Artist/s: Ustad Asad Ali Khan (Featuring Mohan Shyam Sharma On Pakhawaj)
Album: Rudra Bin: Raga Miyan Ki Todi
Genre: Indian Classical, Rudra Veena Instrumental, Dhrupad, Indian Raga, World Music
Label/Source: EMI-Virgin Records (India) Pvt. Ltd.,/India Archive Music Ltd.
Catalog Number: 00946 358025 2 8
Package: Jewel Case
Recording Year: 1997
CD release Year: 2005
CD Notes: Asad Ali Khan is the senior-most exponent of the rudra veena (or been/bin), a 700—year old instrument associated with the dhrupad genre of music. Asad Ali Khan (b. l934) studied under his father, Sadiq Ali Khan, a scion of a 200—year old lineage of been players from Jaipur in Rajasthan, vvho served the courts of neighboring Alwar and Rampur in the Northern Provinces. Asad Ali Khan is, today, the most sought-after beenkar (been exponent) on the national and international concert circuit, and has many recordings to his credit. He has received several avvards and honors: the Veena Visharad (highest degree for music) from Benares Hindu University; the Sangeet Shiromani Award from the Lalit Kala Academy of Kanpur; the Sangeet Natak Akademi Award; the Tiruna Dhrupad Award; the Sahitya Kala Parishad Award; and the Tansen Award in lc)94. Starting in 1965, Asad Ali Khan participated in tvvo efforts at preserving the been art by grooming the next generation — lirst at the Bharatiya Kala Kendra in Delhi, and then at Delhi University. By l985, Asad Ali, still only 5l, could surrender hisjob to devote his time completely to the been and his performing career. Asad Ali Khan is a ’Top Grade" Artist of All India Radio. Asad Ali’s music reflects several formative influences, including the Jaipur beenkar tradition, the been style of Rampur, where his father spent 21 years, and the modern idiom of the sitar. They also had the advantage of studying the Carnatic veena style and technique during the family’s long sojourn in the south (GoIconda-Bijapur). Asad Ali professes allegiance to the aggressive and forceful Khandhar bani stream of dhrupad music (Sruti, Madras, Issue 217, lO/O2). Asad Ali Khan’s ovvn style is broadly consistent with his father’s stylistic inclinations in dhrupad rendition, tempered with an obvious influence of the modern sitar idiom. Asad Ali is training his nephew Zaki Hyder, the next generation.
CD Notes: Mohan Shyam Sharma (b.l966) began his training in pakhawaj at age ten from Tota Ram Sharma of Mathura, a disciple of Purushottam Das of Nathdwara, and then took advanced lessons from Prem Vallabh of Delhi. Mohan Shyam is an “A” Grade Artist of All India Radio. He has accompanied all the leading performers of dhrupad and dhamar, including the younger Dagar Brothers and Asad Ali Khan, in India and abroad, on recordings, and on tours to the U.S., Europe, the former U.S.S.R., and Japan.
Amazon: This is a great recording. There are precious few recordings of Ustad Asad Ali Khan and this one is a solid performance. He meticulously plays each traditionally prescribed phase of the Alaap as demanded by his tradition, a lengthy Tarparan after the main Bandish - this is the part that I love the most in Asad Ali Khan's music - the excellent improvisation with the Pakhawaj. Some tend to do the Tarparan part at the end of the Jhala before the Bandish as Ravi Shankar does on his recording of Raga Puriya Kalyan and Asad Ali Khan plays it after the Bandish. I also want to clarify a point regarding a previous reviewer who seems to think Asad Ali Khan plays the "Sitar Idiom" and not "Rudra Veena Ideal" which is pretty strange since every aspect of the traditional Sitar Alap is a exact replica of the Rudra Veena tradition. If he intends to cast that aspersion on Asad Ali Khan's music, he should mention which aspect of Asad Ali Khan's music is representative of the "Sitar idiom". Also, there is and was no "one Rudra Veena Ideal" ever. There are/were many traditions of Veena playing and Asad Ali Khan is faithful to his tradition which is no less legitimate than Shamsuddin Faridi or anyone else's. The reviewer seemed to have been excessively swayed by the liner notes while not being able to correlate them to the actual performance => the notes that casually mention peripheral influences on the Jaipur Beenkar's tradition and the changes in the construction of the Rudra Veena that were necessitated by the need to give it a lengthier life and better sound quality. - By Aditya Vedula, Amazon..
Amazon: Ustad Asad Ali Khan plays rudra bin in the aggressive and forceful Khandhar Bani style of dhrupad. Asad Ali's music reflects several formative influences including the Jaipur binkar tradition, the bin style of Rampur, the modern sitar idiom, and the Carnatic vina style. Asad Ali plays a definitive and riveting performance of the profound and popular early morning raga Miyan ki Todi, a creation of the legendary Tansen. - Amazon Product Description.
Amazon: True Rudra Veena music is dead. No beenkars exist who have not been exposed to Sitar or Sarod. Instrument makers have mostly forgotten how to make a bamboo Been. In this context, two of the most famous and popular beenkars are free to define their own style of Been playing (and Been construction !). Bahauddin Dagar plays a Been which is stylistically and structurally heavily influenced by the Carnatic Saraswati Veena. Asad Ali prefers the Sitar idiom. I did not find this recording very distinctly different from what is expected of an alap on the Sitar with a heavy emphasis on phraseology and Sitar style ornamentation. Though the music is good, using Asad Ali's own standards, it is not exceptional. I believe the closest representation which exist of the Been ideal is the recording of Puriya by Shamsuddin Faridi Desai -- incidentally he uses an old bamboo Been. - By Gambo SS, Amazon.
Wildstrings Comments: Rudra Bin also known is Rudra Veena is one of the ancient and rarely played instruments in these days. Ustad Z.M. Dagar is the greatest exponent of this instrument. However As on today, Only less than 10 musicians are playing it professionally and of them Ustad Asad Ali Khan, Ustad Bahauddin Dagar, Ustad Shamsuddin Faridi Desai & Pandit Hindraj Divekar are considered as the most efficient players. Iam proud to present this rare recording for your pleasure and be sure it's not everybody's cup of tea and you need to put your attention and dedication to listen this kinda music. It may not appeal to you on the first listen but if you get along and spare sometime, you would know the sweetness of this instrument. Enjoy this very rare music of this very rare and ancient instrument especially the second track i.e. Dhrupad in Chautal won't even allow you to take breath. :)
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