Vikas Babu by Jugalbandi on the shehnai and Phil scarf on Soprano Sachs, with Bhushan Parthar on Tabla. , Photo Credit: Special Arrangement

Whoever has read or heard about the Saxophone-Shehnai couple at the 73rd Doverlain Music Conference in Kolkata must have been conspired immediately. In recent times, Indian classical music has seen some interesting and unique combinations with musicians that reach peers in styles. So it was in this concert. Vikas Babu and Phil Scarf on Soprano Sachs on Jodi-Shehai, performed at the four-day festival dedicated to Indian classical music, along with Bhushan Purcher on Tabla.

Taking the stage (eighth attack according to the Hindustani music time Chakra) around 5 in the morning, he started with Raga Ahir Bhairav, although the first strike can be sung during the raga Brahma Muhurta,

Styles

Vikas started with a willmal alp in actal. Initially Phil, an exponent of Indian classical music on Soprano Sachs, reflected each phrase played by development before going on vipul notes, dedicated to a la mass improvement in Jazz, Mixolidian B2 mode (including Hindustani raga closely Coats). If the base-mailodi was to be isolated, it would have been a stand-alone strain, but there was this son anywhere in the mixture. His application was completely in the spirit of Hindustani music, which he learned from six gurus, the major PT of them. Shreyaram Devasthali.

Brim with devotion

The Phil Scarf (Sachs) reflected every phrase played by Vikas Baby (Shehnai) before going to blossom notes. , Photo Credit: Sujoy

On his behalf, Banaras Gharana style of development, Vishnu Prasanna, a disciple of Ustad Bismillah Khan, behind which Vikas was sitting on this day a few years ago, was clear from his enthusiasm as a backing instrumentalist. With devotional juice, he clarified the pre-moon gravitus. The projection was in Gayaki Ang with more emphasis on Sur than Taan. The mention should be made from the revarb on which he settled, which really raised the voice.

Phil Scarf is an exponent of Indian classical music on Soprano Sachs. , Photo Credit: Sujoy

Bhushan’s Drut Bandish manipulated the accelendo at the tental, announced the middle of the middle, perhaps under the duras to perform within an hour. During the path of his own gamal composition at Teentaal, the Vikas, being a shehnai 1.5 octas instrument, demonstrated expertise to reach ‘DHA’ in the upper Octave ‘PA’. His upper octave was also supported by the ‘Ri-Ga’ Murkis which was supported by Bhushan’s relay. All at all times, Phil’s specific technique, refined, refined, stimulated conversation under the famous Saxophoneist Jerry Bergonzi -sometimes leading and sometimes in the second place, because the trio took us to a pink rising sun with a chakradhar third . He then explained the famous Kajri of Bismillah Khan in Korwa Tal by Bhual, which was extended by Bhushan’s delicate Laggi and pigeon in a Bengali tune in Bhairav. Ustad Alla kept and Ustad Zakir Hussain, both were tightened in Punjab Gharana, who also specializes in other styles, maintained clear and clean lines.

Although there were requests to play a jazz piece for Phil, trio stuck in the list of traditional performances and played the role of raga Bairagi Bhairav. , Photo Credit: Sujoy

Although Phil was requested to play Dave Brubec’s classic Jazz Peace ‘Tech Five’, trio stuck in his list of performances, including a beautiful raga Bairagi Bhairav. However, bad audio diluted its effect. There was a dispute through the audio festival. The organizers need to exclude the swallows.

There was an appeal to play Bhatiali again. After a brief discussion, Vikas settled on the raga furnace. Phil was made by Shehnai and Tabla the best raga of this day.