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Raga

Jhinjhoti- The song of hopelessness

Sometimes I just wonder about some Ragas and moods they create. There are more than hundreds of Ragas in Indian Classical Music, each different from the others. I wonder what led to creation of so many ragas. Some say Ragas were ultimately created by picking up some phrases from folk music which sounds quite reasonable. But I don’t think this is true for all Ragas. I feel some ragas are indeed created by some persons, saints or meditators to be precise and then these tunes came into folk or classical music.

What makes me think so is the feelings created by these ragas. A common man is far from feeling these emotions and hence a raga portraying these emotions won’t come from him.

I think Jhinjhoti is such a Raga. I listened to it first time when I was a tenth standard student. I had purchased a cassette in which Pt. Kumar Gandharva had sung this Raga.

“Its so boring and sad kind of raga”, I had muttered and had almost concluded that I wasted my money on this record. Many of my friends who are learning Indian Classical Music often do not take troubles to listen to this Raga as it is utterly sad and boring.

I remember those days when I was a heavy meditator, somewhere around first or second year of engineering. I happened to listen to Rasdhara, an album where Pt. Shivkumar Sharma and Pt. Hariprasad Chaurasia have played Raga Jhinjhoti together.

During those days, I had started to realize that I need to find my own way. Rather it was a beginning of the journey within. During those days, for the first time I had tasted the situation where one does not have any hopes. It was rather a state of hopelessness but quite different than usual hopelessness. The Jhinjhoti played by Pt. Shivkumar Sharma and Pt. Hariprasad Chaurasia together was a perfect potion. I remember watching people running on a narrow street right from my balcony while listening to Jhinjhoti played by these two stalwarts I still remember the way I saw it- utterly mechanical, running blindly behind their hopes or even for satisfying others’ hopes. We are hopeless when some hope which we projected does not get fulfilled. Hope is the engine which keeps our lives moving. And when certain hope is not fulfilled or destroyed, we become hopeless. This hopelessness lasts until we find a different set of hopes.

The hopelessness which I faced at that time was quite different, it was a state where you realize this complete cycle of hope and hopelessness. At that time, you are totally stagnant- as the engine to pull you is missing. Raga Jhinjhoti rather sings out this state of ‘no hope’. Those who have not tasted this kind of hopelessness find it sad and boring.

Since that point, Jhinjhoti is not boring, but a companion on the way. I met many versions of Jhinjhoti so far, some resonating with my understanding and some not.

I could feel this flavor in the Jhinjhoti played by Pt. Nityanand Haldipur. It makes you silent- taking you away and making you a witness to your own mind and your own hopes. It rather reminds me of the sea outside Guruma’s house, having infinite turbulence and energy but still without any hopes.

Another Jhinjhoti, the one to which I am listening while writing this article is the one sung by Pt. Kumar Gandharva, the same which I had found boring a few years ago. At that time, I was certainly a guy who had many hopes and wanted to fulfill them. It is quite reasonable that I refused to enjoy Jhinjhoti at that time. I think the correct time had not yet come at that time.

I have listened to Jhinjhoti played or sung live by many great artists. Not all of them pitch the same flavor and I do not expect them to do so. But when I listen to any rendering of Jhinjhoti, I always see if this intangible ‘hopelessness’ pours out of it or not, but I certainly do not ‘hope’ that it should always exist.

Categories
Famous Musicians of India

Milind Sheorey – The Divine Confluence

When I listened to Shri. Milind Sheorey for the first time, I remembered what Pt. Shivkumar Sharma said in ‘Antardhwani’, a documentary made by national film archives exploring the journey of this Santoor Maestro.
He says-

A Guru should not look at sculpting dozens or hundreds of disciples. Even if you are able to create one or two disciples who can understand the music of  Guru and then add something of their own to it, that is more than enough.

As my observation goes, this is quite true. Musicians cannot be bulk produced. At the same time, three factors play their role simultaneously. The first is disciple’s hard work- both as a musician and a human being, second is finding a Guru and the third and the last is the divine grace.
I feel, when all these three factors work out together positively, a great musician is born. It is quite clear that rarely something like this happens. It happened with Pt. Hariprasad Chaurasia, it happened with Pt. Nityanand Haldipur and yes, it is happening with Shri Milind Sheorey.

Gurumata Annapurna Devi- The river of knowledge

Gurumata Annapurna Devi, who is taking efforts beyond human capacity to transfer the treasures of knowledge which she has, is very lucky as far as getting disciples is concerned. I could meet and have a discussion with Pt. Hariprasad Chaurasia and Pt. Nityanand Haldipur. During our discussions with both the artists, we realized the tremendous efforts taken by Annapurna Ji and also the two disciples. Listening to Shri. Milind Sheorey made me realize that the chain does not end with these two artists.
Though Milind Sheorey learned music from same Guru, his style is very different than his two Gurubandhus. As Nityanandji had rightly said, Annapurna Ji crafted each disciple considering his personality and skills. As it is said, true Guru never forces his knowledge own disciples but tries to understand each disciple and cultivates him accordingly.
Being accepted as a disciple by Annapurna Ji is in itself a big thing- it certifies that you are honest with your art. Being accepted by a godly Guru is a difficult thing to happen. But, being with such Guru and trying to manifest her dreams is even more difficult. When a demanding Guru and a hardworking disciple comes together, the third factor has to come into the picture- the grace of the god.

Miilnd Sheorey and his Music

It is quite visible from Milind Ji’s performances that he plays Ragas which are generally not played on flute. It is a feast to listen to Ragas like Shuddha Kalyan, Puriya Dhanashree on flute which are generally played on string instruments. As one can imagine, the task is not that easy, I would say, it is not at all easy. Flute is a very different kind of instrument as compared to string instrument where the show is managed by artist’s breath.
Before this, I had listened to such ‘non flute’ Ragas being performed on flute but one could easily make out that something is missing and not fitting. When I gave a try to Milind Sheorey’s rendering, there was nothing missing. It had superb blend of stable breath, correct approach to play the notes, immense continuity.
I am sitting here, close to Annapurna Ji’s house, listening to Puriya Dhanashree, played by Shri. Milind Sheorey. It is a perfect evening, with winds blowing without any control and sea roaring. Milind Sheorey has reached to some different height, and his music is accommodating enough to take me also there, with him. The sun is about to collapse in the sea and the curtains are dancing. So are the notes, though a bit constrained by the rhythm.
Osho says music should bring you to your origin. It should make you look inside. That is what happening. At this time, I am experiencing the three factors pouring in- the hard work of this disciple, the perfect Guru and yes, the grace of the almighty, blowing around as wildly as these winds.

You can further read this article talking about Pt. Kumar Gandharva

Please enjoy this rendering of Raga Kedar by Milind Ji-

 

Categories
Famous Musicians of India

What did music teach me?

As far as I can remember my past, I find some place for music. The oldest memories which I have about myself, have a tint of music, a unique flavour of records of Pt. Bhimsen Joshi that my father used to play in our house. Those days are still clear in front of me, now. Then came the days when I started practising music. I remember those days when my friends used to laugh on me; saying why you waste the time which you get to play. I do not know the reason, but I always loved sitting alone and practising my music than playing in a crowd of kids.

Almost always it happens with music students that they loose their touch with music when they face their tenth standard board exams. Same happened with me also. But, rare thing is, the thread connecting me and music did not break. It was a temporary separation.  When favourable conditions came, the love for music sprouted up. The reason behind digging out all these things is, an interesting discussion with a friend. The friend very bluntly asked me to tell him what I got out of spending so much of time.

As for as I am concerned, the question makes no sense. We do not do all things because we get something. Rather, doing some things bring so much of joy with them that you do not need any other reason. But still, I can understand the mindset of my friend. He also needs an answer for his rational mind. So, I ask myself: leave the joy aside. What else did I get from spending so much of time on music?

The answer is quite big. There are many outputs, some minor, some significant but all of them are valuable. Playing flute taught me how to be stable. It taught me the art of being unaffected by the surroundings. Stability of breath makes one’s life stable in all the situations. Practising music taught me to sit silently at a place, without getting tired and distracted. I sit in front of my Guru, listening for hours what he teaches. Music has improved my concentration and awareness.

Through this passion, I came to know so many divine artists and could meet them. Each of them taught me something different. I have not met many artists; their music teach a lot even in their absence. Guruma Annapurna Devi teaches us highest level of dedication; towards Gurus, music and even one’s disciples. She is an goddess who takes us beyond all the material aspects, where music is pure, divine. Pt. Shivkumar Sharma taught me meditation. He is simply a yogi. Pt. Hariprasad Chaurasia is a perfect incarnation of lord Krishna. His love and affection towards his disciples is phenomenal. Pt. Nityanand Haldipur teaches us to devote ourselves to our Gurus. It feels really blessed to be among all of them. The list does not end here. Pt. C.R. Vyas teaches us to manage day-to- day life and music together. His dedication, hard work, devotion are beyond imagination. Pt. Suhas Vyas teaches us how a Guru should be in changed scenarios where there are newer challenges in front of music learners.

The list is unending. There is so much to learn; lives will be insufficient to contain all this wisdom.  What music has taught me is beyond all the books and scriptures. It needs a blessed one to get all this.

Categories
music

Pt. Nityanand Haldipur – The essence of simplicity

Flute is the magical instrument, which is more magical in hands of Pt. Nityanand Haldipur. It is utterly simple yet very mesmerizing. To play flute is an art. To play it nicely is a meditation. To be honest, I have heard almost all the flute players India has. I liked Pt. Hariprasad Chaurasia the moment I heard his flute. Same happened with Rakesh Chaurasia, the talented disciple and nephew of Pt. Hariprasad Chaurasia.Zemanta Related Posts Thumbnail

Apart from these two exponents of flute, there was no one who could give the divine test of flute. A third name entered the list when I got a chance to listen to Pt. Nityanand Haldipur. Both Pt. Hariprasad Chaurasia and Pt. Nityanand Haldipur are disciples of goddess Guruma Annapurna Devi. But, it’s really difficult to make out that same person is the sculptor of both of these artists. You can make it out only if you have the ability to sense the divinity behind the notes.

Both Pt. Hariprasad Chaurasia and Pt. Nityanand Haldipur are travelling on the same mystical path of music. The only difference is, their apparent ways are different. Pt. Nityanand Haldipur’s music is so simple that its simplicity makes it very special. It is quite difficult or I would say almost impossible to get a chance to listen to such simple music. This simplicity makes the music magical. This simplicity carries the essence of meditation.

It is a fact that it is quite difficult to understand the magic of his music. Over the time, we have lost our sensitivity for simplicity. Only special and extra ordinary things attract us. In this race of being more and more extra ordinary, we have lost our touch with the simple things. Hence, it is almost impossible today to find something utterly simple. Though his music sounds simple, it is absolutely difficult to play so. Each note is a master’s stroke.

I don’t know how many people have ability to enjoy mystical music of Pt. Nityanand Haldipur. I guess, it is God’s grace that I can dissolve myself in the web of his notes, sitting silently.

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