Vintage Gaansaraswati Kishori Amonkar -- Yamani Bilawal -- from Arun Dravid's Original Archives.

[@arundravid4352]

Please listen carefully to the pace ("Laya") of Rupak. Rupak is hardly played in such slow pace. But how beautifully it fits the mood of the Raag! She adjusted and readjusted it in the beginning!

[@devidasborkar2760]

Arun Dravid , simply divine ...tumche upkar. Even,just last few minutes of Ahliya Bilawal satisfies the sole so much. Thank you so much. Namaskar.

[@rbardapurkar]

Thank you for this beautiful piece. On a side note, did Tai ever sing Aao aaj baaje (Shukla Bilawal) in any concert? Is their a recording of it? Apart from Mogubai's 3-4 min recording of it, there's nothing available from either her or Kesarbai's lineage. :(

[@arundravid4352]

@@rbardapurkar By my reckoning, Tai never sang Aao Aaj Baaje Bajaye in a concert although she did teach it to me. You will find my concert recording of it under the Gharandaj Gayaki channel on KZbin. Just type "Arun Dravid Shukla Bilawal".

[@user-br8ip3em8l]

@@arundravid4352 One of the most beautiful Yamani Bilawals. Who is her sangat? Manik tai?

[@arundravid4352]

Yes, Manik Bhide.​@@user-br8ip3em8l

[@MichelGmusic]

Thank you Mister Dravid, for your unfailing devotion.

[@anirudhraghavan]

In the documentary Bhinna shadaj she mentions how she practiced only Bilawal for six years and Bhup for six months. Her hold over the Bilawals is unparalleled. There are several recordings of Yamani Bilawal on youtube, but this one is absolutely brilliant. its slow unfolding gives it a unique character. She sang Kavan Batariya so often and so many recordings exist. Each one different. Here she seems to be portraying the bhava of pleading, begging and requesting. In others she expresses the same bandish with more force and insistence.

[@thskendjeo134]

Thanks for the info. .... It may so happen that somebody reading this information follows what she did like practicing just bilwal and maybe their version too becomes siddha just like this yamani bilawal and then goes on to heal the sufferings of this world. Thinga are connected much beyond than we see or understand. Thanks for the information.

[@dilipbadwe8226]

Thanks arun for uploading this magnificent performance from Tai’s earlier years.

[@arundravid1]

Hello Dilip, Good to hear from you after so many years. Hope you are safe and well.

[@mohansinha1367]

You don't know how much help it will yield to the current and future generation.

[@rajibdoogar2311]

Thank you for posting these. As long as these exist and are played there is hope.

[@anandketkar2191]

Such a fresh Kishori - so much younger but her brilliance and excellence can never be disputed - so nice to be able to hear these early recordings -

[@sachinthakurdesai2386]

अप्रतिम....

[@arundravid4352]

The Vilambit bandish Prem Galiyana in Yamani Bilawal is followed by Paramparik Drut bandish in Alhaiya Bilawal.

[@findingnemo1112]

Means there are two Ragas in one dis video Yamani Bilawal and Alhaiya Bilawal?

[@arundravid4352]

@@findingnemo1112 She always sang Kavan Batariya after any other variety of Bilawal. That was her usual practice, because most varieties of Bilawal in Jaipur Gharana don't have a Drut Bandish. You will hear a Gwalior Gharana Drut in Yamani Bilawal I have sung. I have composed my own Drut in Devgiri Bilawal in Jhaptaal. You will find both of these on KZbin.

[@anandjuvekar7742]

@@arundravid4352 Sir... i couldnt find devgiri bilawal by you on the youtube. is it under any other name or tag ??

[@arundravid4352]

@@anandjuvekar7742 I am mistaken. I thought my Devgiri Bilawal is on KZbin. However I will be publishing it in the next couple of days on Gharandaj Gayaki channel. There you will hear the Drut bandish in Jhaptaal composed by be me.

[@varadshende4098]

@@arundravid4352 Thank you... she sang the Devgiri Bilawal khyal Ae badhawa" so often in her last years 2011-2017.. snippets of it featured even in amol palekar's documentary... while her last renditions are deeply meditative and soulful, would be interesting to hear her 1970-80 version of the Raag and compare .. looking forward to it.

[@lsletsoflangerhans782]

"प्रेम गलियन में मोहे घेरी तबते सुध न रही तन मेरी" Oh what an emotion!

[@arundravid4352]

Two words need correction - Gheri and Meri, not Gher and Mere. Also Tabate, not tabase

[@lsletsoflangerhans782]

@@arundravid4352 🙏🙏🙏 thank you for letting me know my mistake

[@arundravid1]

@@AnustupBhattacharyyaSitar Please don't guess words incorrectly by just listening. five of the words of the Antara you have written are incorrect. Did you get these from anyone authoritatively?

[@AnustupBhattacharyyaSitar]

@@arundravid1 Could you give it to me Sir 🙏

[@arundravid4352]

@@AnustupBhattacharyyaSitar You should have checked with me or with one of her other disciples first, before authoritatively writing the words simply by guessing from listening. Such precious Bandishes are not for general public consumption. We teach them only to our disciples. I hope you understand. Please remove the incorrect Antara. Thank you.

[@RohanRajadhyaksha]

Maybe it is just me, but Taai sounds so different then as compared to later recordings, especially in the drut bandish. Brilliant always, but different!

[@anandjuvekar7742]

there must be 15-20 recordings of kavan bataria and all r so different from each other...

[@arundravid4352]

No wonder she sounds so different in these concerts. These are from 1970's. She was very young then, and the youthful and supple voice and brilliant phrases conceived by the young mind are refreshingly different from her later concerts. Also, in my humble opinion as her disciple who has seen her evolution, there is a more clear impact of the Jaipur Gharana in these than in her later concerts. Hear, for example, her 1979 Rayasa Kanada that I have released today.

[@anandketkar2191]

@@arundravid4352" the youthful and supple voice and brilliant phrases conceived by the young mind " SPOT ON Sir

[@ThatcheriteAvadhoot]

I think this is the very recording an excerpt from which, features on Shri Rajan Parrikar's blog as Shuddha Bilawal (his interpretation in naming it). I had been looking for it for many years. What a great pleasure it is to hear it now.

[@ThatcheriteAvadhoot]

Thank you Arunji, 👍

[@arundravid1]

I have not heard Shri. Parrikar's excerpt. But this is not Shuddh Bilawal which is also called just Bilawal. Yamani Bilawal has a touch of Komal Ni and Teevra Ma. Shuddh Bilawal has all shuddh notes. Hear, for example Abdul Karim Khan's 78 rpm titled "Bilawal". Shuddh Bilawal is not sung in our Gharana. Even Bhimsenji has a recording that is the same as Abdul Karim Khansaheb's 78 rpm, but he has wrongly labeled it as Yamani Bilawal.

[@ThatcheriteAvadhoot]

तुमचं archives संपादित करून digitise करायचं काम तर मोठं आहेच. त्याशिवाय तुम्ही विस्तृत त्याबद्दल विवेचन करत आहात ह्याचेही कौतुक आहे, जयपूर घराण्याच्या अवघड आणि पारंपरिक गायकी बद्दल जाणकार रसिक तयार करायला हे अतिशय उपयुक्त आहे. धन्यवाद 👍

[@arundravid4352]

@@ThatcheriteAvadhoot Thank you for your generous appreciation, Mr. Jathar.

[@TheVinanthi]

👌👌👌🙏🙏

[@harshitagarwal6870]

I always have this question to which I never could find the answer. The question is for any classical singer, why all the recordings of their concerts are not made public? It always happen that eventually 1 or 2 recordings are released over a long time but never the entire collection. Is there any specific reason behind this?? Maybe if anyone here knows the answer kindly let me know.

[@utabhijit]

You would not publish your precious collection to public all in one go, right?

[@thskendjeo134]

​​@@utabhijitno I would do unless they are not meant for any business!!

[@ameyakarandikar9700]

Is it Pt. Nana Mulye accompanying on Tabla?

[@gopalparadkar4071]

Is the drut Ahlaiya bilawal

[@sudeeptasarkar2193]

Yes it is.