This music clearly qualifies as an anti-depressant sound.
One of the most melodious sounds I have ever heard! Highly inspiring and elevating experience.
A brilliant, magical compilation
Shivkumar Sharma shows his sublime, mesmerizing ability on santoor. Whether stargazing the night sky through a telescope on your back porch, putting a small one down to sleep to some low volume music, or just your own silent meditation, the master does not let down! I am not a "new-ager", but one needs not to be to appreciate the technical mastery Shivkumar Sharma displays!
This music rocks!!!
...and hypnotic to the ears!
I am stunned by the unbelievable technical brilliance of the artist in this album. A real feast for listeners who love melodious and happy music. Whether you are looking for slowly unfolding music with no beats (track 1) or if you are looking for fast-paced rendition with tabla beats (track 2) you will find this album very absorbing. The third track has a nice folk touch, very relaxing.
Beautiful Gorakh Kalyan
This might be one of the best presentations of Gorakh Kalyan ever, on the instruments. The raga is so nice to listen to and creates a light and romantic mood. Looks like it is especially suited for santoor. Tabla accompaniment is superb.
Original inlay notes
By Original Inlay Notes
Raga Gorakh Kalyan is an uncommon but beautiful Raga. Only six notes are used. The third and fifth notes are omitted, the seventh note is flat, and the rest of the notes are major. Some musicians occasionally use the fifth note also but in this version the fifth note is not used at all. That gives this Raga a distinct character of its own. The basic mood of this Raga is romantic.
Details of playing:
Alap, Jod and Jhala in part one is followed in part two by two compositions in Jhap Taal, a ten beat rhythmic cycle, and in Teen Taal, a sixteen beat rhythmic cycle. (However, this EP omits the Alap in the first track and the Jhap Taal Gat in the second track.)
The concluding piece is based on a Dogri folklore from Jammu, Kashmir which is in Raga Mishra Pahadi and in Taal Dadra, a six beat rhythmic cycle.
Born in Jammu, Shivkumar Sharma was brought up in an atmosphere rich in compositions and rhythm. His father, Pandit Uma Dutt Sharma, was an exponent of the Benares tradition of vocal music and a famous percussionist. He first initiated Shivkumar Sharma into vocal music and percussion instruments, and later coaxed him to take to Santoor. Shivkumar started to study and exploit Santoor's possibilities after he had overcome his initial lack of interest for this instrument. At the beginning of his career as Santoor player, Shivkumar fought an intense and lonely battle against the rigid and orthodox world of classical Indian music which declared that Santoor was totally unsuited to the demands of it. It ended in his rising to the position of a musician commanding respect in the most scholarly circles for the depth of his musicianship. In his approach to music Shivkumar takes no liberties with the Ragas and follows the correct traditional Dhrupad style of Alaap, Jod, and Jhala. He maintains a perfect balance between Sur (melody) and Laya (rhythm). Shivkumar is one of the few Indian musicians to enjoy a global reputation.
Shafaat Ahmed Khan is one of the most brilliant and popular young Tabla players of India. He belongs to Delhi School of Tabla Playing and had his training under his father Ustad Chhamma Khan. He is a versatile Tabla player, equally at ease while playing solo, or accompanying an instrumentalist, a vocalist, or a dancer. He has accompanied almost all the leading musicians of India. He plays regularly with Pandit Shivkumar Sharma and has made many albums. (Sadly, Shafaat passed away in July 2005).
A Night time Jewel
Gorakh Kalyan is a night time raga from the time-raga scheme of playing. Simply exotic raga and it comes out really good on Santoor when in able hands of the legendry Pandit Shivkumar Sharma. The Santoor sounds as if it is singing the melody as such in this performance. The technique of Glide or "Ghaseet" is very prominent in the Aalap where the raga is introduced and rendered and explored.
This raga is very meditative and devotional in nature and those who have heard the traditional devotional songs from India can relate to some of them. One of the famous Marathi songs “Mogara Fulala” by Pandit Hridaynath Mangeshkar is based on this raga. The mood there is also devotional.
Ustad Shafaat Ahemad Khan brings in an amazing Tabla accompaniment in the second piece of the album when he plays the Jhaptaal (10 beats) followed by Teental (16 beats).
Very good sound quality and mixing ! enjoy !