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Pakhawaj Solo in Chautaal | Ravishankar Upadhyay | Live at Saptak Festival

Full Track Available For Download From: http://www.indiabazaar.co.uk/product-... Artist: Ravishankar Upadhyay - Pakhawaj Ikram Khan - Sarangi Shishirchandra Bhatt - Harmonium Tracks Pakhawaj Solo in Chautaal (12 beats) 01. Lord Ganesh/ Lord Shiva Stuti Paran 00:00 02. Lehara 05:41 03. Uthaan/Mohara 07:46 04. Parans/ Rela 12:40 05. Moti Lari Paran 18:00 06. Ravabi Paran 19:05 07. Pakhawaj Samraat Pt. Vasudev Upadhyay's Paran 20:22 08 Chakardar paran 21:58 09. Jhalla 23:25 10. Upaj (Dhumkit ka baaj) 27:35 11. Aad lay ka baaj 30:00 12. Several Layakariyan (Rela, Upaj) 32:53 13. Kamali Chakardar paran 38:39 14. Kamali Chakardar paran (2) 40:43 15. Farmaishi Chakardar paran 42:22 16. Upaj Rela/ Tihaiyan 43:23 Recorded Live at Saptak Festival (Gujarat) India. Executive Producer - Alpesh Patel Produced By - Derek Roberts Location Engineer - Derek Roberts Assistant Engineer - Krishna Shirgaonkar Digitally Mastered by: Derek Roberts of Dr Creative Productions | www.drcreativeproductions.co.uk Photography - Rajen Mistry VFX Producer: Vijay Dave | Varun Creations Pakhawaj is the most majestic sounding of Indian percussion instruments, generating a resonance which brings to mind evocative images of Ancient India and the music of the Moghul courts. Ravishankar Upadhyay comes from a distinguished musical ancestry and represents the eleventh generation of artists nurturing the traditional art of Pakhawaj. Born in 1969 in Iswarpur village of district Gaya in Bihar, he is the son and student of the late Maestro Pandit Ramji Upadhyay. He started intense and comprehensive Pakhawaj training from the age of eight years. This a live recital recorded at the Saptak Music Festival in Ahmedabad, Gujarat on the 5th January 2006. The solo is set to Chautaal, a rhythm cycle of twelve beats, a popular taal in the tradition of Pakhawaj playing. Ravishankar Upadhyay is accompanied by both the Sarangi and Harmonium, which play the lehara, a melodic motif outlining the framework of the twelve beat rhythm cycle. The performance begins with a recited Stuti Ganesh Paran. Parans incorporate prayer through bols with Sanskrit names and attributes of Hindu deities. These shlokas (prayers) function as invocations to the Gods. Ganesh Paran, dedicated to Ganesh, is traditionally executed at the beginning of a solo pakhawaj performance. Ganesh is the god of knowledge and of good fortune, and therefore, to recite and play a Ganesh bol paran at the start of a concert is considered auspicious. Ravishankar demonstrates how the spoken phrases are adapted onto the Pakhawaj, performing Stuti ('prayer') parans in praise of both Lord Ganesh and Lord Shiva, the latter composition thought to be around 300 years old. This reciting of the Pakhawaj syllables is known as Padhant, an integral part of the Indian rhythm system. The initial compositions played in the solo are known as Uthan followed by Mohara, a short composition ending with a tehai, similar to Tukra in the tabla repertoire. The main attraction for any Pakhawaj solo is probably the repertoire of Paran (5-7). These are fixed compositions many of which are hundreds of years old and display the whole dynamic range of the instrument within them. By contrast, Rela (4) is a theme and variation type of composition that uses only a few syllables played in a fast, fluent style creating an exciting free flowing effect. The specialty of the chakardar paran (8) is that it is played three times. In this particular composition the first phrase ends half beat before the sam (first best of the cycle), the second phrase ends a quarter beat before the sam, and finally the third phrase skillfully coincides with the sam. Jhalla (9) is a high energy improvised sequence played only on the higher pitched drum with one hand. The rhythmic divisions are like those played in the faster Jhalla sections of instrumental music on plucked instruments such as the Veena and Sitar. Upaj (10) describes the player's ability to improvise and spontaneously expand on initial themes, in this case, elaborating on the bol 'dhumkit'. This is followed by a section performed in 'Aad lay' (11), that is, three syllables (or multiples of) to a beat. Layakari, literally 'rhythmic play', demonstrates the player's ability to improvise on changing subdivisions of the beat in relation to the basic tempo. A kamali paran (13,14) is one which is considered 'wonderous' where each phrase played three times, ends with the bol 'dha' played nine times. Farmaishi (lit. encore) chakardars (15) are also prized compositions, often born out of challenging requests from other musicians. After some mesmerizing improvisation on Rela themes (16), the recital concludes with a grand Tihai, a bol sequence played three times concluding majestically on the sam. Notes: John Ball