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Raga Shyam Kalyan (Alap)

from Kushal by Ustad Shahid Parvez

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about

Shyam Kalyan takes five notes in the ascent and seven in the descent (both the flat and sharp varieties of ‘ma’ figure in it), with the descent having zig-zag phrases. According to the time classification of ragas, Shyam Kalyan is sung in the first watch of the night. Picture the receding colours of the evening sky as the sun sets, and the dome of night covering the earth within a tranquil world of serenity, leading to a mood of calm introspection. Amidst the encircling darkness, man’s multifarious activities slow down and a mood of resignation and languor sets in.
Shahid Parvez etches the lineaments of the raga with mellifluous strokes of assurance and poise. Each phrase of his touches a raga facet that reveals the identity of the whole to the conditioned ear. The pulsation of gliding notes (meend) and soulful raga phrases take us from the lower ranges to the upper octave. The artiste’s approach reveals purity of style and pulchritude of playing. The slow tempo raga delineation preserves the unhurried and languid mood of the raga. The final picture that one’s gets is not only that of a raga but also that of the masterly style of an introspective musical genius. The unhurried raga essay is followed by acceleration in the melodically denser musical progression consisting of note permutations (called jhod). Shahid Parvez throws in interesting combinations, contrasts of thick and thin and quivering phrases. In the finale, the artist refers constantly to the drone pitch by strumming the rhythm strings and enters into a phase of rapid pulsation through pluck playing. This is akin to a cloudburst of notes, a shower of musical phrases. The melodic and rhythmic mastery of the player is evident in this tour de force.
The second track sees Shahid Pervez playing a composition to the 16-beat ‘teen taal’ rhythm cycle. It begins in the slow tempo (vilambit) and proceeds to the fast tempo (drut). As the melody artiste starts his composition, the tablist joins him on the ‘sam’(count ‘one’ of tala cycle). The sitar and tabla alternate once a while in their role of primacy: while the sitarist improvises the tabla player plays uniform drumming patterns or while the drummer makes improvisatory forays the sitarist plays the composition straight. The interaction between percussive patterns and melodic permutations -- for the composition quickly yields to improvisation -- yields startling musical ideas. The drummer (tabla - Sanka Chatterjee) shows artistic empathy and tunes in with alacrity to the intentions of the main performer and reveals his mastery of rhythm technique.

Shahid Parvez is vintage Hindusthani music...the undiluted version. Here you have him in prismatic colours of mood, melody, rhythm and intensity.

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from Kushal, released November 3, 2022

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INDIAN CLASSICAL SITAR Kolkata, India

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