bharat Bhushan Goswami - Sarangi
Average Rating : Not Rated
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Description

Channulal Mishra is one of India's most gifted and versatile vocalists, with a rich and wide ranging repertoire. His sonorous voice transcends specific styles of singing, creating music in which the aesthetic and the spiritual merge to great effect. On stage he is a figure of composure, lightly strumming the soothing swarmandal, which resonates colourfully with the notes of his chosen raga.

Channulal Mishra is equally proficient in classical and light classical music such as dadra, thumri, chaiti, kajri and bhajan, as is demonstrated in this performance recorded live on 8th January 2003 at the Saptak Annual Music Festival held in Ahmedabad, Gujarat.

Tracks

Raga Maru Behag

1. Khayal - 'A Ab to Jani Re'- Vilambit Ektaal
2. A Ab to Jani Re'- Vilambit Ektaal (cont)
3. Khayal - More Balma Aja Hoon Aaye' - Teentaal
4. Thumri - based on Raga Khamaj
5. Dadra - 'Tore Naina Khilade Katar Sajani'
6. Dadra (Holi) based on Raga Kafi

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Reviews/Notes      

Channulal Mishra's music is eclectic, featuring unmistakeable references to Benares, Kirana and Patiala gharanas, three very contrasting traditions of North Indian classical singing, which have all played a meaningful part in the singer's development. He was brought up in an atmosphere of rich musical activity in the ancient, holy city of Benares, starting his vocal training at a young age under the guidance of his father, Badri Prasad Misra. He is also the son-in-law of the late Anokhelal Misra, a great tabla player of Benares tradition.

Later his musical vision and skills were refined by Ustad Abdul Ghani Khan and Thakur Jaidev Singh. Having left his home to learn music he was nurtured in the honoured practice of 'guru shishya parampara', a diminishing tradition where the student stays in the home of his or her teacher. Groomed under the watchful eye of the Guru is devoted to the musical and spiritual growth of the student, just as a father is devoted to his own son.

In this recital, Channulal Mishra begins with a khayal, a classical rendition of raga Maru Behag. Khayal is the most dominant form of singing in Hindustani classical music, giving great scope to the imagination and individuality of the singer. Khayal singing is marked with melodic elaboration, decorative elegance, sensuousness and romanticism. It invariably combines devotion with romance. Maru Behag is a late evening raga with a romantic quality. It uses the same basic notes as Raga Behag but the key phrases lay emphasis on different notes, giving the raga its own distinctive character. Each raga is like a person, with its own unique characteristics and personality. In this performance, the vocalist is joined by three instrumentalists. Nahul Misra of Benares provides rhythmic accompaniment on tabla, and melodic support comes from Yamin Khan on Harmonium and Bharat Bhushan Goswami the stringed Sarangi.

The first composition is set to a slow rhythmic cycle of twelve beats called Vilambit Ektaal. The structure of the taal played at this speed allows the singer to develop the mood of the raga in an unhurried manner.
The second composition (track 3) 'More Balma Aja Honn Aye' -'today my beloved has not come'- is a livelier khayal, in the popular rhythmic cycle of sixteen beats, known as teental.

For the next part of the performance Channulal Mishra gives emphasis to his expertise in the field of light classical music. Thumri is a rich music form which draws on both devotional and romantic themes. In this thumri (track 4), 'Bansuriya Ab Na Bajao Shyam' based on Raga Khamaj, the gopi (devotee) is pleading with the divine Lord Krishna to stop playing the flute because of its hypnotic effect. 'Tore Naina Khilade Katar Sajani' is a Dadra composition from the Benares tradition, in which the singer is praising the lover's intense beauty as expressed through the eyes. 'Rang darungi darungi nanda ke lalan pe' (track 6) based on Raga Kafi, is a song celebrating the throwing of colours at the popular Hindu Holi Festival.

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