Dagar, Bahauddin / Raga Puriya Kalyan
| Album: | Raga Puriya Kalyan | Collection: | World | |
| Artist: | Dagar, Bahauddin | Added: | Jul 2005 | |
| Label: | India Archive Music | |||
A-File Activity
| Add Date: | 2006-04-09 | Pull Date: | 2006-06-11 | Charts: | Reggae/World |
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| Week Ending: | Apr 30 |
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| Airplays: | 1 |
Recent Airplay
| 1. | Apr 25, 2006: | Radio Of Imagination
Dhrupad in Chautal |
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Album Review
Fo
Reviewed 2006-03-22
Reviewed 2006-03-22
BAHAUDDIN DAGAR – “Raga Puriya Kalyan”
India Archive, 2005
NORTHERN INDIA – Dagar is his generation’s (he’s 36) leading exponent of Hindustani dhrupad art music played on the rudra veena. Once the preeminent instrument of its genre, the veena has been on the wane in recent times. It is a very large, fretted string instrument made of a hollow tube with a resonating gourd at each end, creating deep, rich tones. Dagar’s father (Zia Mohiuddin Dagar) caused a stir by abandoning the traditional playing posture in favor of a “lap-top” style that Bahauddin has also adopted, saying it allows greater agility.
1. 51:56 – beautiful slow explorations, one gentle bent tone at a time, for the first 22 minutes (the time flies). Then the pace picks up a bit as Dagar plays a relaxed, mystic melody that ever so gradually evolves and speeds up. The final 9 minutes are uptempo, but the veena doesn’t get superfast like a sitar might.
2. 18:29 – midtempo, march-like interplay between Dagar and Manik Munde on pakhawaj drum begins immediately. The drum has a low-toned, soft, slapping sound and a bell-like accent (very different from a tabla). More aggressive after 5 or 6 minutes, tempo rises at halfway point; drum really stomps as veena glides smoothly.
[Fo] - 3/22/06
India Archive, 2005
NORTHERN INDIA – Dagar is his generation’s (he’s 36) leading exponent of Hindustani dhrupad art music played on the rudra veena. Once the preeminent instrument of its genre, the veena has been on the wane in recent times. It is a very large, fretted string instrument made of a hollow tube with a resonating gourd at each end, creating deep, rich tones. Dagar’s father (Zia Mohiuddin Dagar) caused a stir by abandoning the traditional playing posture in favor of a “lap-top” style that Bahauddin has also adopted, saying it allows greater agility.
1. 51:56 – beautiful slow explorations, one gentle bent tone at a time, for the first 22 minutes (the time flies). Then the pace picks up a bit as Dagar plays a relaxed, mystic melody that ever so gradually evolves and speeds up. The final 9 minutes are uptempo, but the veena doesn’t get superfast like a sitar might.
2. 18:29 – midtempo, march-like interplay between Dagar and Manik Munde on pakhawaj drum begins immediately. The drum has a low-toned, soft, slapping sound and a bell-like accent (very different from a tabla). More aggressive after 5 or 6 minutes, tempo rises at halfway point; drum really stomps as veena glides smoothly.
[Fo] - 3/22/06
Track Listing
| 1. | Alap, Jor & Jhala | 2. | Dhrupad in Chautal |