Bābā Jai Gẖar Karṯe Kīraṯ Hoe
While this Guru Nanak shabad is often recited, especially in evening prayers, I have not heard it sung much. I composed this in a simple Raag Asa tune a few years ago and this year is the first time I published a studio recording of this shabad. I hope you enjoy it, immerse into it, and share it with your minds and hearts as I have.
Featuring Ahsan Ali on Sarangi and Background Vocals
I am excited that this is first of many recordings that I am releasing which will feature Ustad Ahsan Ali, one of the leading Sarangi players from North India. Ahsan Bhai, a seventh generation musician from the Kirana Gharana, is not just a sarangi player and vocalist with intimate knowledge of Indian ragas, who has traveled worldwide and performed live at prestigious locales, he is an amazing composer with a great ear and penmanship for western harmonies and has composed music for Sardool Sikandar ji and Abida Parveen ji.
A note on the raag – Raag Asa
Raag Asa is named because of the feelings of “hope” it exudes; some suggest that it was created by Guru Nanak during his travels to a region called “Asa”. Compared to other raags in Hindustani classical music it is a relatively new raag – approximately 500 years ago. Therefore the versions of raag Asa have not been codified by musicologists; perhaps I will do it sometime. Unlike other raags which generally have one time for singing during the day or night, Asa has two. In general there are two major forms of the raag – one that includes komal Ni and one that does not include a komal Ni. From what I have heard from researchers at the Patiala university, the Asa version that has the komal Ni (like the one in this shabad) is sung in the evening time. Komal Ni is generally not used in the version that is sung in the morning.
In this shabad, while the melody adheres to Raag Asa, the instrumentalists took liberties to go beyond the scope of the raag. Historically I would have not included tracks that did not adhere to the pure raag, but as I mentioned in a recent interview, I have been more accepting of deviations as long as the general mood of the shabad remains unchanged. For the vocalist at one point sings “Re Ga Ma Ga” as part of the background music – that is not allowed in Raag Asa but I still included it in this recording. Acceptance within the hukam is often liberating I have realized. Free Ringtone:
ਰਾਗੁ ਆਸਾ ਮਹਲਾ੧ ॥
Reflection (June 2017)
And Six the houses of wisdom
Even though appearances differ
the teacher of all teachers
Several Indian intellectual traditions were codified during the medieval period into a standard list of six orthodox systems or ṣaḍdarśanas (literally “good views”). The credit for codifying these “visions” is generally given to six different Gurus or Rishis as mentioned below:
- Nyāyá, the school of logic, codified by Rishi Gautam
- Vaiśeṣika, the atomist school, codified by Rishi Kashyapa
- Sāṃkhya, the enumeration school, codified by Rishi Kapila
- Yoga, codified by Patañjali
- Mimāṃsā, the tradition of Vedic exegesis, codified by Rishi Jaimini
- Vedanta, codified by Rishi Vyasa