T.M.Krishna at Palakkad
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Thanks for those links, sangeethsagar. Interesting to see TMK return the violinist's swaras in this video (and he does it immaculately): http://www.youtube.com/watch?v=45IzUv_H-bg
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Excellent recording...tmk certainly brings a charisma to the concert.
Small lapse in talam before going to charanam but we can ignore that. Swaram with replies to the violin is very innovative & interesting.
Srinivasrgvn....i also like sanjays kamboji a lot. The only kriti im tired of (slightly) is O rangasayee. I wish people would sing Evari Matta more often. DKP schools rendition of Sri Subramanyaya namaste is out of the world.
Small lapse in talam before going to charanam but we can ignore that. Swaram with replies to the violin is very innovative & interesting.
Srinivasrgvn....i also like sanjays kamboji a lot. The only kriti im tired of (slightly) is O rangasayee. I wish people would sing Evari Matta more often. DKP schools rendition of Sri Subramanyaya namaste is out of the world.
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Personally , for me, nothing equivalent to HMV album of Maa Jaanaki by MMI. His swara patterns were woven so gracefully.
I guess here TMK used this song as his usual starter to show the quick swaras. In that sense it is a different treatment.
Personally I now like Thiruvadi saranam (Unni, Sanjay, by anyone with neraval), Rasa vilasa (Sanjay), padasa (Maharajapuram) and subrammanyaya namasthe (DKP school) . MOst kamboji songs are sung so often in concerts that everything will be boring for sometime.
I guess here TMK used this song as his usual starter to show the quick swaras. In that sense it is a different treatment.
Personally I now like Thiruvadi saranam (Unni, Sanjay, by anyone with neraval), Rasa vilasa (Sanjay), padasa (Maharajapuram) and subrammanyaya namasthe (DKP school) . MOst kamboji songs are sung so often in concerts that everything will be boring for sometime.
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Is "Padasa" the swathi tirunal composition? I remember hearing about the brilliant usage of swaraksham in the keertanam but i have never heard itrajaglan wrote:Personally , for me, nothing equivalent to HMV album of Maa Jaanaki by MMI. His swara patterns were woven so gracefully.
I guess here TMK used this song as his usual starter to show the quick swaras. In that sense it is a different treatment.
Personally I now like Thiruvadi saranam (Unni, Sanjay, by anyone with neraval), Rasa vilasa (Sanjay), padasa (Maharajapuram) and subrammanyaya namasthe (DKP school) . MOst kamboji songs are sung so often in concerts that everything will be boring for sometime.

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While reminiscing some of the best yesteryear Kamboji -
Evarimata - Ariyakudi Ramanuja Iyengar
Mari Mari Ninne or Koniyadina Napai - by Alathur Brothers
Raga alapana of GNB before his pallavi - Thillai Esanai Kaana Enna
(shades of that vintage Kamboji are also present in the film song from Sakunthalai - Enai Marandhu .....)
Bala Vinave (Kshetregna padam) - T. Viswanathan
Adiyoga - (Kshtregna padam) - T. Brinda
Samashti charanam rendition of DKJ of Kasi Visweswara - Bhuvana ....
Evarimata - Ariyakudi Ramanuja Iyengar
Mari Mari Ninne or Koniyadina Napai - by Alathur Brothers
Raga alapana of GNB before his pallavi - Thillai Esanai Kaana Enna
(shades of that vintage Kamboji are also present in the film song from Sakunthalai - Enai Marandhu .....)
Bala Vinave (Kshetregna padam) - T. Viswanathan
Adiyoga - (Kshtregna padam) - T. Brinda
Samashti charanam rendition of DKJ of Kasi Visweswara - Bhuvana ....
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Music today release of Maharajapuram , His master voice series 1 has Padasanti as the main piece. It is ST composition.Rasika911 wrote:Is "Padasa" the swathi tirunal composition? I remember hearing about the brilliant usage of swaraksham in the keertanam but i have never heard itrajaglan wrote:Personally , for me, nothing equivalent to HMV album of Maa Jaanaki by MMI. His swara patterns were woven so gracefully.
I guess here TMK used this song as his usual starter to show the quick swaras. In that sense it is a different treatment.
Personally I now like Thiruvadi saranam (Unni, Sanjay, by anyone with neraval), Rasa vilasa (Sanjay), padasa (Maharajapuram) and subrammanyaya namasthe (DKP school) . MOst kamboji songs are sung so often in concerts that everything will be boring for sometime.
This is only 16 minutes song but a 16 minutes of peaceful rendering. Once you hear this , it is difficult to listen to others
singing the same song. This record is also suggested in carnatic music starters reference along with an old Ramanad
Krishnan's album for beginers to understand CM.
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What I have are 49,48 and a 20min verions of subrammanyaya namasthe by MMI. They are I guess are live concerts and recording is not all that great. I Donot have the AIR version which must have be good in audio. Can you tell me where it is or upload for me. Thank you.vmr wrote:To add to the above list ....Madurai Mani iyer's rendering of Sri Subramanyaya namaste in one of the AIR recordings..... ( This is a real masterpiece)
Last edited by rajaglan on 05 Oct 2009, 22:53, edited 1 time in total.
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Rasika911 wrote:Excellent recording...tmk certainly brings a charisma to the concert.
Small lapse in talam before going to charanam but we can ignore that. Swaram with replies to the violin is very innovative & interesting.
Srinivasrgvn....i also like sanjays kamboji a lot. The only kriti im tired of (slightly) is O rangasayee. I wish people would sing Evari Matta more often. DKP schools rendition of Sri Subramanyaya namaste is out of the world.
Sanjay's kamboji alapana in MA this year was out of the world, great manodharma.
Though I felt during the song he got tired, I may be wrong here. TMK's O rangasayee album is also
great, neraval is excellent. And for Hamirkalyani, DKP school is also the best, especially Vijay Siva.
Last edited by rajaglan on 05 Oct 2009, 22:59, edited 1 time in total.
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Sanjay does sing a very good kamboji, he is very much influenced by GNB so one would expect thatrajaglan wrote: Sanjay's kamboji alapana in MA this year was out of the world, great manodharma.
Though I felt during the song he got tired, I may be wrong here. TMK's O rangasayee album is also
great, neraval is excellent. And for Hamirkalyani, DKP school is also the best, especially Vijay Siva.

TMK has sung kana kan koti in a commercial album "Papanasam Sivan Krithis" - very nice rendering.
I also remember a memorable alapana by vijay siva before maragathavallim.
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Am not sure if I am missing something in that mAjAnaki - failing to see (hear) what others are seeing (hearing) maybe. Generally, I look forward to his AlApanais more than his krthi renditions. Feel krthis are safer in certain other artists' hands. Guess he has altered his vocal technique to expand his reach (into the tAra and mandhara sthAyis), resulting in a lot of nasal twang even at the tAra shadjam. Wonder if that is being faithful to the pitAmaha - but his twang was due to other reasons!
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Sanjays kamboji was pretty good but for some reason it wasnt extrodinary for me. Maybe if you had listened to TMK's academy concert the previous year where he sang "mari mari ninne" you might feel the same. That was very very special. Wont forget that in a long time.rajaglan wrote:
Sanjay's kamboji alapana in MA this year was out of the world, great manodharma.
Though I felt during the song he got tired, I may be wrong here.
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It is there in the DKJ Dikshitar lecdem (sangeethapriya) where he sings this charanam. DKJ sings this so much verve, with all the curves and bends of the Dikhitar krithi and finally when ends with "Sivagurugha Chitsabha pathe" is almost like hitting a sixer.prashant wrote:Is a recording of this rendition available?annamalai wrote: Samashti charanam rendition of DKJ of Kasi Visweswara - Bhuvana ....
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Couldn't agree with you more inconsequential!!!
TMK's rendition of Maa Janaki was so-so & surely the grandeur of Kambhodi was missing here. Ragas like Kambhodi and Bhairavi command a 'non-madhyamakalam' approach, the only exceptions that i could think of are MMI's Maa Janaki or MDR's Upacharamu in Bhairavi, which managed to capture the grandeur of these ragas even in a Madhyamakala. And how come there was no mention of the great KVN for Kambhodi(Rasa vilasa, Sri Subramanyaya Namaste, Evari Matta........)
What about Arun Prakash's Mrudangam? Somebody please tell me, if it is my ear that has a problem, coz his Chapu sounds odd!!! And during Kalpanaswarams, he was playing parallelly without any adherence to TMK's kalpana structure!!!
TMK's rendition of Maa Janaki was so-so & surely the grandeur of Kambhodi was missing here. Ragas like Kambhodi and Bhairavi command a 'non-madhyamakalam' approach, the only exceptions that i could think of are MMI's Maa Janaki or MDR's Upacharamu in Bhairavi, which managed to capture the grandeur of these ragas even in a Madhyamakala. And how come there was no mention of the great KVN for Kambhodi(Rasa vilasa, Sri Subramanyaya Namaste, Evari Matta........)
What about Arun Prakash's Mrudangam? Somebody please tell me, if it is my ear that has a problem, coz his Chapu sounds odd!!! And during Kalpanaswarams, he was playing parallelly without any adherence to TMK's kalpana structure!!!
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Ragas have scope for various kinds of exposition. Thyagaraja has composed several madhyamakala compositions in ragas like Thodi (eg Raju veddala) or Kambhoji (Ma Janaki) along side his other slower gems like kadanavariki and o rangasayi. One can also compare the contrasting feel to the darbar krithis yochana and mundu venuka. There is even Nee Bhajana (Nayaki) in what is a heavy gamaka-laden raga. Similarly we can also compare Dikshitar's Vasanta pieces Ramachandra Bhavayami and hariharaputram.kadambam wrote:Ragas like Kambhodi and Bhairavi command a 'non-madhyamakalam' approach
The madhyamakala compositions give another perspective to the raga. On the flip side, there is probably scope to create vilambita kala krithis in ragas such as Nattai or Nalinakanti!
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Thyagaraja has compose "Ninne Bhajana" in Nattai- its a vilambakala krithi with some rare unusual sangathis.mohan wrote: The madhyamakala compositions give another perspective to the raga. On the flip side, there is probably scope to create vilambita kala krithis in ragas such as Nattai or Nalinakanti!
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Made a mistake on the krithi - it's nI bhajana, not ninnE bhajana.
Anyway, here's nI bhajana by MDR - TNK - VR:
http://www.sendspace.com/file/8rm6zf
Anyway, here's nI bhajana by MDR - TNK - VR:
http://www.sendspace.com/file/8rm6zf
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Full votes for u'r selection.annamalai wrote:While reminiscing some of the best yesteryear Kamboji -
Evarimata - Ariyakudi Ramanuja Iyengar
Mari Mari Ninne or Koniyadina Napai - by Alathur Brothers
Raga alapana of GNB before his pallavi - Thillai Esanai Kaana Enna
(shades of that vintage Kamboji are also present in the film song from Sakunthalai - Enai Marandhu .....)
Samashti charanam rendition of DKJ of Kasi Visweswara - Bhuvana ....
Can anyone provide link to full DKJ's rendition of Kasi........................
Love to hear the full song by DKJ or any other singer.
I 've heard a bit in his Deekshitar's Demo.................bhuvana bharana pashupathe................chitsabhApathe..................kashi
Last edited by vs_manjunath on 08 Oct 2009, 13:50, edited 1 time in total.
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Y day SHRUTHI( B'lore) had broadcasted niNe bhajana sung by TSI.Rasika911 wrote:Thyagaraja has compose "Ninne Bhajana" in Nattai- its a vilambakala krithi with some rare unusual sangathis.mohan wrote: The madhyamakala compositions give another perspective to the raga. On the flip side, there is probably scope to create vilambita kala krithis in ragas such as Nattai or Nalinakanti!
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bilahari wrote:Made a mistake on the krithi - it's nI bhajana, not ninnE bhajana.
Anyway, here's nI bhajana by MDR - TNK - VR:
http://www.sendspace.com/file/8rm6zf
Here's a sedate Ninne Bhajana by MDR - http://www.mediafire.com/?sharekey=aa9a ... 49b5870170