Bilawal
Har Ke Naam Bina Dukh Paveh
Har Ke Naam Bina Dukh Paveh - Bhai Avtar Singh
Bolo bhaiya ram nam - Principal Dyal Singh
Bolo Bhaiya Ram Nam - Bhai Nirmal Singh
Bolo Bhaiya Ram Nam - Bhai Avtar Singh
Das tere ki benti
Sewak Kai Bharpoor Jug Jug - Bibi Harmeet Kaur
Right-click >Dhiro Dekh Tumhare Ranga - Bhai Nitendar Singh
Dhiro Dekh Tumhare Ranga - Principal Dyal Singh
Mohan nind na aaveh
Mohan neend na aavai havai
Barse megh sakhi - Gurmit Singh Shant
Simar Manaa Raam Naam - Shivpreet Singh
Mai Naahi Prabh Sabh Kich Tera - Dr. Gurnam Singh
Saant Paai Gur Satgur Poorey Raag - Bhai Avtar Singh
Kavan Sanjog Milo Prabh Apne - Bhai Balbir Singh
Shaant Pai - Bhai Avtar Singh (Dhrupad)
(Prabh Ji) Tu Mere Pran Adhaar - Bhai Avtar Singh
Jagat Jalanda Rakh Lai Apnee Kirpa Dhaar - Dr. Gurnam Singh

Bilawal Dakhni
Mundra Naveladia Koyal Aai Raam - Dr. Gurnam Singh

Bilawal Gaund
Aaj Nav Main Beethal Dekheya - Dr. Gurnam Singh

Bilawal Mangal
Mera Har Prabh Sejai Aaya - Dr. Gurnam Singh

Sree is quite a tough raag to sing because of awkward jumps in the aaroh. Fortunately for us, several contemporary keertaniyas have spent ample time perfecting Sree. As a result, despite the rarity of Sree in live kirtan programs, there are several good recordings of Sree shabads. Bhai Sarabjit Singh's rendition of Raag Sree Raag live at the Darbar Sahib is quite magnificient in my opinion; one of the masterpieces of our generation. Principal Baldev Singh's 'Tohi Mohi' and Bhai Gurmeet Singh Shaant's 'Raja Raam' are quite exceptional as well. Bibi Ashupreet has definitely outdone Bibi Geeta Kaur's original recording of 'Rang Ratta,' in her new album 'Prem Lago Har Teer.'



For more shabads in Sree click here.

After having listened to more than a dozen compositions since the Hemkunt competition last week, I am still at a loss to find one bandish that has a lasting impact. The two compositions that I am posting as my favorites are really a compromise. I like Bhai Amarjit Singh's riyaaz perfected voice, however, I like Bhai Avtar Singh's composition in the following renditions:



I hope to add to this list as I get more bandishes. I have started a bandish for Guru Arjan Dev's Eko Ekankara, which I will likely take 2 or 3 years to record and publish here.

For a compilation of Suhi shabads, see my previous post, Suhi at Hemkunt Foundation Competition

This memorial day weekend I was invited to judge a kirtan competition for the Hemkunt Foundation. This is their second year this competition was conducted and that I was judging young kirtaniyas. The organizers had selected an interesting set of raags for the competition: Sarang, Suhi and Sorath. Sarang, especially Vrindavani Sarang, is not a rarity among current kirtaniyas. However, despite their simplicity and beauty, Suhi and Sorath are forgotten raags, Suhi even more than Sorath. So I decided to do some research on existing Suhi compositions.

Because the majority of existing Suhi renditions are very similar to Alhaiya Bilawal, my research also included media in that raag. The following playlist includes Suhi and Alhaiya Bilawal compositions that I collected before the competition.



If you listen to these compositions, it is clear that there are two distinct forms of Suhi sung by recent and contemporary kirtaniyas. Although both seem to originate from bilawal, the most prevalent of the two stresses the vaadi note 'Pa.' Gyani Dyal Singh and his disciple Bhai Kanwarpal Singh, stress 'Ma' as the vaadi and the effect is just not the same. Next time I see Bhai Kanwarpal Singh I will ask him about the reason for the difference; however, at this point my conclusion from the collective set of media data is that 'Pa' should be the vaadi for Suhi.

In fact, in most compositions the use of "Ga Ma Pa Ni(Komal) Dha Pa," following a rest on vaadi 'Pa' is distinct to Suhi in gurmat sangeet. This is also a distinction of Alhaiya Bilawal making these raags very similar in their feel. "Sa Re Ga Ma, Re Ga Ma Pa" with a slide from Ma to Re reminds one of Bilawal, creating a minor differentiation between Alhaiya Bilawal and Suhi.

For classical Kirtan enthusiasts I highly encourage listening to Kishori Amonkar's rendition of Alhaiya Bilawal on youtube. In Chotti Teen taal (which also appears prominently among Suhi renditions), she uses only 6 notes to define the raag in her bandish. Simplicity of the composition and clarity of meends create an extraordinary atmosphere of tranquility. Just like a masterful Suhi, which is often sung in the hot season, this rendition has a cooling influence on the mind.

Yesterday Bhai Harpreet Singh sang a beautiful bandish in Raag Gond in Darbar Sahib. Luckily I was listening live and had my recording software ready. This is bhagat Namdev's shabad. It is difficult to hear Gond too often although it is a simple raag; so it was a pleasure to hear this rendition. I also include a bandish from Bhai Avtar Singh that I found on the web herewith:

I started singing this basant bandish in 2007. There are several available recordings of Phool Phool Phoolai. The idea was to build a new composition that highlighted the beauty of this shabads rhyme, which in my opinion is lost in most compositions. This year I put more emphasis on the last line, "Har Hare," an emphasis on which solidifies the thoughts in the rahao tuk.

Bihagra

Vadh Sukh Rainariye - Gurmeet Singh Shaant
Mithbolraa jee
Mithbolraa jee - Bhai Avtar Singh
Sa Rasna Dhan Dhan Hai -
At Preetam Man Mohana - Bhai Avtar Singh
Har Kee Gat Nah Kou Janai - Dr. Gurnam Singh
At Preetam Man Mohana - Bhai Balbir Singh