Ustad Amjad Ali Khan - Moksha

Posted By MiOd On Monday, May 13, 2013 Under
"There is no essential difference between classical and popular music. Music is music. I want to communicate with the listener who finds Indian classical music remote." Amjad Ali Khan
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Moksha is something of an odd affair as far as Ustad Amjad Ali Khan's work is concerned. Though Khan -- the reigning master of the sarod -- is usually more of a traditionalist, this album has eight short tracks rather than one or two long ones. Here, he's pumping out short, fresh compositions based on a set of lesser-known ragas and/or folk music from Bengal. Despite the lack of the long contemplative alaps that are so great, the compositions are still worth hearing. What listeners do get to hear on the album is a set of sparser mood pieces that can still be expressive in their brevity, and a nice showcase of Khan's athleticism on the sarod. The sound moves from light, positive aesthetics through more reflective moods and back. Overall, it's a nice album for newcomers, but a little overly light for those already attuned to Indian classical music. ~ Adam Greenberg, All Music Guide

Moksha is a gem of an album. We have one of the most revered masters of the sarod -- a stringed instrument somewhat smaller than a sitar and derived from the Afghan rubab -- making his music greatly more accessible to audiences outside India not by fusing the music with rock or entertaining other combinations but by the simple expedience of playing shorter ragas (mostly around six or seven minutes long).

The result is pacy, immediate and compelling music driven by a wonderful tabla accompaniment supplied by Rashid Mustafa and defined by Amjad Ali Khan's staccato attack on the Sarod's neck -- for which he is famous. Amjad Ali Khan recalls that his father never played ragas for longer than 20 minutes to avoid repetition and he defends his use of shorter pieces as being complete in themselves.

Songlines memorably called Amjad Ali Khan, "One of the 20th century's greatest master of the sarod..." and the story of the instrument is impossible to retell without relating the history of this musician's family, who are largely responsible for the importation, development and popularity of the instrument in India today.

"This album gives the listener a variety of ragas, including some folk music from two beautiful states of India -- West Bengal and Himachal Pradesh," says Amjad Ali Khan of these eight original compositions. Interestingly, despite composing all the ragas, on two of the tracks, the sarod is played by one of his two sons, Amaan and Ayaan Ali Bangash.

The album ends with the title track, 'Moksha', named after the moment described in Hindu theology when the individual becomes free of the cycle of reincarnation and joins the Supreme Being. This relatively extended raga features the great sarod master singing for the first time on record and marks a fitting end to a series of pieces of music that effectively capture a wide and compelling range of emotions expressed through wonderful compositions.

(01). Sandhya
(02). Vignaraja
(03). Calcutta City
(04). Ebaadat
(05). Maa Durga
(06). Atma
(07). Himaalaya
(08). Mokasha

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Apee (EAC Rip): 430 MB | MP3 - 320 kbs: 190 MB | Booklet Scans

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps


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