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Are you crazy about an artist and would like to highlight their work? Do you feel your life would have been incomplete without listening to some artists and songs? Do some songs make you fall in love with them to  such an extent that they never leave you? If your answer to any or all of these questions is yes and would like to contribute to this site, just drop us a message from the site homepage to join us.

 
Anmol Fankaar: An Ode to Our Immortal Artists

If we had to list the names and contribution of artistes that have enriched India’s unique, vast, diverse and rich cultural heritage, we would run out of space to record. They have indeed given us a treasure trove of poetry and music, dance and drama, crafts and art.

But unfortunately, most of these forms and the names that have enriched them seem to be covered with the dust of oblivion. Blame it on commercialization, low visibility, no recognition, lack of funds, less interest and limited efforts at creating awareness.

There is a lot to be discovered, rediscovered and appreciated – a need to transcend beyond populist hegemony. This website is one such attempt. With technology adding to the advantage, it is time to put aside all excuses and create a platform to showcase and document the work of artists from across the sub-continent. You can also do your bit by making available their contributions. Revive and protect the heritage that we are so proud of.
 
Swara Samrat – Ustad Ali Akbar Khan PDF Print E-mail

Swara Samrat – Ustad Ali Akbar Khan

Note: This article was compiled from several sources including The Hindu, The Times of India, The New York Times, and Wikipedia.

A Special Thank You Note: My many thanks to Aparna who helped clean and organize this aticle.

Ustad Ali Akbar Khan was born on April 14, 1922 in a family with a deep rooted pedigree in music. Like himself, his father Baba Allauddin Khan was a multi-instrumentalist.  Baba Saab is generally believed to be the founder of Maihar Gharana that is considered to be very similar to Hindustani classical music.  The sarodist Timir Baron, the flutist Pannalal Gosh, Pandit Ravi Shankar and Pandit Nikhil Banerjee, both prominent sitarists, were schooled in Maihar Gharana discipline.

Khan Saab was a virtuoso when it came to playing the sarod musical instrument.  He was a musician, a composer of several new classical ragas, he wrote music for a few films, he was a worldwide performer, and he was also an educator.  Khan Saab was bestowed with several honors during his brilliant career.  The Indian government named him a national treasure and honored him with Padma Vibhushan for his many achievements that enriched the field of classical music.

Khan Saab got his initial training in vocalization and playing various musical instruments from his father.  Under his father’s strict tutelage, Khan Saab used to practice several hours per day, sometimes as many as 18 hours in a given day.  The young Khan learned much from his father and eventually became a better instrumentalist than his father.  Even though Khan became an expert with many musical instruments, he concentrated on one in particular, the sarod.

Khan Saab perfected playing the sarod, a sonorous, steel-clad, 25 metal string instrument, of which ten are generally plucked with a coconut shell plectrum while the remaining 15 resonate sympathetically.  The instrument is of the lute family and Ustad created his musical compositions based partly on the ragas.  Mastery of the ragas gave him the ability to improvise his music based on many different scales.  He added his own brand of inflection and feeling by the permutations of these scales to come up with his own style of enduringly enjoyable music.

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Usha Timothy ji in an exclusive for Anmol Fankaar PDF Print E-mail
Shishir Krishna Sharma ji recently visited yesteryear singer Usha Timothy ji exclusively for anmolfankaar.com to discuss about her
songs, experiences and work. Thanks a lot to Usha ji for consenting to meet us and Shishir ji for making it possible. Usha ji talked
at length about her career. Details of the lovely evening are presented below.

Usha Timothy Today
Usha Timothy's name is not unfamiliar for ardent hindi film music lovers.It is generally believed that She was discovered by
composer duo Kalyanji-Anandji who made her first sing the song "Tu Raat Khadi Thi Chhat Pe" for the movie "Himalay Ki God Mein"
in 1964. This is not the truth though. In actuality, even though she was discovered by the duo, it was composer Pt Shivram who
gave her the first break. The movie was Producer-Director Adarsh's 1962 movie Durga Pooja, in which She sang a Sanskrit Shlok
of sixty lines!Usha Timothy was only 13 years old at the time. Her duet with Rafi, "Tu Raat Khadi Thi Chhat Pe" was actually her
second recorded song which became quite popular in those days.
Usha ji was born in a respectable Christian family of Nagpur, where her father used to work for the CBI. Recently, when we met her,
Usha ji told us that, "My family always had a strong inclination towards music which is the case even today. My elder brother Madhusudan
Timothy is a well known violinist of All India Radio and my cousin brother Vasant Timothy used to teach music at the Khairagarh University
in MP. Vasant was a famous violinist in his own right. In such an environment my inclination towards music was but natural. I used to love
listening to songs of Rafi sahab and Lata ji from childhood on the radio, singing along, although I had not yet begun my formal music training".
Usha Timothy with Rafi
 
गीतों में गड़बड़ियाँ PDF Print E-mail
सन 1955 में बनी कारदार प्रोडक्शन्स की फिल्म 'बाप रे बाप' का किशोर कुमार और आशा भोंसले का गाया एक मशहूर दोगाना था "पिया पिया पिया मोरा जिया पुकारे' जिसके गीतकार थे जाँनिसार अख्तर और संगीतकार ओपी नय्यर. रेकार्डिंग के दौरान इस गीत के दूसरे अंतरे में किशोर कुमार को अपनी पंक्तियाँ, 'ये रुत मनभाती ये दिन मदमाते...' दोहरानी थीं जिसके बाद आलाप के साथ आशा की पंक्तियाँ थीं, 'मेरे पिया झूमे जिया...' किन्तु गलती से आशा ने किशोर कुमार के पंक्तियाँ दोहराने से पहले ही आलाप ले लिया। किशोर कुमार ने उन्हें आगे गाते रहने का इशारा किया। चूँकि फिल्म के नायक वही थे इसलिए परदे पर इस आलाप के समय नायिका चाँद उस्मानी के मुँह पर हाथ रखकर उन्होंने इस गलती को अभिनय का ही हिस्सा बना लिया । इण्टरव्यू और कार्यक्रमों के दौरान किशोर कुमार और आशा अक्सर इस बात का ज़िक्र करते आए हैं । एच एम वी के टेप कलेक्शन 'द एवर वर्सटाइल आशा भोंसले' के चौथे और आखिरी टेप पर भी आशा ने इसका ज़िक्र किया है।
इसी तरह की गलती फिल्म भंवरा के  बेहतरीन दोगाने "क्या हमने बिगाड़ा है" के आखिर में सहगल साहब द्वारा भी की गई थी। इसमें गायिका अमीरबाई कर्नाटकी की लाइन "तुम हमें अपना बनाते हो" के  दूसरी बार गाने के  समय सहगल अपनी लाइन  "क्या हमने बिगाड़ा है" का "क्या" गाते गाते रुक जाते हैं और अमीरबाई के पंक्ति खत्म करने के बाद उसे सही जगह पर गाते हैं।
 

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