Ustad habibuddin khan biography of martin cruz
; Laliyana/Farukhabad tradition
One of the undisputed masters of the 20th century, Thirakwa became a legend in his own lifetime.Ustad habibuddin khan biography of martin This school was founded in the 19th century by Miru Khan and Kallu Khan, disciples of Shitab Khan of the Delhi gharana, in Ajrara, Uttar Pradesh. A notable representative of gharana has been Ustad Habibuddin Khan. Manju Khan Sahib, son and student of Ustad Habibuddin Khan Sahib.
The first player to be honoured with prestigious government awards, and the first player to be filmed playing solo in (the picture at left is a still from that film), Thirkawa did much to change society's view of what it was to be a tabla artist and not just artisan (to use Daniel Neuman's distinction). In this clip from a solo recorded by Jnan Prakash Ghosh in Calcutta in , Thirakwa plays a gat he made famous, and which he likely composed (although there are other versions that are claimed to be older).
Even though the recording lacks a good deal of clarity, one senses both the humour and the drama in his playing.
Abdul Sattar Khan "Tari"
&#;; Punjab tradition
Hailing from a traditional Rababi family (musicians employed in the Sikh temples of Punjab), Tari Khan learned under Shaukat Hussain Khan in Lahore and became famous as the accompanist of the ghazal singer Ghulam Ali (his "Chupke Chupke" was a major hit back in the early s).
Tari always provided an exquisite accompaniment: clean, crisp thekas with astonishingly quick and interesting laggis to punctuate the verses. Because of that international exposure, musicians in India got to hear of him at a time when little cultural news escaped from Pakistan, and most were impressed with this show of virtuosity.
Since then, Tari has gone on to international fame as a tabla showman. His "International Kaherva" was a popular item (a musical journey round the world that incorporated other musical styles into the basic kaherva pattern).
Ustad habibuddin khan biography of martin short Some of the well known players of Ajrara Gharana were Ustad Habibuddin Khan, Ut Ahmed Jan Thirakwa, Ustad Amir Hussain Khan and Shaikh Dawood. They excelled in the creation of many rare and poetic compositions of Ajrada. Other representatives of this style were Manju Khan Sahib, Ustad Niazu Khan and Pt Sudhirkumar Saxena.I provide here not the international version but rather a more traditional kaherva/dadra sequence with laggis (fast variations based on the structure of the theka).
Afaq Hussain Khan
&#;90; Lucknow tradition
Afaq Hussain Khan, the son of Wajid Hussain, was my teacher and &#; despite my inherent bias &#; the greatest player I have ever heard play live.
He was widely acknowledged by musicians and connoisseurs as a true master: exceptionally knowledgeable, technically supreme, and inherently musical &#; a musician's musician! He played with clarity, sweetness, and a refined, balanced sound. Some would say that his approach to sound production was a philosophy in itself. All of his qualities are on display in this extract from a recording made by Jnan Prakash Ghosh in July These are the opening moments, as Afaq Hussain works his way into a classic peshkar.
?; Kothiwal/Lucknow tradition
Ballu Khan was a close cousin of Afaq Hussain, and a marvelous tabla player of the Lucknow gharana.
However, he himself always insisted that what distinguished him was his separate heritage from the Kothiwal gharana.
"Kothiwal" described the lineage of Modhu and Zahid Khan, two brothers who hailed from the Punjab but who migrated to Lucknow around directly from Jhajjar, just west of Delhi, where they had been in court service. It was this Modhu Khan who is said to have taught Ram Sahai, the apical figure of the Benares tabla gharana.
Interestingly, the tabla players of the Kothiwal lineage all became professional sarangi players around (See my book, The Tabla of Lucknow, 81, for details.) Ballu Khan learned from Chuttan Khan of the Lucknow gharana (see the section "About the Lucknow tabla gharana"). According to him, Chuttan Khan in turn had learned some tabla from members of the Kothiwal tradition, and thus Ballu Khan had actually inherited his family's distinctive repertoire and style.
Ustad habibuddin khan biography of martin luther The most notable representatives of this gharana has been Ustad Habibuddin Khan saheb and Ustad Niazu Khan saheb, Where Shri Mridangraj ji took talim and became ‘gandaa bandh shaagird ‘(disciple) of Ustad Niazu Khan saheb. Shri Mridangraj Ji is an extraordinarily skilled exponent of the Ajrada gharana.In this clip Ballu Khan plays an old Lucknow qaida, then turns it into a rela (which, in the Lucknow tradition, fills in the existing pattern with rapid bols). Ballu Khan maintained a strong practice schedule his whole life, and was a quick and technically masterful player.
; Ajrara tradition
Akram Khan represents the Ajrara tradition.
He learned first from Niyazu Khan of Meerut and then from his grandfather, Mohammad Shafi Khan, and his father Hashmat Ali Khan. In this excerpt from a demonstration of Ajrara compositions he plays a rela of Habibuddin Khan. The essence of this composition is the placement of the closed bol "tit" and its articulation with different finger techniques.
; Punjab tradition
Ustad Allarakha Khan was one of the most famous and widely recorded tabla players of the 20th century.
He moved from Lahore to Bombay in the late s and took full advantage of the opportunity to be in the public eye when Ravi Shankar retained him as his regular touring accompanist from around onwards.
Ustad habibuddin khan biography of martin lawrence
This school was founded in the 19th century by Miru Khan and Kallu Khan, disciples of Shitab Khan of the Delhi gharana, in Ajrara, Uttar Pradesh. A notable representative of gharana has been Ustad Habibuddin Khan.What he lacked in beauty of tone Allarakha more than made up for with the most magically intuitive and natural sense of rhythm &#; an ability to play ouside the beat while always remaining entirely cognizant of it. My sense is that this was a trait that was nurtured (or maybe released) in the spotlight, where he often found himself with Ravi Shankar by his side counting and clapping along for the benefit of the audience.
The excerpt offered here, however, is from a much earlier recording in jhaptal (10 counts) in which Allarakha plays his own qaida composition with variations: a theme he played often, and one which he adapted to fit many different tals (dha tira kita taka tira kita dha tira kita taka tira kita dha ti dha ge dhi na ge na, etc.).