Sung by the verified singers of this website.All the lyrics, notations, background history with detail musical compositions, English translation and many more.Kirtan enjoys the highest status for traditional songs for devotion in Bengal since long time.
This popular variation had originated from Vashnav culture with the advent of Shri Chaitanya. Rabindranath was passionate about it and he had incorporated this style in his songs quite often. On a number of occasions combination of Kirtan and Hindustani Raags are found in his songs. First time that Shankar Ehsaan Loy get to do an all-out classical album, and they produce one of their best ever works A classy Marathi debut from the trio. Full credits (including those from the background score) at the very end. Jitendra Abhisheki ) is a devotional track addressing Lord Ganesha. Like the Ganesha odes that Shankar Mahadevan has sung in the past (there seem to be quite a lot those) this one also comes off quite well. Sur Niragas is pleasant, rather simple in its arrangement and draws a lot of its charm from the singing Shankar and a lovely chorus. Shankars voice incidentally features in almost half the songs; which isnt really surprising given his command over classical songs, the fact that SEL are composing, and the man playing a pivotal character onscreen as well. While Sur Niragas is a light piece, the delightful desh raag based Man Mandira is a better display of the singers famed classical skills from the alaap that kicks off the song to the sargam that gives it the heady finish just wish the song were longer. His younger son Shivam Mahadevan sings a shorter version of the same track, not as nuanced but equally well executed and as endearing. Another key singer in the soundtrack is Rahul Deshpande, grandson of Vasantrao Deshpande who sang in the original play Katyar Kaljat Ghusli and has also acted in one of the versions, wiki says. ![]() Shadowing Rahuls spotless delivery at every step is the equally brilliant sarangi. The singing is once again top class, highlighted by a long alaap (the raga is puriya dhanashripanthuvarali from the sound of it) while the arrangement rides on the multi-layered percussion claps, jingles, tabla, pakhawaj and Shankar Mahadevans vocal percussion. Two tracks that feature Arijit Singh are the ones relatively out of character from the dominant sound of the soundtrack. Bhola Bhandari follows the Bhole Nath festival song format in its arrangement, while the song still carries a classical base that the singer carries off neatly, Shivam Mahadevan joining him at the title refrain. It is the other song that I like more though, the qawwali called Yaar Ilaahi that has Arshad Mohammad and Divya Kumar cruising along with a finely nuanced rendition in raag shivaranjani until they bump into the yaman -ish cameo from Arijit. And I love how the song seamlessly switches back to the original raga via the chorus, amidst Arijits wonderful solo act. The pacy, tarana -ish Aruni Kirani ( sohinihamsanandi -based, I am guessing) has a climactic feel about it, and features a spell-binding duel between another exceptional singer Mahesh Kale (disciple of the original composer Jitendra Abhisheki) and the sitar culminating a soaring recall of Sur Niragas Ho. The composer trios last original song, Katyar Kaljat Ghuslis theme song is a simple instrumental piece, a serene track led by sitar (or is it veena ) and flute, the 7 beat cycle on tabla adding to the soothing feel. Ghei Chhand comes in two versions the one sung by Shankar Mahadevan seems to be the more famous one, set to a pensive raga called salag varali. Shankar is impeccable with his improvisations, and the pakhawaj goes well with the gravitas of the composition. It is the alternate version that works for me better though, lighter and upbeat ( raag bhimplasi possibly) and Rahul Deshpandes singing once again underlined by the sarangi. Shankar is at the helm of Tejonidhi Lohagol as well ( lalit based apparently, though I am not sure if it is purely that raag here) and once again does a fine job. Best among the Jitendra Abhisheki songs is Surat Piya Ki that features an engaging contest between Rahul Deshpande and Mahesh Kale, both singers effortlessly flitting between ragas before ending on a brief reprise of Ghei Chhand. Lagi Kalejwa Katar, Din Gele and Muralidhar Shyam are presented like old recordings in case of Lagi it clearly is a genuinely old rendition, one by Mr. Abhisheki himself. But the other two (both pretty short tracks) have Shankars vocals accompanied by vinyl crackles. Finally there is the chorus doing a commendable delivery of the yaman kalyan based Tarana.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |