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| Reflections Around Noon CD |
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| Sarod |
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Pandit Rajeev Taranath: sarod
Sri Udayraj Karpur: tabla
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This recording features a sarod recital by the well-known performer, composer and teacher Pt Rajeev Taranath. Rajeev Taranath began his musical training under the guidance of his father Pandit Taranath, later becoming a disciple of the great Ustad Ali Akbar Khan, whose influence is clearly discernible on this recording. He has also received guidance from two other legends of the Maihar or Allauddin gharana, Pandit Ravi Shankar and Smt Annapurna Devi.
Pt Rajeev Taranath has pursued a successful career as a concert performer, touring widely both in India and abroad. As a composer he has worked on several successful Indian films. He also worked as a Ford Foundation scholar between 1989 and 1992, researching the "Teaching techniques of the Maihar-Allauddin gharana", and currently teaches as a faculty member of the California Institute of the Arts in Los Angeles. He has been awarded several prestigious honors for his contributions to Hindustani music, including the Sangeet Natak Academy award in 1999-2000.
Rajeev Taranath was accompanied by the Mumbai-based tabla player Udayraj Karpur, who is a disciple of both Sri Ravindra Yavagal and Pandit Suresh Talwalkar. Udayraj is a regular concert performer and broadcasts frequently on AIR Mumbai, besides being a part of the Netherlands-based fusion group Bhedam.
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| Tracks - Reflections Around Noon CD |
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CD/Cassette - 1- Rag Miyan Ki Todi
Alap, jor, gat in Vilambit teental, Gat in drut teental
- Mishra Kafi
Gat in Madhya lay teental, Gat in drut teental
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Reviews
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Reflections Around Noon features a sarod recital by the acclaimed performer, composer and teacher Pt Rajeev Taranath. He began his musical training under the guidance of his father and later became a disciple of the great Ustad Ali Akbar Khan. Taranath is a highly successful concert performer, touring widely both in India and abroad, has composed the music for several Indian films, and teaches as a faculty member of the California Institute of the Arts in Los Angeles.
He is accompanied on this recording by the Mumbai-based tabla player Udayraj Karpur, who is a disciple of both Sri Ravindra Yavagal and Pandit Suresh Talwalkar. Udayraj is a also regular concert performer, besides being a part of the Netherlands-based fusion group Bhedam.
Taranath and Karpur seem to have a telepathic understanding, making music (Rag Miyan ki Todi and Misra Kafi) that moves sublimely from brooding introspection to climaxes of breathraking excitement. - New Classic / Online World Music Magazine
Rajeev Taranath is one of the outstanding younger-generation musicians of the famous Maihar gharana (or family style) of Allauddin Khan, who taught two musical giants of our time: Ravi Shankar (sitar) and Ali Akbar Khan (sarod). Since Taranath's instrument is sarod, it is impossible to escape the similarity between his style and that of Ali Akbar Khan.
Taranath plays the Raga Miyan ki Todi’, an exquisite 16th century composition by the Mughal Emperor Akbar's chief court musician Miyan Tansen (miyan being an Urdu term of endearment for a younger man.) This raga is rarely heard at concerts because it is supposed to only be played (and heard) in the early morning. Taranath's performance is both controlled and spontaneous, conveying all the power and mysticism of those early hours of dawn as well as gently awakening the soul to face another new day.
The instrument and ragas are not the only similarities in this disc: despite having a distinct, lyrical style, Majumdar is also a high-profile exponent of the same Maihar gharana. His Raga Basant Mukhari’ another morning raga, is a rare treat but the high point for me is Misra Mand’ based on a Rajasthani folk tune which has recently become very popular in North Indian classical music. Of the ten or so new Indian classical discs I've heard over t | | | | |