Bismillah Khan - D/ELRZ 4 - Condition - 80-85% - LP Record

Ustad Bismillah Khan (Urdu: استاد بسم اللہ خان صاحب‎; March 21, 1916 – August 21, 2006) was an Indian shehnai maestro. He was the third classical musician to be awarded the Bharat Ratna (in 2001), the highest civilian honour in India and gained worldwide acclaim for playing the shehnai for more than eight decades.
Record Details
Title Bismillah Khan - D/ELRZ 4
Artists Bismillah Khan
Shehnai Bismillah Khan
Instrument Shehnai
Releasing Year  1969
Genre Indian Classical (Instrumental)
Language Hindi
Label Regal Firsyt Pressing
Made In India
Manufacture The Gramophone Company Of India Limited
Serial No. D/ELRZ 4
Side One
  • Raga Lalat 
Lalit is a very popular and pleasing six-note Raga which omits the Pancham. The notes used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dha and Tivra Ni, This is one of the few Ragas in which the two Madhyamas occur side by side. The Suddha Ma is kept more elongated than prati Ma and in theascent Ni is recessive. A nocturne, the melody is sung from midnight to early morning. 
  • Raga Todi
Todi usees all the seven notes though is some variants the Pancham is omitted in the ascent. The use of very soft and oscillated Ga and of phrases which come to rest on Pa which is otherwise sparingly used are disinctive of this Raga. Ideal for a grave meditation, Todi is morning melody.
  • Raga Ahir Bhairav
A blend of Bhairav and Ahiri, the latter being a mode which was escalated to classical status from the folk tradition like Pahadi, this Raga, usually sung during the early hours of the day, uses all the seven notes of the scales. The notes used are Komal Ri, Tivra Ga, Suddha Ma, Tivra Dha and Komal Ni.
  • Raga Jaunpuri
This day-time Raga uses all the seven notes in the descent, but omits Ga in the ascent. The notes used are Tivra Ri, Komal Ga, Suddha ma, Komal Dha And Komal Ni, This northern Raga has become very popular in the South.
  • Raga Hamsa Narayani
This Raga occurs in two variant forms, both being grave evening melodies. the type belonging to the Marwa That uses all the seven notes in the descent but omits Dha and Ni in the ascent. The Poorvi That variant is a six note melody omitting Dha altogether.
  • Raga Suddha Sarang
When Bhatkhande wrote his treatise, this was a rare Raga, but it has become increasingly popular since his days. It omits Ga and Ni in the ascent, Ga in the descent. Lingered rests on Ri and Ni and the acceieration of Dha Ma in the phrase Ni Dha Ma Pa are characteristic of this day-time melody.
Side Two
  • Raga Basant Bahar
This is a blend of Basant, the mode associatd with the spring season, and Bahar. One variant uses the scale Basant for ascent and of Bahar for descent; another reverses the pattern. But even this distinction is not always maintained.
  • Raga Multani
Sung during the last hours of the day, this Raga has a tender and amorous flavour. It uses all the seven notes though Ri and Dha are omitted in the ascent. The notes used are Komal Ri, Komal Ga, Prati Ma, Komal Dha and Tivra Ni.
  • Raga Tilak Kamod
This nocturnal melody uses all the notes, though Dha is omitted in the ascent. The notes used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dha and Tivra Ni. Convoluted arabesques (Vakra sancharas) are characteristic of this mode, in both ascent and descent.
  • Raga Maru Behag
A comparatively recent addition to the classical repertory, this nocturnal raga, said to have been created by the late Ustad Allauddin Khan of Bombay, is a combination of Behag in ascent and Kalyan in descent. It uses all the notes though Ri and Dha are dropped in the ascent. The notes used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dha and Tivra Ni.
  • Raga Bageshree
One of the most pleasing night-time melodies of the classical tradition, this Raga uses Tivra Ri, Komal Ga, Suddha Ma, Tivra Dha and Koma Ni. It appears in full-scale and sixnote variants, but in both in both the Vadi is Ma and Samvadi is Sa.
  • Raga Malkauns
One of the oldest melodies of the indian tradition, this is five-note Raga which omits Ri and Pa. The notes used are all Komal variants. A nocturnal melody. It is distinguished by the beautiful swinging glides on Ga, Ni and Dha.
Specification
Size 12 Inches
Speed 33 RPM
Record Condtion 80-85%
Cover Condition Excellent
Artist
Artist - 1 Bismillah Khan
Record Details
Genre Indian Classical (Instrumental)
Label Regal
Language Hindi
Releasing Year 1969
Size 12 Inches
Speed 33 RPM
Songs
Side1 - Song1 Raga Lalat
Side1 - Song2 Raga Todi
Side1 - Song3 Raga Ahir Bhairav
Side1 - Song4 Raga Jaunpuri
Side1 - Song5 Raga Hamsa Narayani
Side1 - Song6 Raga Suddha Sarang
Side2 - Song1 Raga Basant Bahar
Side2 - Song2 Raga Multani
Side2 - Song3 Raga Tilak Kamod
Side2 - Song4 Raga Maru Behag
Side2 - Song5 Raga Bageshree
Side2 - Song6 Raga Malkauns

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Bismillah Khan - D/ELRZ 4 - Condition - 80-85% - LP Record

  • Rs.1,500.00

  • Ex Tax: Rs.1,500.00

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Tags: bismillah, khan, d/elrz, indian, classical