Video: Kishori Amonkar | Shuddh Nat, Tilak Kamod, Kafi, Bhajan, Bhairavi Thumri | 1985

To mark the ninth death anniversary of Kishori Amonkar (April 10, 1931 – April 3, 2017):    • Kishori Amonkar   00:00:00 Shuddh Nat | आंखन मोरी लागी रे 00:46:55 Shuddh Nat | अब कैसे कर आऊँ रे 00:52:29 Tilak Kamod | सुर संगत राग विद्या 01:35:52 Tilak Kamod | Tarana 01:44:04 Kafi | जब से श्याम सिधारे 02:09:40 Bhajan | जोगिया से प्रीत किया, दुःख होई 02:24:07 Bhairavi | बाबुल मोरा 00:00 आंखन मोरी लागी रे भंवरो पिहरवा मोरे देखे बिन चैन ना लेने देत और लागे फरकन । वो तो काहूंकी ना सुनत ना दोहरावत पीतम के डरसो नित लागे बरसन ॥ *** Sangiit ke Jawaharaat has a slight variation, roughly what she sings (though it should be पियरवा and not पीहरवा). आंखन मोरी लागी रे भंवरू पीहरवा मोरे देखे बिन चैन ना लीनी देत और लागी फरकन । वो तो काहूंकी ना सुनत न दोहरावत न पीतम को डरे नित लागी बरसन 46:55 अब कैसे कर आऊं री पिया कल ना परत मोहे । तुम्हरे मिलन को जियरा तरसे अहमदपिया तुम देवो दरस मोहे ॥ 52:29 Magriel and Perron transcribe the lyrics of Kesarbai Kerkar's 78 RPM as follows: सुर संगत राग विद्या संगीत प्रमान जो कंठ कर दिखाय जानिये गुनि ज्ञानी अनु द्रुत लघु गुरु प्लुत ताल मूल धर्म राखिये संगत को Khan Bandhu give this as follows in Sangiit ke Jawaharaat: सुर संगत राग विद्विया संगीत प्रमान जो कंठ करे दिखाए वा को जानिये गुनि ग्यानी अनु धित लघु गुरु प्लुत प्रीत ताल मूल धर्म रखिये साँगत सो अन्छर सुध बानी At other plaes, there's the following variation: सूर संगत राग विद्या संगीत प्रमान जो कंठ कर दिखाये वाको जाने गुनि ग्यानी । अणु द्रुत लघु गुरु प्लुत ताल मूल धर्म राखिये सुअंछर सुधबानी ग्यानी ॥ 01:44:04 जब से श्याम सिधारे तरप तरप जिया जाए बिन प्रियतम, सखी, प्यार जात है प्रीतम प्यारे सखी ना आये प्रीतम प्यारे 02:09:40 Bhajan | जोगिया से प्रीत किया, दुःख होई For text, please see here:    • Video: Kishori Amonkar | Bhajan | जोगिया स...   02:24:07 Bhairavi | For text please see:    • Video: Kishori Amonkar | Bhairavi | बाबुल ...   *** One part of this priceless Kishori Amonkar concert has done the rounds for years and carries a prominent “From the Archives of Basant Bahar” stamp, but the performance did not appear to originate in their own concert series. On looking around for it, I came across their own clarification that it is not a Basant Bahar concert and was shared by them “to preserve this unique and great music… to reach classical music lovers” – which is exactly my intent. Accompanists: Tanpura and vocal: Maya Upadhye Harmonium: Appa Jalgaonkar Tabla: Ramakant Mhapsekar Basant Bahar was gracious enough to share the extra information that this was apparently a private concert in Chicago in September 1985, according to Maya Upadhye. It would have been lovely if the recording had retained some of the off-the-cuff remarks, if any were exchanged. Frankly, we do not know whether something else was also sung and not recorded, or what the exact running order was. Originally, these were not numbered. But when Basant Bahar uploaded them, they made Part 2 the Kafi. To my mind, given the usual structure of a classical concert, that would more logically come after the Tilak Kamod – which is how I have arranged them here. No confusion about Part 4 in any case. Thanks are due not only to the host and the person who recorded this, but also to Basant Bahar for ensuring that it did reach the public domain – where such performances belong: properly curated, shared, and heard by newer audiences, as part of the recorded legacy of Kishori Amonkar. One general peeve, though – and this is not aimed specifically at Basant Bahar, who have in fact done a real service by archiving and circulating this. I detest the increasingly common practice of people (often not the copyright holders) placing large proprietorial stamps on recordings that do not belong to them. Rare performances end up being visually defaced with claims of ownership – the digital equivalent of carving “X loves Y” into a monument. Yes, it is understandable that people want their efforts to be visible and acknowledged. But this is not attribution – it is branding, and it disfigures the very thing one claims to be preserving. More broadly, this habit extends beyond audio and video – even simple slideshows and archival posts often get re-circulated with someone else’s name plastered across them, as though discovery were the same thing as ownership. At the very least, I would urge anyone who reuploads material from this channel: please don’t add yet another stamp of your own. The internet’s unofficial motto is: Credit is optional, watermark is mandatory. *** Shared strictly for educational, research, and non-commercial entertainment purposes under fair use and YouTube's copyright policies. This channel is not monetised and never will be. No copyright infringement is intended. If you wish for any recording to be removed, please don’t issue a copyright strike – just leave a comment and I’ll address it right away. Your help is welcome in correcting or completing lyrics, crediting the author, or identifying the raag.