#darbarfestival | Kushal Das brings extraordinary melodic phrasing and lightning-quick note flurries to Bhimpalasi, flowing over Satyajit Talwalkar’s superb tabla.
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If a few brief minutes of Kushal & Satyajit aren't enough…watch their full 50-minute performance of Raag Bhimpalasi in pristine HD on the Darbar Player, along with dozens of other captivating concerts: [ Ссылка ]...

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Kushal Das is equally adept on the sitar and its larger ancestor, the surbahar. His learning started in the family, a varied group of Maihar gharana musicians. His grandfather played the esraj, his uncle trained under sarod great Ali Akbar Khan, and his father was a sitarist who received instruction from Ravi Shankar. But his training was atypical in some ways - his family never pressured him to take up classical music, letting him play through film songs to acquaint himself with the techniques. However he soon realised his calling, and worked hard to capture the nuances of his idols - Vilayat Khan, Nikhil Banerjee, and Ravi Shankar. Kushal uses a first-hand understanding of vocal music to expand the mellifluous phrasings of his string playing, bending patiently around both his instruments in a gharana-blending style. Hear more of him here:
-Jog (surbahar) | [ Ссылка ]...
-Shuddh Basant (sitar) | [ Ссылка ]...
-North Meets South | [ Ссылка ]...

Bhimpalasi is an afternoon raga, said to evoke sringara [attraction, romantic love]. It uses the notes of Kafi thaat, with an aroha [ascent] of nSgmPnS and an avroh [descent] of SnDPmgRS. Characteristically, Dha and Re only appear in the descending line, and tend to be approached from the notes immediately above. Ma is the vadi [king note]. It is similar in shape to the Western Dorian mode, and the closest Carnatic raga is Abheri. Hear a playlist of Bhimpalasi performances here: [ Ссылка ]...

Recorded for Darbar 2010, at London’s Southbank Centre
-Kushal Das (sitar)
-Satyajit Talwalkar (tabla)

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