Surbahar, the lions roar

 The surbahar is like a bass sitar in many ways. At first glance it looks like the same instrument but on closer inspection it is clear there are many differences. The main difference of course being the size.

I was unaware of this instrument until about a year ago. In reading about Ravi Shankar (probably the most well known Indian Classical musician in the world) I discovered Annapurna Devi. Shew was the daughter of Allaudin (Baba) Khan. Baba was not only her teacher but also Ravi Shankars. Her life is a fantastic story of dedication to the Divine in music. Her recordings are rare and were never done professionally.

I will share one of her recordings here. Try to get past the poor quality of the recording and let the music carrie you. She was truly a master and one can feel the divine flowing through her.

Vainikas!

 There are many Saraswathi veena players(Vainikas) that I have discovered but let me share a couple favourites. The styles of playing go to extremes it seems, from the most serious and improvisationally connected to completely light, fluffy and almost whimsical! There are also many players that seem to reside in a somewhat new agey type place. My preference is for the players who go deep in their improvisations and explorations of the ragam(Raga and ragam will be discussed later!)

                         Karaikudi Sambasiva Iyer(1888-1958) is probably my favourite at present. I do not know enough about Carnatic music yet to comment technically but on a mind/heart level I am floored. 

Ranganayaki Rajagopalan (1932-2018) who was a student of  Karaikudi Sambasiva Iyer  was another fantastic Vainika. 

This style is known as the Karaikudi Bani(bani meaning style or school of playing) 

 

 

 I have been obsessed with the Saraswati Veena for the last year now. I am also in love with Rudra veena. The former is played mostly in Carnatic music(South India) and the latter in Hindustani(North India).

The Goddess Saraswati is always depicted with a veena which symbolizes many things.

Saraswati Veena

Mohan Veena, the Indian slide guitar!

 My interest in Indian Classical music (ICM) began in 1994 when I bought the album "A meeting by the river" by Ry Cooder and Vishwa Mohan Bhatt. I remember being absolutely floored by this beautiful recording. As a blues guitarist whose approach was led by "feel" and "mood" I realized I had stumbled onto something fantastic. The sounds of Ry Cooder's guitar were familiar to me but the microtonal inflections and phrasing of Vishwa's "Mohan Veena" were new and hooked me immediately! Less than a year later I saw him perform in Toronto. I have not followed him in recent years but whenever I search youtube for him I find something profoundly beautiful.