Customer Reviews

Raga Jhinjhoti

5 star:		(4)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I found this recording an outstanding one. The alap is very soulful as also in keeping with the raga framework. The sound production is immaculate (if not the best among all IAM sarod releases). What is really very interesting is the way the phrases are developed and elaborated in the alap. The Jod section is equally interesting and reflects brilliant artistic imagination in terms of both rhythmic and melodic synthesis.

The vilambit gat set to teental is delineated in a slow and unhurried manner, perfectly balancing the gayaki and tantrakari aspects.The vilambit chapters cover the "peshkar ang" badhat, with rhythmic formations that are both intellectually challenging and aesthetically pleasing, as also, cystal clear bol tans at 8 times (aat gun) , 6 times (chhay gun) and 4 times(chou gun) the basic beat rounding up with smartly articulated tihais.

This is followed by a brilliant Madhya laya composition by Buddhadev's grand guru Ustad Md. Amir Khan. Here we get a brilliant exposition of "toda-s",a hallmark of authentic sarod repertoire. Therafter the gat is increased to a tempo, wherein some rapidfire ekhara tans are executed and finally ends up with a crisp and clear jhala at an enjoyably high speed ( of course, this is not the indiscernable an cacophonically high speed wherin none of the four strokes are clearly audible).

A must-buy for all classical music listeners of substance.

I found this recording an outstanding one. The alap is very soulful as also in keeping with the raga framework. The sound production is immaculate (if not the best among all IAM sarod releases). What is really very interesting is the way the phrases are developed and elaborated in the alap. The Jod section is equally interesting and reflects brilliant artistic imagination in terms of both rhythmic and melodic synthesis.

The vilambit gat set to teental is delineated in a slow and unhurried manner, perfectly balancing the gayaki and tantrakari aspects.The vilambit chapters cover the "peshkar ang" badhat, with rhythmic formations that are both intellectually challenging and aesthetically pleasing, as also, cystal clear bol tans at 8 times (aat gun) , 6 times (chhay gun) and 4 times(chou gun) the basic beat rounding up with smartly articulated tihais.

This is followed by a brilliant Madhya laya composition by Buddhadev's grand guru Ustad Md. Amir Khan. Here we get a brilliant exposition of "toda-s",a hallmark of authentic sarod repertoire. Therafter the gat is increased to a tempo, wherein some rapidfire ekhara tans are executed and finally ends up with a crisp and clear jhala at an enjoyably high speed ( of course, this is not the indiscernable an cacophonically high speed wherin none of the four strokes are clearly audible).

A must-buy for all classical music listeners of substance.

Yes, it's fast. No, the way the alap unfolds is not going to be to everyone's taste. But this recording is astonishing, brilliant, extraordinary. Pure energy from beginning to end.

I borrowed this recording from the library on the eve of a live performance here in Austin. This review is to note that there is a problem with the microphone(s) used for the recording. The sound seems to saturate repeatedly and produces a funny high-pitched wail like sound. I find this very annoying and distracting. This review is mainly to warn other buyers that this problem exists. 5 stars as far as the performance is concerned.

This album is probably quite representative of DasGupta's playing style. I don't like it, I think he plays too fast right away in the alap, and most of the album is fast taans up and down the neck. His playing techique is incredible so if you get off on skill alone, you'll love the album. The sound is good as per all India Archive Music releases, and the presentation is perfect with one long track, so if you are already a fan of DasGupta this CD is a must-have, if you like him it's a five-star album. But his ragadari does not agree with me. This is not the way you make a raga come to life, this is too fast from the beginning. This is taanbazi that follows the letter of the raga but, in my opinion, not its spirit. He does not make the characteristic phrases of Jhinjhoti stand out this way. But his playing style is ultimately influenced on Afghani rebab playing, so, in the end, what can you do about it? Kudos to India Archive Music for a good document of a good player of this style, even though I don't like it myself.