Amir khan saab bade ghulam ali salamat ji nazakat ji mubarak ali khan nusrat saab bade ustad fate ali khan omg no words they are inborn talented empowered from above spiritual ingrained pureness in music is very difficult
To all music lovers who have left their comments here: Your understanding and appreciation of this masterly rendering is very enlightening. Singers like Salamat Ali are not born every other day. But in this context, I would like to bring to your attention the name of another one whom I regard as the ultimate in classical vocal singing. I am sure old timers know the name of Moizuddin Khan otherwise known as Majuddin Khan. His thumris and dadras were brought out together by Music Archives of India about 25 years ago in a CD. It has 18 of this great master's recordings from the early 1900s. In my humble opinion, no other vocalist has ever approached the natural perfection of this god-gifted singer. Although he never sang Khayal, and was famous for his thumri renderings, the fast tankari shown in his Todi, Bhairvin and other bandishes on this CD are unbelievable in their dexterity and perfection. His speed of tankari was supersonic, yet each and every note therein was defined accurately, and sweetness was never lost. What is magical about this is that each piece is not more than 3-4 minutes long, and yet, in this brief time, Majuddin encapsulated the essence of each raga he dealt with superbly and completely. Famous musicians like Gauhar Jan and a host of others spent their lives emulating him. Abdul Karim Khan idealized him, and tried his best to emulate him, but his own voice used to gloss over notes in fast tankari. In Majuddin Khan's day the most famous Ustad was Rehmat Khan who, having heard about the talent of this 'junior' artist, was compelled to undertake a journey to come and meet him and listen to him. Majuddin Khan at first refused to perform for him out of respect for his seniority, but when Rehmat Khan insisted, Majuddin Khan sang, and as I have read in one account, wept from having found someone whom his own voice and talent could not match. I had made copies of this great artist's CD and shared them with several artists including Fatheh Ali Khan, Sabri Khan (Sarangi nawaz), Fayyaz Khan (tablist), Ghulam Mustafa Khan, Shahid Parvez, and maybe 20 other known and unknown musicians. In doing this, I was moved by my desire to share the genius of this greatest of singers to have appeared on the Indian Classical music scene. Unfortunately I have lost my own original copy of the CD, and I write this comment with the same desire, namely to let readers here know the name of Majuddin Khan and to invite them to discover him for themselves.
Ye darbari 1% nhi hai Pt Bheemsen Aur Ustad Amit Khan Ke darbari ka .. No gamak During badhat .. Basic Structure of darbari nothing exceptional behlavs .. Sorry This darbari is Very Basic representation of this raag .. only taana
Agreed. I have the pleasure of listening to the senior Dagar brothers who were first classical singers to perform abroad ( Vienna ) . I have a CD which has a thumri sung by them which was really a surprise.
Exquisite, soulful and uplifting such that it transcends all boundaries of feelings and takes you to a world of bliss and pure ecstasy … vaikunth and jannah if they ever exist cannot match the high spirited music and voice the duo possess …. Darbari kanada is sublime and similar to malkauns reverberates your very existence …. Thank you for sharing this scintillating piece of performance
Lyrics are like "Anokha ladla...khailan ko mange chanda..." that's from some old versets (Ramayana) praising Lord Rama...the ancestral pan-Indian cultural root was not lost but surviving for centuries even in this Sham Chaurasia gharana of what's nowadays the Muslim Pakistan...Alike, the Bharat Ratna Bismillah Khan, a devout Muslim...played the shehnai at Hindu temples in Varanasi/Banars...with an unyielding innate belief that music transcends religious boundaries...तत् त्वम् असि...Khoda hafez !
"Outstanding!" "Outstanding!"n just "Outstanding!" The duo,Salamat Ali n Nazakat Ali(Perhaps,real brothers)being true"Ustads",did their job,as one does expect from their class of genious!In fact,its somewhat difficult to express exact comment on such magnificient like renditions! However,Dear Mozumdar Mosai,Kudos to U for mind-blowing upload!With warm regards.
Yes, they are blood brothers. Their wonderful balance between repose & skill is a thing of beauty. Thank you for your kind words. I'm happy to share whatever I have received from my large-hearted friends & music lovers.
In Indian classical music you find tens of high class vocalists of different gharanas but in light classical or film music you find only 5-6 top singers . Transfer of salamat Ali sahib look like instruments sarangi/violin/harmonium.
The recording is of very good quality, can hear everything so clearly. Amazing! Usually old recordings sound unbearably bad with noise. Thanks for uploading, any idea who the sarangi player is?
POV: This raaga is the depiction of Thanatos. It symbolises the human instinct of aggression, desire to kill and hunger for power. (I'm nowhere near an expert on Hindustani classical music, but this what I think).
Interesting view. Thank you for sharing. I, on the other hand, feel that the music of our subcontinent has no place for expression of sentiments of violence & cruelty (you have mentioned the phrase 'desire to kill'). Raag Darbari is said to evoke the sentiments of Power & Poignancy... two contrasting feelings. That's what makes this raag so attractive & popular. Power need not necessarily manifest itself in killing/bloodshed/cruelty. The Power that Thanos exhibits is a base level of power. The Power that someone like, Gautam Buddha exhibits is the evolved Power. The Power to conquer ones bothersome needs & to attain mental serenity. Just my two-paisa worth. :)
there are Rasas like vivatsa rasa, but Darbari is gambhir (serious) bhakti (devotional) in nature.. Ustad Salamat Ali Khan and his elder brother Ustad Nazakat AK has created this jem for us to understand Darbari for us.. I dont know any raga that express anger, violence etc..
Not the usual kind of darbari we are accustomed to hear. In the first place the komal dhaibat and gandhar are applied straight without the usual 'andolan'. Then again, use of komal gandhar is done sparingly. Sudden jump to the fast figures and drut part spoils the slow concentrative mood that the duo builds up with such care. Anyway, darbari can be presented in this manner which must be authentic, given that the singers are Ustads Salamat and Nazakat.
Thank you for visiting & commenting. Darbari is a fairly traditional raag & these two exponents have presented a fairly traditional bandish ('hazrat turakman'). Every Gharana has some unique trait about presenting key raag-s and this style must be an accurate representation of the Sham Chaurasi Gharana. I found the application of 'dhaivat' & the 'gandhar' very attractive. The 'gandhar' is beautifully wavered at the 6:38 mark. Brief, but touches the shruti-s accurately. If one were to hear a true-blue Agra Gharana recital of this raag, the 'gandhar' is applied in an even more straightforward manner... and yet the edifice of the raag remains imposing. As for the scintillating 'drut bandish', following up on the languid 'vilambit' I feel that it is a brilliant thought process in a 20 min recording. Darbari manifests itself both as a poignant *and* energetic raag & these two talented brothers have showcased both aspects, beautifully. In my humble opinion, this recording, along with Vilayat Khan's 2-sided LP recording of 1968, are the greatest recorded Darbari-s, ever. Amir Khan's LP of 1960 & Amjad Ali Khan's 2-sided LP of 1979, follow closely behind. (The Dagar Brothers LP of 1965, is utterly stunning, but the genre of presentation is different).
@@ArchismanMozumder It is my pleasure to be thus continually being enlightened by you on Indian classical music. Indeed, I have my own preferences and ideas on the aesthetic value of a raga to which I am inclined to stick.Yet I am much obliged to hear on the same from connoisseurs like you.My sincerest thanks to you for this. Let us keep it up.
@@soumitralahiri967 If Salamat Ali khan was traditional he wouldn't be named TANSEN! All we know his tiyari and leh kari was above all singers in the past Century and more to come. In my opinion Sabhi Pheekay hain inkey agey...jo marzi utha lao, I guarantee!
@@ahmedzafar4406 I have full respect for the opinion of Indian classical music listeners like you , although ,I think, our approaches to listening are vastly different. You seek lehkari, tiyari , taankari etc and may be other technical aspects in which the Salamat-Nazakat duo is unparalleled in the history of Indian classical vocal music. Indeed so! But, to me the soul of a raag is not in mere technique. It is in concentration and in the applications of the swaras and srutis, in repose, in serenity, in the overall mood the singer evokes using the rules of the raag, not merely the rules. The Salamat- Nazakat duo excites us, astonishes us, but rarely makes us FEEL the soul of the raag. They destroy the serene atmosphere they themselves create with their vilambit kheyals by suddenly jumping on to too much technique display in their drut parts. While we acknowledge Ustad Salamat Ali Khan as the one and only Taansen ever to come, let us not forget the names of Ustads Abdul Karim Khan, Amir Khan, Moinuddin Khan, Aminuddin Khan and others who sought the SOUL of a raag. Anyway, thank you for commenting. I love discussing Indian classical music, though I am not a connoisseur.
This darbari is Not even 1 % of ustad Amir khan,s darbari As well as pt Bheemsen … don’t mind bt this is very basic Structure of darbari . Such a Low level performance
@@Bharatkhand77 When you use phrases like 'such a low level performance' about artists who are rated by almost everyone to be very good, it is always prudent to prefix a phrase... 'in my opinion...' :) Amir Khan & Bhimsen Joshi are both towering legends and you are perfectly justified to prefer their recordings. However the dismissive remark of 'not even 1%' is a bit startling. :) Anyways, thank you for visiting and commenting.
![Twenty One Pilots - “The Line” (from Arcane Season 2) [Official Music Video]](http://i.ytimg.com/vi/E2Rj2gQAyPA/mqdefault.jpg)
Excellent!!!! Excellent!!! Excellent!!!! Excellent!!!!
This is absolutely exquisite.
Baap re baap ye kya tha ......koti koti naman hai sur samrat ko🙏🙏🙏🙏🙏🔥🔥🔥🔥
Amir khan saab bade ghulam ali salamat ji nazakat ji mubarak ali khan nusrat saab bade ustad fate ali khan omg no words they are inborn talented empowered from above spiritual ingrained pureness in music is very difficult
To all music lovers who have left their comments here: Your understanding and appreciation of this masterly rendering is very enlightening. Singers like Salamat Ali are not born every other day. But in this context, I would like to bring to your attention the name of another one whom I regard as the ultimate in classical vocal singing. I am sure old timers know the name of Moizuddin Khan otherwise known as Majuddin Khan. His thumris and dadras were brought out together by Music Archives of India about 25 years ago in a CD. It has 18 of this great master's recordings from the early 1900s. In my humble opinion, no other vocalist has ever approached the natural perfection of this god-gifted singer. Although he never sang Khayal, and was famous for his thumri renderings, the fast tankari shown in his Todi, Bhairvin and other bandishes on this CD are unbelievable in their dexterity and perfection. His speed of tankari was supersonic, yet each and every note therein was defined accurately, and sweetness was never lost. What is magical about this is that each piece is not more than 3-4 minutes long, and yet, in this brief time, Majuddin encapsulated the essence of each raga he dealt with superbly and completely. Famous musicians like Gauhar Jan and a host of others spent their lives emulating him. Abdul Karim Khan idealized him, and tried his best to emulate him, but his own voice used to gloss over notes in fast tankari. In Majuddin Khan's day the most famous Ustad was Rehmat Khan who, having heard about the talent of this 'junior' artist, was compelled to undertake a journey to come and meet him and listen to him. Majuddin Khan at first refused to perform for him out of respect for his seniority, but when Rehmat Khan insisted, Majuddin Khan sang, and as I have read in one account, wept from having found someone whom his own voice and talent could not match. I had made copies of this great artist's CD and shared them with several artists including Fatheh Ali Khan, Sabri Khan (Sarangi nawaz), Fayyaz Khan (tablist), Ghulam Mustafa Khan, Shahid Parvez, and maybe 20 other known and unknown musicians. In doing this, I was moved by my desire to share the genius of this greatest of singers to have appeared on the Indian Classical music scene. Unfortunately I have lost my own original copy of the CD, and I write this comment with the same desire, namely to let readers here know the name of Majuddin Khan and to invite them to discover him for themselves.
Thanks a lot for the valuable information. I am not finding in RUclips.
Where do we get to listen to him 😇
🙏🙏💐
I really want this recording to thrive unless and until humans go extinct…..spellbound!!! Love it beyond words ❤️🙏🏻
even after 64 ys, there is no parallel of such gaeki. never listened such soothing rendition. indeed genius
They are unparallel to say the least.
सही बोले तो ऐसे कलाकार भगवान का रूप हे
salamat ali khan saab jaisa na koi hua hai, na hoga
True
Drut Bandish starts from 14:47
aisa darbari nahi suna bhai ,ye inhi ka kaam hai .awesome.....
Bilkul ji
Ye darbari 1% nhi hai Pt Bheemsen Aur Ustad Amit Khan Ke darbari ka .. No gamak During badhat .. Basic Structure of darbari nothing exceptional behlavs .. Sorry This darbari is Very Basic representation of this raag .. only taana
@@Bharatkhand77"you don't know what you missed"
by your comment your taste is being tested, Nazakat Ali Salamat Ali's Darbari is not..😅
@@atriswar okay 🤣
Salamat Ali rula deta hey . Aankkhen bheeg jati hen . Rooh mein uter jata hey .
He was barely in his early 20s here. But what consistency. Salamat is a genius!
No doubt Salamat Ali Khan is miracle and his elder brother Nazakat Ali Khan has the sweetest voice among all the classical singers.
VOICE OF GOD
No doubt , the best ever jugalbandi singers in the known history of Indian classical music.
If one were to include Dhrupad, I'd like to bracket Moinuddin & Aminuddin Dagar with these two astounding singers of the Shamchaurasi Gharana.
Agreed. I have the pleasure of listening to the senior Dagar brothers who were first classical singers to perform abroad ( Vienna ) . I have a CD which has a thumri sung by them which was really a surprise.
@@rakeshbhartiya5839 Yes. a beautiful Hori in Raag Kafi.
'sureelapan' of the highest order... especially the elder brother.
Ust. Salamat was God gifted & by doing utmost ryaz for year his throat became sarangi
Very nice & unique way of expressing.... magnificent voice....❤❤❤
#MasoodUrRrhman#
One of the top Darbari
Even though I am a non singer this is so beautiful that I can listen to this for ever 😇
Dono ki gayaki alaap taan adbhut phadphadati hui.. 🙏🙏
Exquisite, soulful and uplifting such that it transcends all boundaries of feelings and takes you to a world of bliss and pure ecstasy … vaikunth and jannah if they ever exist cannot match the high spirited music and voice the duo possess …. Darbari kanada is sublime and similar to malkauns reverberates your very existence …. Thank you for sharing this scintillating piece of performance
Ruha ka khazana loota rahe hai.Bahot khub.
Lyrics are like "Anokha ladla...khailan ko mange chanda..." that's from some old versets (Ramayana) praising Lord Rama...the ancestral pan-Indian cultural root was not lost but surviving for centuries even in this Sham Chaurasia gharana of what's nowadays the Muslim Pakistan...Alike, the Bharat Ratna Bismillah Khan, a devout Muslim...played the shehnai at Hindu temples in Varanasi/Banars...with an unyielding innate belief that music transcends religious boundaries...तत् त्वम् असि...Khoda hafez !
Wah wah wah 🙏🏻❤️ perfection
"Outstanding!" "Outstanding!"n just "Outstanding!" The duo,Salamat Ali n Nazakat Ali(Perhaps,real brothers)being true"Ustads",did their job,as one does expect from their class of genious!In fact,its somewhat difficult to express exact comment on such magnificient like renditions! However,Dear Mozumdar Mosai,Kudos to U for mind-blowing upload!With warm regards.
Yes, they are blood brothers. Their wonderful balance between repose & skill is a thing of beauty.
Thank you for your kind words. I'm happy to share whatever I have received from my large-hearted friends & music lovers.
@@ArchismanMozumder Excellent clasical presentation.
Two legendary Ustads....
No words for them
بہت خوب ❤❤❤
#MasoodUrRehman#
Bemisaal Adbhut sadhna..Dev ki Bani
Masters. no other words do justice
मधुर आवाज है आप की
V good singer. 🎉 😊
In Indian classical music you find tens of high class vocalists of different gharanas but in light classical or film music you find only 5-6 top singers . Transfer of salamat Ali sahib look like instruments sarangi/violin/harmonium.
Waa... Superb...
Good sound reproduction from one their first studio albums. The side B Kalavati is exquisite too.
Just realised you have uploaded the Kalavati as well. Thanks
Please upload more USAK if you have...Thanks so much for this and kalavati
Bahut khub
excellent
Kamal
Drut bandish 14:50
The recording is of very good quality, can hear everything so clearly. Amazing! Usually old recordings sound unbearably bad with noise. Thanks for uploading, any idea who the sarangi player is?
If I am not mistaken, Ustad Zahoori Khan on sarangi. Classic recording!
@@sanjeevramabhadran3612 Thank you for this information.
♥️♥️
18:07 🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻
POV: This raaga is the depiction of Thanatos. It symbolises the human instinct of aggression, desire to kill and hunger for power. (I'm nowhere near an expert on Hindustani classical music, but this what I think).
Interesting view. Thank you for sharing.
I, on the other hand, feel that the music of our subcontinent has no place for expression of sentiments of violence & cruelty (you have mentioned the phrase 'desire to kill').
Raag Darbari is said to evoke the sentiments of Power & Poignancy... two contrasting feelings. That's what makes this raag so attractive & popular.
Power need not necessarily manifest itself in killing/bloodshed/cruelty.
The Power that Thanos exhibits is a base level of power. The Power that someone like, Gautam Buddha exhibits is the evolved Power. The Power to conquer ones bothersome needs & to attain mental serenity.
Just my two-paisa worth. :)
@@ArchismanMozumder You couldn't have explained it better.
there are Rasas like vivatsa rasa, but Darbari is gambhir (serious) bhakti (devotional) in nature..
Ustad Salamat Ali Khan and his elder brother Ustad Nazakat AK has created this jem for us to understand Darbari for us..
I dont know any raga that express anger, violence etc..
It has more desire and aggression to save, Darbari is royal
Tabla...I guess...Mia Shaukat Hussain!
The video description mentions Allah Ditta.
is it in 28 matra?
The record cover mentions the cycle as a 14-beat one.
Not the usual kind of darbari we are accustomed to hear. In the first place the komal dhaibat and gandhar are applied straight without the usual 'andolan'. Then again, use of komal gandhar is done sparingly.
Sudden jump to the fast figures and drut part spoils the slow concentrative mood that the duo builds up with such care. Anyway, darbari can be presented in this manner which must be authentic, given that the singers are Ustads Salamat and Nazakat.
Thank you for visiting & commenting.
Darbari is a fairly traditional raag & these two exponents have presented a fairly traditional bandish ('hazrat turakman'). Every Gharana has some unique trait about presenting key raag-s and this style must be an accurate representation of the Sham Chaurasi Gharana.
I found the application of 'dhaivat' & the 'gandhar' very attractive. The 'gandhar' is beautifully wavered at the 6:38 mark. Brief, but touches the shruti-s accurately.
If one were to hear a true-blue Agra Gharana recital of this raag, the 'gandhar' is applied in an even more straightforward manner... and yet the edifice of the raag remains imposing.
As for the scintillating 'drut bandish', following up on the languid 'vilambit' I feel that it is a brilliant thought process in a 20 min recording. Darbari manifests itself both as a poignant *and* energetic raag & these two talented brothers have showcased both aspects, beautifully.
In my humble opinion, this recording, along with Vilayat Khan's 2-sided LP recording of 1968, are the greatest recorded Darbari-s, ever. Amir Khan's LP of 1960 & Amjad Ali Khan's 2-sided LP of 1979, follow closely behind. (The Dagar Brothers LP of 1965, is utterly stunning, but the genre of presentation is different).
@@ArchismanMozumder
It is my pleasure to be thus continually being enlightened by you on Indian classical music. Indeed, I have my own preferences and ideas on the aesthetic value of a raga to which I am inclined to stick.Yet I am much obliged to hear on the same from connoisseurs like you.My sincerest thanks to you for this. Let us keep it up.
@@soumitralahiri967 If Salamat Ali khan was traditional he wouldn't be named TANSEN!
All we know his tiyari and leh kari was above all singers in the past Century and more to come.
In my opinion Sabhi Pheekay hain inkey agey...jo marzi utha lao, I guarantee!
@@ahmedzafar4406
I have full respect for the opinion of Indian classical music listeners like you , although ,I think, our approaches to listening are vastly different. You seek lehkari, tiyari , taankari etc and may be other technical aspects in which the Salamat-Nazakat duo is unparalleled in the history of Indian classical vocal music. Indeed so! But, to me the soul of a raag is not in mere technique. It is in concentration and in the applications of the swaras and srutis, in repose, in serenity, in the overall mood the singer evokes using the rules of the raag, not merely the rules.
The Salamat- Nazakat duo excites us, astonishes us, but rarely makes us FEEL the soul of the raag. They destroy the serene atmosphere they themselves create with their vilambit kheyals by suddenly jumping on to too much technique display in their drut parts.
While we acknowledge Ustad Salamat Ali Khan as the one and only Taansen ever to come, let us not forget the names of Ustads Abdul Karim Khan, Amir Khan, Moinuddin Khan, Aminuddin Khan and others who sought the SOUL of a raag.
Anyway, thank you for commenting. I love discussing Indian classical music, though I am not a connoisseur.
@@ArchismanMozumder please upload this type of songs... .today I realised what is music.
This darbari is Not even 1 % of ustad Amir khan,s darbari As well as pt Bheemsen … don’t mind bt this is very basic Structure of darbari . Such a Low level performance
@@Bharatkhand77 When you use phrases like 'such a low level performance' about artists who are rated by almost everyone to be very good, it is always prudent to prefix a phrase... 'in my opinion...' :)
Amir Khan & Bhimsen Joshi are both towering legends and you are perfectly justified to prefer their recordings.
However the dismissive remark of 'not even 1%' is a bit startling. :)
Anyways, thank you for visiting and commenting.