Monday, 13 July 2015

Sharafat Hussain Khan (1930-1985) - 30th anniversary of his death - Part III - Raga Maluha Kedar & Ragas Raysa Kanada & Gara Kanada

Here another set of beautiful radio recordings by the great master.

Sharafat Hussain Khan 3 - CD 1 & Covers:

Sharafat Hussain Khan 3 - CD 2:

Many thanks to KF for the recordings and the covers.

Saturday, 11 July 2015

Sharafat Hussain Khan (1930-1985) - 30th anniversary of his death - Part II - Raga Todi & Raga Rageshri

Here two other beautiful recordings by the great master. On the first CD we have a wonderful demonstration of his mastery over the Dhrupad format including a long Alap. Sharafat Hussain Khan was the last great singer of the Agra Gharana who reguarly performed long Alaps.

Sharafat Hussain Khan - CD 1 - Todi & covers:

Sharafat Hussain Khan - CD 2 - Rageshri:

Many thanks to KF for editing these recordings and creating the beautiful cover.

Tuesday, 7 July 2015

Sharafat Hussain Khan (1930-1985) - 30th anniversary of his death - AIR memorial broadcast on 14th of july 1985

In honour of the great artist, we admire very much and of whose music we are especially fond, we post here a National Program of Music broadcast by All India Radio on July 14, 1985, one week after his sad and premature passing. His first and only LP we had posted in 2011. See here.

A big thank you to KF for the recording and the beautiful cover.

Ustad Sharafat Hussain Khan “Prem Rang” (1930 – 1985)

Ustad Sharafat Hussain Khan
A disciple of Ustad Faiyaz Khan and Ustad Ata Hussain Khan – A great vocalist from Agra Gharana. His approach towards music was always to expand the Raga. Take any Raga-s and Ustad-ji would sing these Raga-s at length. For example Raga Malati Basant, Raga Raisa Kanada, Raga Maluha Kalyan to name a few – He could and would sing them for about an hour plus, on an average. He was always open to greater development of his music and so he was never shy to adopt something from other musicians or their respective styles. And almost always, he was successful in blending those so called foreign elements into the musical structure of Agra Gharana that he used to prefer and perform. And then the concept he would sing would be his own “Khayal”.
He was probably one of the last musicians who performed full-length, full featured Nom-Tom Alap before Khayal. His command on Laya (rhythem) was also great which is visible (audible, I mean) in various pieces that are presented here. He was blessed with a voice which he successfully preserved and cultivated to suite his imagination.
He was never tired of singing because he loved his music. Once a mehfil was organized in Ahmedabad and the organizer requested Ustad-ji to sing without microphone and without Harmonium accompaniment to get the essence of music in untainted form. Ustad-ji agreed. The mehfil eventually turned out to be a whole night concert where Ustad-ji sang Nom-Tom Alap, Vilambit (Traditional Composition) and Drut Khayal (His own composition) in Raga Savani (a variant with Komal Gandhar) followed by Raga Jaijaivanti, Vilambit and Drut, followed by Raga Nat Bihag, Drut Khyal, Raga Sohini, Drut Khayal. As it was about sunrise, He started Raga Ramkali – Vilambit & Drut. In the end he sang a Dadra in Raga Bhairavi. Fortunately this concert was recorded and recently it has been published as a set of 4 CDs by Sangeet Kendra.

Thursday, 18 June 2015

Abderrahim Abdelmoumen - Tartil Al Karie - Qur'an Recitation from Morocco

On the occasion of the beginning of the blessed month of Ramadan a beautiful Qur'an recitation from Morocco. Abderrahim Abdelmoumen is a well known Qur'an reciter, Munshid (singer of religious and Sufi songs) and a singer of Arabo-Andalusian Noubas. Here he recites the two last Hizbs (sections) of the Qur'an.

Side 1:
Hizb 'Amma: Surates 78 - 86

Side 2:
Hizb Sabbih: Surates 87 - 114

"Natif de Tanger, Abderrahim Abdelmoumen, par ailleurs licencié en droit privé, a commencé son parcours dans le chant spiritual au sein de la zaouïa de Tanger, où il a appris les règles du chant soufi et reçu les principes et les valeurs du soufisme au contact des grands maîtres du domaine. Les liens tissés entre le chant spirituel marocain et la musique andalouse lui ont permis d’explorer les secrets de cet art et de former son propre style.
En 1999, il enregistre un CD de musique andalouse à l’Institut du Monde Arabe, avec le groupe du conservatoire de Tanger sous la direction de Cheikh Ahmed Zaitouni. Il est membre d'une association Italienne impliquée dans les traditions du monde, « Multifrazione Projettit », sous la direction du maestro Luigi Cinque avec lequel il enregistre « Tangerine Café » en 2003. En 2008, il participe aux semaines culturelles organisées par le ministère de la culture marocaine en Algérie, en Tunisie et en Syrie. Il enregistre également un CD de musique andalouse « Al Hadika Adai'a » (El jardín perdido) avec un groupe espagnol à Valence. En 2009, il enregistre la bande son d'un opéra pour marionnettes « Davia et le Sultan », avec la casa musicale de Corse, Amina Alaoui, Francine Massiani, Henri et Idriss Agnel.
Abderrahim a aussi chanté dans différentes villes du Maroc, avec les orchestres des conservatoires de Tanger (sous la direction de Cheikh Ahmed Zaïtouni), de Tétouan (avec Mohamed Amine Akrami), de Meknès (avec Tawfik Himmich), et les orchestres Omar Métioui, El Brihi (sous la houlette de Anas Attar), Chabab El Andalous (avec Amine Doubi), Abdelkrim Raïs (avec Mohamed Briouel), Layali Nagham (avec Abdesslam Khalloufi). Il a tourné en Afrique du Nord, en Europe et aux États-Unis."

Comment by Tim Abdellah on his blog Moroccan Tape Stash (
"A lovely album of Qur'an recitation by Abderrahim Abdelmoumen, a Moroccan reciter who is also versed in Moroccan Andalusian Sufi singing. It's rare to hear Moroccan melodies and vocal stylings in Qur'an recitation, so this is a real treat."

Saturday, 6 June 2015

Singh Bandhu: Tejpal Singh & Surinder Singh - Dawn & Dusk - LP published in India in 1980

Here one of the many LPs by another duo of brothers, Tejpal Singh (b. 1937) and Surinder Singh (b. 1940), popularly known as “Singh Bandhu,” They were quite popular in the 1970s and 1980s.

"The brothers Tejpal Singh (b. 1937) and Surinder Singh (b. 1940), popularly known as “Singh Bandhu,” cut their musical teeth under their elder brother G.S. Sardar. Later, Surinder Singh took taleem from N. Aminuddin Dagar. In 1961, both the brothers became pupils of Amir Khan. The time spent at the feet of the great ustad was to play a major role in the transformation of their respective musical personalities. The Singh brothers are also adept at devotional music, and have an association with not only with the shabads of the Sikh gurus, but also with the works of the Sufi saints and the Bhakti saints of south India."
from: Bharatiya Sangeetkar Ustad Amir Khan by Ibrahim Ali (Classical Publishing Company, New Delhi, 2000)

On the artists see also: