Artist's Catalogue 2011-12

8/4/2019 Artist's Catalogue 2011-12

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de kulture musica r t i s t s c a t a l o g u e 2 0 1 1 - 1 2


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a r t i s t s c a t a l o g u e 2 0 1 1 - 1 2

de kulture music


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First Edition, 2011

Printed In India

This catalogue is published by De Kulture Music Private Limited.

No part of this publication may be reproduced or

transmitted in any form or by any means, electronic or

mechanical, including photocopy, recording or any

other information storage and retrieval system,

without prior permission in writing from the publisher.

Marketed & Distributed by De Kulture Music Private Limited.

Website : www.dekulture.com

Email : [email protected]

Telephone : +91-141-270-0926

+91-141-402-3967

(c) Copyright 2011 De Kulture Music. All rights reserved.


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a r t i s t s c a t a l o g u e 2 0 1 1 - 1 2

Set up in 2005, De Kulture Music (p) ltd. is in conscientiouspursuit of bringing out the diversity traditionally inherent in

regional Indian music that is presently under a constant

threat of homogeneity wishing to devour its richness from

all quarters. The methodology to bring this aim into a

sustainable concretization has been to reach out to artists in

the countryside, build up a data base of the genres and

styles in existence and record paradigms of each in the

respective contextual setting. At present the company has a

portfolio of over 50 albums and 700 tracks from 500

traditional singers and instrumentalists. Each audio record-

ing in an album is accompanied with detailed documenta-tion of the information as regards the artist, the genre and

the history of the region, complemented with photographs

to ensure a comprehensive understanding of the art at

hand. Simultaneously our endeavors in album publishing,

live shows, digital downloads, mobile ring tones and

licensing, help promote the artists, their music, traditions

and culture. The company has been representing some of

the Indias most exciting artists for performances across the

world and has been showcasing traditional music and new

artists in refreshing ways.

Preface

De Kulture Music religiously strives to give the listener anauthentic avor of the uniqueness of a region encouraging

traditional artists to choose and perform songs closest to

their heart and which are true representations of their

historicity and culture. The aesthetic sonority of such folk

performances amounts to a heart warming experience of

being witness to music in its primordial, originary form

where it is yet intimate to the phenomenon of being and not

lost to a cultural explosion that imposes more than it can

ever express. Such music has the potential of being made

meaningful in very dierent cultural contexts across the

world and therefore we now o

er personalized and profes-sional services to meet specic needs of themes and

concepts of festivals and events in India and abroad. We are

striving towards artistic development of folk musicianship

and exchanges between multiple world cultures by organiz-

ing performances and workshops across the globe and

therefore looking for festival organizers, event companies

and concert promoters matching our prole and interests to

collaborate with, to take our fundamental pursuit to hitherto

unprecedented levels of accomplishment and richness.


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Content

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SuM

usic

FolkDances

TraditionalSongs

Artists Name

Raza Khan

Meetha Khan

Mustafa Ali Jat

Gurmej Raja

Bachhu Khan Langa

Multan Khan

Bijal Khan Mehar

Harikesh Singh

Dalbar Singh

Mohan Lal

Prabhudayal Jangid

Daluram Bheel

Murra Lala Fafal

Gurmeet Bawa

Jagat Ram LalkaBalvinder Mast

Dana Bharmal


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Content

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Artists Name

Babunath Jogi

Narata Ram

Puran Singh Arshi

Jasdev Singh

Aamin Khan

Gurnam Singh

Sukaria Nar Fafal

Ghevaram

Vela Dhana Bheel

Bikhe Khan

Kanwru Khan

Ilahu Khan

Noor Mohammad Soda

Kambhir Khan

Gyan Singh MemiManohar Brass Band

SpiritualMusic

Instrumentals


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The Su methodology of reclamation of the soul from

the worldly and its upliftment through music and

poetry to reach out to the eternal, godly element nds

an unparalleled exponent in Raza Khan- a Su singer,

musician and composer from the town of Amritsar,

India. True to the Su tradition he sings the insightful

lyrics of Su poets in the form of Ghazals, Qawwalis,

Kalams and Ka, mostly in Urdu and Punjabi, to the

tunes of Harmonium and rhythm of Tabla. He was born

in Batala (Punjab) and started learning music at the age

of seven under Ustad Shafqat Ali Khan, who belongs to

Sham Chourasi Gharana, a ve hundred year old

musical tradition from Hoshiarpur, Punjab. Raza Khan, a

devout Christian is an embodiment of the seculartenets of Susm and belongs to the Mausiki Gharana.

His ancestors were related to Tansen, one of the

greatest exponents of Hindustani classical music. He

displays an extraordinary vocal range that parallels the

accompaniment of the harmonium regardless of the

upper or lower range it may exceed to. The transition

from modular vocals to falsetto is made with character-

istic ease and it is the long sustains in the upper register

that set him apart from other mainstream Su artists in

the world. His music displays completeness in its

simplicity and yet the intensity of his performancesenables the listener to identify extensively with the

feelings of surrender and devotion to the Almighty.

Raza Khan

1. Jede Vi Darte

1


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Meetha Khan and Jan Mohammad Jat inhabiting the remote village of Bhaagadia in the Rann of Kutch, have the distinction of being proponents of possibly the rarest of the

rare music genres in India- the Waai style of music. Tracing its genesis to the elemental human need to call out to the divine by way of music, the Waai style was passionatelycreated by the celebrated Su saint Shah Abdul Latif Bihtai of Sindh. The rst exponents of this style that is sung in Kutchi, Sindhi and Punjabi were the fakirs (followers) of

Shah Latif. Meetha Khan and Jan Mohammad Jat are descendants of the Jat Muslims from Baluchistan who traversed the rugged terrain and colossal distances through

Sindh and brought this invaluable genre to Kutch in Gujarat. Sung along with the Dhamburo that bears resemblance to a Tambura, however is much bigger and features a

total of three or ve strings, the Waai style of music seeks to amalgamate the human spirit with that of the Supreme Lord. As Meetha Khan sings in his high pitched voice it

is not dicult to see that it is an incredibly complex genre to master and yet there is palpable an unmistakable sense of transcendence. With only the root note of Dhamburo

as the accompanying music Meetha Khans rustic voice travels from one octave to another very smoothly. Initiated with a Bheth, the Waai goes on to gain tempo and is an

exquisite form of spiritual music characterized by elements of harmony and purity.

Meetha Khan

2. Sorat-Koviyari Raag

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As the lead vocalist of a group of nine performers, Gurmej Raja is a SuQawwal a devotional singer who sings compositions in praise of the almighty and holy saints to the

tunes of Harmonium, the rhythm of the Tabla and clapping. The Qawwali style of music, having originated in 8th century Persia, is conventionally performed at the Su

shrines and dargahs all across the vast subcontinent now and is the exuberant expression of heightened spiritual ecstasy. Replete with strong secular and sometimes

self-indulgent views it is traditionally sung in Urdu. Raja belongs to the Rasulpur village of the Gurdaspur district of Punjab and learnt from master Bakhshir Raslpuri and the

famed Vadali brothers. With a rustic, open-throated voice he conducts the Qawwali, also known as Mehl-e-Sama and the backing vocalists adorn the style by repeating the

key verses thus bringing about a sense of building up and further imploring the almighty. This heightening of tempo and passion are physical manifestations of the intangi-

ble wish to sever all bonds to perceived reality and lose the self in a rhythm that helps one to be in tune with the cosmos. The crescendos are punctuated with moments

comprising of vocal or instrumental acrobatics and/or recital of a verse, that are of a character outside the signature rhythm to further accentuate the upsurge toward a

cathartic, orgasmic moment of unity with the sublime.

Gurmej Raja

4. Amir Khusrao

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Bachhu Khan, Sayar Khan and Idu Khan are the famed Langa artists from the Barmer region of the Thar Desert in Rajasthan. Performers of a genre that is very close to the

Hindustani classical tradition, they are adept at singing and their accompanying artists are pro cient at playing instruments such as the Sarangi, Murli (a woodwind

instrument), Surnai (a woodwind instrument), Algoza (double ute), Morchang (Jewish harp) and Khartal (castanet). Glorifying aspects of love in their mother tongue

Marwari set to highly ornamented tunes, they sing at social festivities. Descendants of court musicians of yore, the music of the langas is darbari (royal) in character, though

in the present times their main occupation is camel trading. On occasions such as marriages, engagements, births they are invited by their yajaman (patrons)- the sindhi-

sipahi to perform and are remunerated for the same. Their compositions set to the echoing sounds of the Sindhi Sarangi speak of the loss of separation, the joy of unison

and the magical love stories that are an indelible part of the history and culture of Rajasthan. Bachu Khan has a high pitched, open throated, rustic voice and the backing

vocalists sing in unison with him to the accompaniment of woodwind and string instruments which follow the melody of vocals during the performance.

Bachhu Khan Langa

5. Bana Re Mharo

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Facing an audience as they sit in a slight arc dressed in traditional desert attire with the famed dunes of the Thar as the mesmerizing backdrop and presenting a composition

that keeps alive a music tradition going back 820 years, the Manganiyars from Barmer add unparalleled color and zest to any celebration. Singing of romance in the darbari

(of the royal courts) tradition at all kinds of festivities Multan Khan, Luna Khan and their group perform with the Harmonium, Kamaycha, Dholak & Khartal. Manganiyars,

regarded as the most versatile singers and instrumentalists in Rajasthan, are Muslims and serve both Hindu and Muslim patrons. Be it the thematic of the arrival of a royal

procession, an ode to a local song bird or a religious ritual sung in the local semi-classical genre called Jangda, the Multan Khan group brings agrant energy and joy to the

presentation. Kurjan songs are typical to this area; Kurjan are demoiselle cranes- migratory birds and their journey has long been interpreted by the local cultures in

metaphors of separation from, longing for and union with a beloved which has resulted in a rich heritage of folk songs expressing the same. Multan Khan summons the bird

into his renditions in a beautifully imploring and entreating manner. The group sings in an emotive, high-pitched and expressive style experimenting with a lot of rhythmicpatterns in the space of one composition.

Multan Khan

6. Balam Ji Mharo

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The poetry of Su saints Bulleh Shah and Shah Latif comes alive in the vocals of Bijal Khan, a spiritual singer from the Meher community of Barmer. He renders Su Kalams

in a mix of Sindhi, Urdu and Punjabi alongside the sonorous sounds of Kamaycha, Khartal, Harmonium, and Dholak. A Su Kalam manifests the Islamic philosophy of Susm

through a communion with the almighty and thereby attempts to interpret the nature of existence. The term Kalam comes from the Arabic for conversation; the singer at

all times addresses the divine authority which is referred to as the master, beloved or the truth at di erent instants across the piece. Extolling the virtues of justice, peace,

unity, secularism and love the Su

Kalam is the expression of an intense process of coming closer to the almighty and ultimately becoming one with it. Bijal khan is a practic-ing philosopher and conveys the themes of supreme authority of Allah, the unity of being and existence and the signi cance of spirituality for human life, in his composi-

tions. At times he sings of tragic love stories too. He sweeps through a dynamic range of notes in a single rendition, in his characteristic high pitched, rustic voice.

Bijal Khan Mehar

7. Allah Jane

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8 Kud Pade Bajrangi


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The Saharia Tribe (also known as the residents of the forest)

is the only primitive tribal community of Rajasthan.

Speaking a dialect known as Haroti that is dotted with the

essentials of Braj bhasha and Hindi, they possess a rich

cultural tradition comprising of song and dance. Swang

Nritya, literally implying drama and dance is one such

paradigm. Harikesh Singh is the head of the Sahariya group

from the Shahbad village of Baran district of Rajasthan, that

has been orchestrating the energetic, colorful and theatrical

performances of Swang for quite a few years. Signicant folk

songs like Langhuria, Fag and Rasia are sung with the

accompaniment of Harmonium, Dholki, Nagri, Ginghra and

Majhira and tales of various Hindu deities and gods such asLord Rama, Lord Shiva and Tejaji are presented by way of

dramas. An episodic presentation punctuated with songs

and an indigeneous form of dance, Swang Nritya is put up by

a group of ten or twelve men. It involves mimicry, theatrics

and dialogue and in part is also a story telling. The audience

is addressed with prompts in the form of questions, teasers

or comic comments and woven into the enthral of the

performance. Mostly performed during a popular Hindu

festival of 'Holi'( the festival of colours), this dance drama is

celebratory in character and usually ends with the victory of

good over evil. Body Painting and face masks are often usedand themes are largely drawn from mythology, folklore and

religion.

Harikesh Singh

8. Kud Pade Bajrangi

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Malwai Giddha is a traditional dance form of Punjab performed by the men as they sing and dance simultaneously to celebrate a festive occasion. What sets this form apart

is the fact that Giddha- literally meaning the rhythm of clapping- is commonly associated with women, and this is the only example of men making a foray into the art form.

Each participant plays one of the following instruments: Bhukchu, Dholki, Algoza, Ektara, Chimta, Sap, Kato, Ghada and Gadba and balances it in such a manner to be able

to dance while carrying it. Usually performed when the groom returns home with the bride and the marriage party, it an informal collective celebration rather than a

performance. It begins where a lead vocalist sings a few lines addressing the others and builds up the emotional tempo to a point where the backing vocalists join him and

this is when the instruments are played as well and all dance to the rhythm that reaches a crescendo and then is brought to a cadence to lower the pace to a halt. Once againthe lead vocalist sings to continue the cycle and is encouraged in his solo rendition with joyous cries from the other participants. The themes revolve around romance and

relationships with the in-laws thereby giving the performance its tease and rhapsodic raptures, compounded by the furious beating of the Dholki. A detuned Algoza (a local

woodwind instrument) continually produces the same notes and melody in succession thereby providing a suitable backdrop for the vocals.

Dalbar Singh

9. Aai Milan Vich

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The Shekhawati belt of Rajasthan boasts of a style of music so intimate and simple in character that to call it a performance would almost be to misunderstand it! A paradigm

of community singing, dancing and bonding, Dhamaal - loosely translating to a group having a good time- is a music best described as a collective, informal celebration of life

itself that oers ample opportunity for anybody to join in. A style above the caste divide where a group may comprise of a Brahmin, Khati, Rajput, Meghwal, Harijan and Jat, it

is usually conducted all night, for one month, prior to festival of colors called Holi, in the Shekhawati region. Prabhu Dayal Jangid and his group are Dhamaal specialists fromthe Churu region and sing of devotional, romantic, wedding related and even intoxication endorsing themes to the music of Chang (simple at drum), Bansuri (ute),

Ghunghroo (ankle bells), Manjeera & Dholaki. The presentation is also at times referred to as Chang Nritya in recognition of the instrument that provides its characteristic beats.

The sophisticated melody of the Bansuri brings to mind countryside music forms and is reminiscent of the love stories of Krishna playing the ute for his beloved Radha. The

dancers tie Ghunghroos at their ankles to accompany the beats of the Chang and Dholaki. A down-tempo rhythm pattern on Chang makes for a soft, soothing and easy

listening folk music which is an exception in the Indian festive music genre that is usually upbeat and fast in rhythm.

Prabhudayal Jangid

11. Rasto De Shyam

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13. Chalade Aye Rulaiyi


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Murra Lala Fafal is a Ka singer belonging to the Marwada

Meghwals, a Hindu community living in the Rann of kutch

in Gujarat. The Ka sung by Meghwals is sumusic and has

a strong inuence of Bhajans- another genre of devotional

and philosophical music in India. Kas are commonly sung

at Hindu festivals in this region alongside the staple

Bhajans. The subjects can at times be romantic and

wedding related as well and this is typical of folk genres

where no strict thematic boundaries can ever be drawn.

Fafal is accompanied by Kanji Rana Sanjot who plays the

Jodiya Pava- a local woodwind instrument. At times thevocals are complemented by the notes of a Santaar (string

instrument) and/or Ghada Ghamela (percussion

instruments). Singing in native Kutchi, Murra Lala renders

emotions of separation and union of lovers in songs. He

also sings the verses of Indian and Su Saints and some

compositions have a distinct avor of the occult, the

philosophical and paths of attaining enlightenment. In a

high pitched voice with a texture rooted in the soil of his

motherland he goes on to create very dynamic composi-

tions within which there is an identiably smooth

transition across di

erent notes.

Murra Lala Fafal

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Balvinder Mast, a singer/musician from Manjitha, Amritsar, personifying the meanings of the Hindi term mast- cool or fun- sings of love and separation set to the festive

beats of a Dholak and Matka and the strains of Harmonium. He performs mainly in Majhi and Doaba, (Punjabi dialects) and his rich repertoire ranges from spiritual Su

compositions oered at a Pirs dargah (saints shrine) to the traditional lokgeet of Punjab. Lokgeet is a genre that reects the lives and times of ethnic groups across India. A

recipient of the prestigious Nur Puri award Masts musical style adheres to the Yamla Jatt Gharana and acquires its uniqueness from the purely instinctive decision he took

in a moment of introspection to follow music. He has since been performing at a variety of locales across the globe, for the last 20 years. Procient at both the Harmonium

and the Tumbi, (traditional north Indian stringed instrument) and armed with vocals that are as crisp as they are open throated and sensitive, his singing has a distinct rustic

avor. The lyrics speak of the torment of separation, the thrill of unication, the sense of abundance love cloaks one with and trace their origin to the songs of the farmer folk

toiling in the elds of Punjab. Be it a dialogue between lovers or a tragic love story passed on in folklore, Balvinder Mast renders it with zest and passion, as is characteristicof this region and at the same time has a measured approach to his expression.

Balvinder Mast

16. Lok Boli

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17. Vitchidi


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An embodiment of the primordial human need tostring thoughts to a beat and create music from

simple objects to sing of themes of romance that are

intimate with ones emotive self is a solo performer

Dana Bharmal from the village Hodka in the Kutch

region of Gujarat. Belonging to the Marwada Meghw-

als, he is a one man orchestra who plays the Ghada

and Ghamela with his hands, upon the wrist of one of

which is tied a string of Ghunghroos, and simultane-

ously sings the Ka. In musical terms, Ka has a

religious avor and refers to the genre of Su light

classical which utilizes the verses of Ka

poets such asBulleh Shah and Shah Latif. It is normally initiated and

interspersed with Bheths/Dohas -short poetry verses

expressing subtleties of love and the nature of

existence. Sung in a dialect that comprises of Kutchi,

Sindhi and at times even English, Dana Bharmals

rendition takes one back to an originary context which

had yet to dierentiate into dened categories and

speaks of an amalgamation of cultures as well. No

melodic instrument is used in the performance and

the artist makes ample use of his talent to modulate

his voice as he sings of romance, separation and

union.

Dana Bharmal

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18. Shivji Ka Byawla


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Babunath Jogi, a devotional vocalist, plays the Jogia

Sarangi and sings eulogies and folktales with his

co-artists Surdas and Mehmood khan who accom-pany with the beats of Bhapang (rare single stringed

percussion instrument) and the Dholak. Belonging to

the Meo-jogi community native to eastern Rajasthan,

he continues a centuries-old tradition of singing

folklores passed on through an oral ritual spanning

generations. Babunath Jogi, a philosopher in real life,

is an embodiment of the concept of ramta jogi- a

saint always on the move with little or no material

possessions, who has denounced worldly pleasures

and comes to revel in a journey toward eternal truth.

He passionately sings of varying themes rooted inIndian mythology ranging from Lord Krishnas

misadventures to the setting of the marriage of Lord

Shiva. A popular folk tale from the region revolves

around the King Gopichand who gave up his

kingdom for devoting himself to the Nath Panth

yogis and another one celebrates the brave and

noble warrior King Ratan Singh. Babunath sings of

these in his rustic vocals and a dynamic style that

almost magnetically brings to life a shared history

long forgotten and social bonhomie since lost. The

strains of the Jogia Sarangi sonorously complement

his musical story-telling set to a beat that seems to

address the listener and entice him/her into the tale

rather than just presenting a song to an audience.

Babunath Jogi

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20. Al ankar - Manglachar


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Puran Singh Arshi is a lead performer of a Sikh Dhadhi

Jatha- a group of musicians who sing a particular style

of Sikh devotional music that began in the courts of

Guru Hargobind. It is one of the three main music stylesthat were developed by the Sikh gurus and is an

amalgamation of both classical and folk music of

Punjab. Featuring the rhythms of the Dhadh (small

hand held drum) accompanied by the unique sounds

of the Sarangi (stringed instrument), Dhadhi exists in

both the Sikh and Su traditions. Puran Singhs group

sings Vaars or heroic ballads in the dialects of Majhi and

Doaba, celebrating the attributes of courage and valor.

This ancestral tradition has compositions containing

both appreciation and criticism and is sung in a zealous

and emotive tone. Puran Singh Arshi is a music lecturerwho was born in Patiala and learned this music that has

no formal, written theory, under the guidance of his

teacher Ram Singh Nizampurwale. The groups compo-

sitions are dynamic and the performance is energetic,

as three Dhadhs are played in unison by the vocalists. A

Dhadh consists of an hourglass shaped resonator

covered with skin at both ends and is sounded by

striking the ends with the hand or ngers. The lead

singer plays the Sarangi- literally implying hundred

colours- it is one of the most complex bowed string

instruments of India. This high pitched group singing is

identiable by the unique rhythmic pattern and

frequent changes in tempo particular to the Dhadhi

tradition that has remained unaltered over hundreds of

years.

Puran Singh Arshi

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22. Mil Gayo Man


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Aamin Khan, a Mirasi Muslim hailing from the Shekhawati belt in Rajasthan, brings forth a paradigm

of the colloquial avor of devotional music in India. In setting the verses of Indian Saints to the

sounds of Tandoora (single stringed folk instrument), Khanjeera, Harmonium, Khartal, Chimta,

Dholak and Manjira he conveys profound philosophical thought through a sonorous rendition of his

Bhajans. The most prevalent form of devotional singing across all Indian communities, Bhajans are

sung in praise of saints, heroes, or deities whose exemplary lives and deeds are venerated within a

social context. They are a musical enunciation of the eternal human wish to call out to the divine in

worship, prayer or tribute. A solo performer, Aamin Khan, blends the clanks of the Khanjira and the

Tandoora to celebrate the attainment of spiritual insight that for him is the very essence of life. Insimple metaphors and similes, drawn from day to day existence, as is characteristic of Saints

writings, the words talk of seeking reality through introspection. Singing in praise of the one, eternal,

universal principle of being that is manifested in multiple ways, his compositions encourage one to

seek godliness in every perceived thing. His haunting voice in accompaniment to the euphony of a

folk rhythm comes to create a soulful experience of resonance with reality.

Aamin Khan

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Dr. Gurnam Singh is an exponent of the Gurmat Sangeet Tradition of Punjab, which belongs to the genre of Sikh devotional music. He sings eulogies in the Pwadhi tongue

and Dilruba/Taus, Tabla, Rabab, Swarmandal, and Harmonium are played for the recital. A presentation of Gurmat Sangeet, which is an amalgamation of Indian classical

music and folk tunes, is called Shabad Kirtan Chowki. The term Shabad refers to the holy hymns of the Guru Granth Sahib (Sikh Holy Book) while the Kirtan refers to a Sikh

Devotional song. All Gurus from the rst, Guru Nanak to the tenth and last, Guru Gobind Singh developed and perfected the Shabads and the Kirtans that accompany them.

Dr. Singh was introduced to Kirtan at an early age by his father Bhai Uttam Singh and later studied under Professor Tara Singh of Patiala. Today he is a professor and head of

the Gurmat Sangeet Department at the Punjab University. An expert musician and a scholar, he has performed at various locales in India and around the world and has

published research books, papers and dissertations on Sikh and Punjabi music, with focus on the Gurmat Sangeet. He is singularly responsible for the creation of several

courses, departments, libraries, archives and even festivals and competitions in the

eld. He sings in a soft, melli

uous voice that makes for a peace ensuing, sonorous andspiritual experience.

Gurnam Singh

23. Sodat Ki Chowki

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27. Shasvhi Raag


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Bikhe khans music belongs to a semi-classical and folk genre ofthe Barmer region in the Thar Desert. A master player of the

stringed instrument Sarangi the notes of which are oset by the

beats of the Dholak and Khartal, Khan belongs to the Langa

community that is now known far and wide for its musical

prowess. The Indian instrument that is said to resemble the

human voice most closely gets its name from sau meaning

hundred and rang meaning colors to denote the myriad expres-

sion possible through its notes. The Sarangi is carved from a

single block of wood and its lower chamber is made from red

cedar wood and covered with parchment. An elephant shaped

bridge supports this 40 stringed instrument. Three short and

thick strings are played with a bow and stopped with the nailsand cuticles, while the tarabs which are 35 in number are

divided into 4 dierent choirs. A well tuned Sarangi sounds a lot

like a busy bee hive. Bikhe khan performs with the Langa group

at festivals, fairs and weddings etc. for auent patrons and this

is a sort of secondary occupation for these musicians who

primarily are camel traders. Playing dynamic notes on the

Sarangi which is technically a very dicult instrument to tune,

learn and specialize in Bikhe Khan complements the emotive

vocals of the members of his group. The Sarangi has traditionally

been used for raga development and Bikhe Khan keeps alive in

his renditions a music that is as regional in avor as is universalin appeal.

Bikhe Khan

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29. Bhairavi Raag


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The Manganiyar Meghwal community of Western

Rajasthan in India is procient at the use of an

indigenous instrument called Satara and exponentsof it produce various poignant melodies that the

desert landscape has been traditionally known for.

Ilahu Khan is one such accomplished Satara player

from the Barmer district. The Satara is a Rajasthani

woodwind instrument adopted by Sindhi folk

musicians, also called a Jori or Algoza. This folk

instrumental genre is characterized by an underlying

current of fun and festivity and is performed during

fairs and festivals. During a presentation the notes of

the Satara are complemented by local percussive

instruments like the Matka and the Dholak. Satara istwo uted; one ute produces the melody and the

other produces the drone when the musician blows

into it. Following a technique particular to this

instrument the musician produces a continuous

sound using a circular breathing process, always

maintaining some air in his cheeks as he blows into

the Satara. Three ngers are used on each side and

sound is generated by rapidly breathing into it; the

quick recapturing of breath on each beat creates a

bouncing, swing rhythm. Akin to the brightly hued

stole adorning Ilahu khans torso that contrasts the

stark backdrop of the desert, the notes of Satara

create a moment of discernment across the

overwhelming vastness of the Thar.

Ilahu Khan

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30. Pahadi Raag


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Noor Mohammad, a musician who plays the Jodia Pawa or

a paired ute, performs folk tunes and Su devotional

melodies. The rendition is more festive than seriously

philosophical. Noor, a Soda Muslim from the Rann of

Kutch is one of the most accomplished woodwind

instrumentalists in the region. Traditionally played by the

Maldhari or the cattle herders, the remarkably beautiful

Jodia Pawa is fashioned out of the wood of the Karad tree.

Local belief has it that the sounds produced by the Jodia

Pawa acclimatize the cattle with their masters thereby

ensuring that they wander around for grazing till the limit

the wind carries the melody of this paired ute. While one

ute is used for playing the root note only, the other utewith multiple holes is used to play melody. Nowadays, the

sounds of the Jodia Pawa are also used to add a distinct

avor to Kutchi and Sindhi folk songs. Sounding sharper

than a Rajasthani Satara and yet less shrill and incisive

than the snake charmers Murli or Been, the Jodia Pawa

reminds one of a bagpipe in some renditions. Noor

Mohammad is procient at playing the melodies of Ka

(verses of poetry) and the folk tunes integral to the culture

of Kutch on this unique instrument. Of such excellence is

his breathing rhythm and control that for eeting split

seconds amidst the playing, the rendition sounds as ifemerging from a string instrument.

Noor Mohammad Soda

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Kambhir Khan and Lal Khan belong to the Manganiyar community native to the Barmer region of Rajasthan. They play the Murli (also known as Been or Poongi) which is an

instrument commonly associated with the members of the society that are involved with catching and keeping snakes like the K albelias and the Saperas. They too tradition-

ally are snake charmers but in the present times play at social celebrations and are rewarded for their performances with gifts, agricultural yield and money, in consonance

with a social law created almost ve centuries ago. Suranda is used as a melodic accompaniment to Murli and a Dholak is employed as well, in performances that can be

classied as semi-classical and customarily comprise of Rajasthani folk tunes. Crafted out of a rotund, wild fruit known as the Tumbdo, the Murli features a wide pipe at one

end and two narrow pipes on the other. The Murli can simultaneously create a root, melody and rhythm and this incredible aspect makes it one of the most distinct musical

instruments in the world. Its rich, penetrating sounds are produced by blowing through the wider pipe and controlling the ow by tapping the holes on the pair of narrow

pipes on the other end. The instrument has a uniquely shrill tonal quality that is incisive and unabashedly seductive, therefore it is not surprising that legend has it that themesmerizing sounds of Murli if played out by a true master have the power to awaken and allure mythological serpents into being.

Kambhir Khan

31. Kesariya

3

Gyan Singh Memi


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Tracing its ancestor in Mashak a traditional woodwind instrument that is at times referred to as the bagpipe of India, the Veen is heard at many fairs, festivals and weddings

in Punjab. Gyan Singh Memi, an accomplished musician is a part of a Sikh musical group, based at Patiala, that has been performing since the last forty years. The music of

the Veen is set against the percussion of a big Dhol, a Bass Drum and a Chimta and the performance is known by the name Veen Vaja; simply implying that which can be

played. Veen is locally manufactured in Jagrama village of Punjab. Earlier it was made out of goat leather garnered from a discarded Mashaks but in the present it is formed

using bladder and the pipe is constructed out of a specic type of wood called Chanter. Dressed in the traditional Sikh attire complete with a turban, and erect in posture

the musicians hold and play out the majestic Veen. The inaugural, enunciating and revelry inducing strains of the Veen are complemented by the vibrant cloth streamers

and colored tassels it is traditionally decorated with. As the background score of many a festivity, so rooted is this music in the collective memory of a people that if the air

were not rent with sounds of Veen Vaja at a wedding, something would seem sorely amiss.

Gyan Singh Memi

32. Jugni - Veen Vaja

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Manohar Brass Band is a group of about fteen musicians who play the Clarinet, Euphonium, Trumpet, Trombone, Bass Drum, Side Drum, Clarinet, Maracas & Cymbal at

wedding celebrations. An essential part of carnivals, festivals and marriage celebrations all across the Indian subcontinent, the brass band comprising of an entire ensemble

of brass instruments is integrated deeply in the Indian cultural tapestry. A paradigm of the nations colonial heritage it was brought by the British in the 18th century and

the immensity of its popularity can be gauged from the fact that at present there are two thousand brass bands in Rajasthan alone. The Manohar Brass Band from the town

of Ajmer, conventionally plays folk tunes of the region as they walk with wedding processions or station themselves at the entry point of the venue of the event. Hindi lm

songs set to the brass band tunes are a distinct feature of a north Indian wedding procession and colorfully dressed band members formulate the traditional milieu of the

same with the groom atop a festooned mare moving amongst them. The costumes and some of the tunes reect the military origins of this vivacious genre. All woodwind

instruments are played in unison and their harmonization, which is a rare phenomenon in the Indian music tradition, is the dening characteristic of the Brass Band.

Manohar Brass Band

33. Chirmi

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I n d e x

F ea ture d Artis ts C ult ural The me Mood Ge nre C ulture Group Mus ica l Inst rum ents

Raza Khan Spiritual Sufi Devotional Sufi Christian Tabla, Harmonium & Claps

Me et ha Kha n Spirit ual Suf i De vot iona l Waa i J at Mus lim Dhambhuro

Must afa Ali Jat Episodic Sufi Devot ional Bhet h Jat Muslim Surando, Ghunghroo & GhadoGurmej Raja Eulogy Sufi Devotional Qawwali Muslim Harmonium, T abla & Claps

Bachh u Kh an L an ga Fest al & W eddin gRo mance Darbari L an ga A lgoza, S arangi, Kh artal, M at ka & Dh olak

Mult an Khan Fest al Part ing Jangda Manganiyar Harmonium, Dholak & Khart al

Bijal Khan Mehar Spiritual Sufi Devotional Sufi Kalam Meher Kamaycha, Khartal, Harmonium & Dholak.

Harikesh S in gh Episodic Fun S wang Nrit ya S ahariya Harmo niu m, Nagadi, Dh olaki, Jhanjh ar & M an jeera

Dalbar Singh Festal Celebration Malwai Giddha Various Communities Bhukchu, Dholki, Algoza,Ektara, Chimta, Sap, Kato, Ghada & Gadba

Mohan Lal Festal Celebration Bhangra Jat Dhol & Chimta

Prabhudayal Jangid Festal Romance Chang Nritya Various Communities Chang, Bansuri, Ghunghroo & Manjeera

Da lura m Bhe el W ors hip Hind u De vo tiona l Ga vri Nrit ya Bhe el Ma da l, J ha njh, Ghung hro o, Ma nje era & T ha li

Murra Lala F af al F es tal Pa rt ing Kaf i Marw ada Me ghwa l Jodia Pawa & Ghada Gha me la

Gu rmeet Bawa Fest al & W edding C elebrat io n P unjabi Folk S ikh A lgoza, M at ka, Dh olak, Claps & Tumbi

Jagat Ram Lalka Worship Devotional Punjabi Folk Sikh Ghada, Chimta & Tumbi

Balvin der M ast Fest al & W eddin g C elebrat io n P unjabi Folk Harijan Tumbi, Dho lak, M at ka & Harmo niu m

Dana Bharmal Festal Romance Kutchi Folk & Sufi Marwada Meghwal Ghada Ghamela & Ghunghroo

Ba buna th Jogi Wors hip De vot iona l Me va ti Bha jan Jogi Jogia Sara ngi, Dhola k, Kha njari & She ll

Na ra ta Ra m Na rra tion Philosophic al Punja bi F olk Muslim Jogi Jogiya Sarangi & Dauru

Puran Singh Arshi Worship Sikh Devot ional Sikh Dhadhi Sikh Sarangi & Dhadh

Dhadhi Jathan Valor Sikh Devotional Sikh Dhadhi Sikh Sarangi & Dhadh

A amin Khan S pirit ual P hilo so ph ical Sh ekh aw at i Bhajan M irasi Tandoo ra & Kh an jeera

Gu rn am S in gh Eu lo gy S ikh Devo tio nal Gurmat S an geet S ikh Dilru ba/Taus, Tabla, Rabab, S warmandal & Harmo nium

Suka ria Na r F af al Eulogy De vot ional Kut chi Bha jan Me ghwa l Sa nt aa r, Ma njee ra & Gha da Gha me la

Ghe va ra m Wo rs hip Hind u De vot io na l Pa buji Ki P ha d Bhe el Ra wa nha tt a

V ela Dh ana Bheel S pirit ual Devo tio nal Kut chi Bh ajan Bh eel M an jeera, S an taar & Gh ada Gh amela

Bikhe Khan De se rt Semi Clas sic al Da rbari La nga Sa ra ngi, Kha rt al & Dhola k

Kanw ru Kh an P alace S emi Classical Jangda M an ganiyar Kamaycha & Dho lak

Ilahu Khan Desert Semi Classical Rajasthani Folk Langa & Meghwal Satara & Matka

No or Mo ha mma d S od a F es ta l S emi Cla ss ic al Kut c hi F olk S od a Mus lim J od ia Pa wa

Kambhir Khan Snake Charming Semi Classical Rajasthani Folk Manganiar Murli, Suranda & Dholak

Gyan Singh Memi Fest al Celebrat ion Veen Vaja Sikh Veen, Chimt a, Big Dhol, T ambur & Bass DrumManohar Brass Band Wedding Celebration Brass Band Various Communities Clarinet, Elphonium, Trumpet, Trombone, Bass Drum, Side Drum, Maracas & Cymbal


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Artist's Catalogue 2011-12

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Transcript of Artist's Catalogue 2011-12