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Ulhas Kashalkar and Veena Sahasrabuddhe are

both represented; both also present khyal-numa,

which are vilambit-laya taranas.These are unfortunately devoid of any interesting

layakari at all; they seem to be a way to do raag-

vistar without having to worry about text

enunciation. I have heard more interesting

rhythmic variation in vilambit khyals from Gajananrao

Joshi and Krishnarao Shankar Pandit, to name two.It's too bad; the potential for layakari in vilambit

is immense.Even in drut laya, the use of various complex rhythmic

patterns in tarana syllables is increasingly rare. I

consider myself fortunate that my guruji took great

delight in this type of improvisation, and trained me

meticulously... in having fun while singing!Thanks for your kind comments, Toby. If all goes

well I'll have a new recording released before the

end of the summer; I imagine you and your son will

find it enjoyable.Cheers,Warren

>On the subject of tarana, Nisar Hussain Khan was famous for his taranas but

>you'll have a hard time finding any recordings. In the current generation Veena

>Sahasrabhuddhe speciallizes in tarana, in fact I think she got her doctorate in

>tarana.

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VeenaS' skills in tarAnA must be highly classified since they are not easily

discernable. Pending declassification we must put her in the same category

of "modern vocalists" that you cite below. The tarAnA series released some

years back by Music Today (?) (it had people like VeenaS, Padma Talwalkar and

Ulhas Kashalkar etc) was a joke. Standard chota kHayAls stripped of text

and peddled for tarAnAs.Perhaps the doctorate was in the history of tarAnA and that sort of thing

where you can plot lots of colour graphs, pie-charts, maps and throw in a few

tables on the side.

>Modern vocalists tend to blur the distinction between tarana and chota

>kheyal and simply do chota kheyals with bols for a text. The older generation

>had better layakari (rhythmic skill) and developed the pieces with more rhythm

>in mind, a little echo of good dhrupad (not like some modern dhrupadis who are

>all alap and no layakari).

That would depend on the bANi. You don't want to hear too many distracting

things in a dhrupad of, say, the shuddha bANi. In any case the Gundecha

Brothers, who are modern dhrupadiyas, display marvellous skills in both AlApi

and layakAri. Same for Uday Bhawalkar, another product of the Dagar school.

The "all-AlAp" brigade comprises those who have never had formal training in

dhrupad (or limited at best) but who merely want to feign width of ability.

Which modern dhrupadiyas did you have in mind?Re. Toby White's query: the best sources for tarAnA (or tarAnA-like singing)

are the Agra dudes. Latafat, Sharafat and others have several recordings which

one could hear on the AIR. Even the usual Agra kHayAl (in the older recordings)

use the vigorous nom-tom style of AlAp. The gharANA is (alas) almost moribund

today and we have been reduced to enduring the horse-like singing of Lalith

Rao and the like. Warm regards,r

--Toby White

This is a really good question. I have a private recording of Smt.

Prabha Atre, in raaga Jogkauns, which has a very good quality TaraaNaa.

I have heard Malini Rajurkar presenting taraaNaa admirably. I will have

to go over my small collection to see if I do have any outstanding

taraaNaa recordings.In good old days, Pt. Vinayakrao Patwardhan was the master of this

singing style. I believe Pt. Mallikarjun Mansoor has good renderings of

taraaNaa. Prabhaakar Karekar also sings forceful taraaNaa. It will be

good idea to get more information on this topic. Thanks for bringing it

up.Subhash

Adding to Jeff Whittier's recommendation of Nisar Hussain Khan

and Veena Shahasrabuddhe:

Amir Khan - taranas in Hamsaddhwani, Bageshri, Megh, Shudh Kalyan

readily available commercially; also, Malkauns, Abhogi.Rashid Khan - taranas in Yaman, Behag, Hameer, Sohini (?). He might

have learnt some of these from Nisar Hussain Khan.Ulhas Kashalkar - khayalnuma and tarana in Malkauns.

You might also find something interesting in the "Tarana" series

released by Music Today. Featured artists are Veena S., Ulhas K.,

Rajan and Sajan Mishra and possibly others. Hopefully someone will

post details with comments.mandar.

>had people like VeenaS, Padma Talwalkar and

>Ulhas Kashalkar etc) was a joke. Standard chota kHayAls stripped of text

>and peddled for tarAnAs.

>Perhaps the doctorate was in the history of tarAnA and that sort of thing

>where you can plot lots of colour

Gee, Rajan, I guess that means you don't like her. I once heard her give a

lecture-demo and found her to be exceptionally knowledgeable on the subject of

tarana bandishes. You could learn something from her. My comment on "modern vocalists" was specifically inspired by a concert of the

Misra Bros. which you and I attended together in which they performed a tarana

in Rageshree as I remember and in the middle of the performance the older

brother said "We learned this vistar from our guru" and proceeded to do the

only vistar of the entire piece which showed the masterful layakari to which we

are all referring, the rest being chota kheyal ideas performed with percussion

bols as text. I think we all agree this is the general trend today.

Best regards, Jeff Whittier

Jeff Whittier

^^^^^^^^^^^^^^^^It isn't clear from this or your last post what exactly it is that you find

laudable in Ms Sahasrabuddhe. Is it her alleged ability in tarAnA-gAyaki or

is it the allegedly inexhaustible stock of tarAnA bandishes in her possession

or both? Without meaning to get into any logomachy, I would like to suggest

that the two are not synonymous nor does one imply the other. As to the first claim, I have a difference of opinion. There is no evidence

in her commercial/concert/radio recordings of any formidable skills in tarAnA

singing. She exhibits neither proclivity nor flair for arresting layakAri

even in her kHayAl renditions, vestiges of which one would expect to find

in someone allegedly exceptional or expert in tarAnA-gAyaki. The Music India

tarAnA series afforded an excellent opportunity to showcase her allegedly

astounding tarAnA-skills but as far as I recall (and Shri Senders' corroborates

in his rejoinder) she, along with several others, chose to pass up.As to her being "exceptionally knowledgeable," I do not know one way or the

other. I have not had occasion to interact with or cross-examine her which

is the surest way of guaging someone's knowledge. Neither have I read anything

written by her which would allow an estimate of her mental wherewithal.

Perhaps a coup d'oeil over her doctoral thesis (hopefully containing pie

charts et. al and at least one Appendix) may help formulate a definitive opinion

on the issue. Not infrequently have I found that someone, say XYZ, accused

of being "exceptionally knowledgeable" on closer scrutiny turns out to be in

possession of a rather modest fund of knowledge than what was originally

asserted. Much to the embarrassment of everyone concerned, further investigation

reveals that the sole criterion used by the accuser was no more than "XYZ

knows more than I do." I must therefore defer judgment on Ms Sahasrabuddhe's

alleged "exceptional knowledge." This is, of course, not intended to offend the

many devout followers of Sahashrabuddhism or cast aspersion on its tenets.

>Her (Veena S's) taranas may not qualify as supremely explosive in layakari or

>perhaps fall short of your "intellectual meter" whatever that might be, but

>I still find them eminently listenable, at least way better than the rest

>of the field. At least she tries and sings them in a variety of taals

>unlike the standard "madhya-laya teen taal gharana" to which most other

>contemporaries belong. And most of the times these are taranas composed by the

>late KAshinath Bodas and Balwantrai Bhatt, highly respected artists. So it

>is in fact their bandishes that you criticize. Heck, for that matter, Bhimsen

Quickly and for the last time:(1) Perhaps her tarAnAs are eminently listenable; I have no quarrel on that

point. My only contention is that she displays no particular aptitude

and skills in and for layakAri/tarAnA type gAyaki. Nothing that can qualify

as "outstanding", "exceptional" etc.(2) I have said nothing about the bandishes per se of Kashinath Bodas

and Balwantrai Bhatt; in fact, I recall that in the past I have mentioned

the creative abilities of these gentlemen in a very positive light.Warm regards,r

Be that as it may, are we to accept your claim without examination,

particular when the evidence does not support you as regards her

performance? Why? Should it happen that in the future Ms Sahasrabuddhe exhibits the

skills (which are currently in the realm of fiction) I will have no

hesitation reversing my opinion.

I thought exactly the same of your assessment. That you went overboard

in ascribing to Ms Sahasrabuddhe's non-existent abilities and powers

in tarAnA/layakAri.Finally: This is not an impugnation of her as a vocalist and of her

abilities in kHayAl.Warm regards,

Rajan,It is clear you don't like her. That is a give away,

considering your condescending analysis of her PhD thesis which you allege

is laced with triteness and mediocrity. Not everyone in the world is as

enlightened you know.Perhaps you could spend some time reading her thesis and then come

back and give us the whole nine yards of your ridicule. That would be only

fair.

More of that condescending stance. Is it your opinion then that the present crop of singers (the whole