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Wow, what a collection! Amazing. I come to this forum to read such posts.
Great job Qwest and Vijay!
👏
Great job Qwest and Vijay!
👏
Bigg Boss 19 - Daily Discussion Topic - 7th Sep 2025 - WKV
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The ba****ds of bollywood trailer
samyu n samhi ji,Originally posted by: samyu n samhi
Wow, what a collection! Amazing. I come to this forum to read such posts.
Great job Qwest and Vijay!
👏
Thanks for taking time to visit the thread and also VJ, He is great he Depot of Music and the good part he just a hour drive away from me.
Swapan Chaudhuri: In the Company of a Master
By Derek Beres
Where two masters meet, one sound emerges. The gorgeous interplay between the Iranian spiked fiddle, the kamancheh, and Indian lute-like sitar, bind two distinct folk traditions into a seamless creative core. Kayhan Kalhor and Shujaat Hussain Khan formed the now infamous Ghazal in 1997, learned craftsmen devoting their passion to the interpretation of cultural songs with a new twist. Two years later, on 1999's Moon Rise Over the Silk Road (Shanachie), a third maestro joined. Tabla player Swapan Chaudhuri accented this ingenious project gorgeously.
Accompaniment is nothing new to the 59-year-old legend. Chaudhuri has worked alongside the greatest names in Indian music, including Ravi Shankar, Asha Bhosle, Nikhil Banerjee and countless others. When his foremost teacher and friend, Ali Akbar Khan, invited him to become the Director of Percussion at his San Rafael College of Music (AACM) in 1981, Chaudhuri came, never leaving. Today he continues a manic teaching schedule while performing over 200 concerts annually.
Born into a Brahmin Bengali family of 60 members (comprised mostly of doctors), Chaudhuri began studying tabla with Pandit Santosh Krishna Biswas in 1950. The discipline was geared for meditation, not performance, and the idea of playing tabla as a career wouldn't be born until graduating from Jadavpur University with a degree in economics. Prepared to pursue the financial life, Khan asked the 24-year old to perform with him in 1969. Thus began a long series of concerts in India and abroad, forever changing his life. What occurred, essentially, was the understanding of a new language; his family had had spoken a particular dialect separating life and music, and Chaudhuri learned the lingo of union.
"When you listen to it, you can understand," he says, well rooted in his California residence. "In order to understand you have to learn the language. The great thing about tabla is when you hear other rhythm instruments, each immediately transcribes into tabla's phrases." His partnership with Khan continued until 1981, when the sarode master convinced Chaudhuri to move to America to take over as Director of Percussion at AACM. There he expanded his rhythmic repertoire, already versed as accompanist for string instruments like the sitar, sarode, sarangi and santoor, as well as vocalists, flutists and dancers. He continued as a solo tabla player, releasing numerous recordings such as 2004's Eternity (BD Trading), joined by sarangi player Pandit Ramesh Mishra.
Branching out from the Indian/Persian soundscape, Chaudhuri furthered his trans-tabla initiative by working with flamenco musicians in a project combining Andalusian folk with Indian Kathak dancing, as well as a percussive record tracing the heritage of dumbek and tabla. His most interesting project to date, however, is 2004's Meeting: Two Worlds of Modal Music (Harmonia Mundi), in which Chaudhuri joined Dominque Vellard and Ken Zuckerman to fuse Medieval music with Indian ragas.
Obviously prolific, what struck me while speaking with Chaudhuri was his jovial tone, his wide-eyed speculations about what could evolve from tablas. He's mused over projects like Tabla Beat Science, of working his two-drum set into electronica, though promises not to do so until he accomplishes it as masterfully as Bill Laswell, Zakir Hussain and crew. The day before the interview I read a passage in Christopher Isherwood's translation of the Bhagavad Gita in which he cited the hero archer Arjuna as "conqueror of sloth," for he supposedly "lived entirely without sleep," meaning he had overcome laziness. In Calcutta Chaudhuri once performed eight concerts in under a day's time, accompanying Shankar and Banerjee, performing solos and keeping time for dancers. With such concepts in mind, the driving passion behind Chaudhuri becomes clear.
"I'm not getting younger," he assures me. "I'm getting old. I love to play but the touring is getting me. It's too much for my body and mind. I also love to teach, through teaching I learn so much. Everybody is so different, and you must apply yourself to what each student wants." The teacher/student relationship is often under-explored in a culture that, over the last few decades, has given so much prominence to turban-clad white-robed gurus who preach humbleness and humility, but are anything but. Chaudhuri, who has lived through the South Asian infusion in America, approaches this questionable topic optimistically.
"The good thing is they are definitely getting into Indian culture more than we Indians. They are learning more about yoga, meditation, the food habit, religious books. Everything is connected with each other; yoga is connected with music, all the scripture we have is connected with music. More and more, people are applying those things."
His openness to intercontinental exploration is with caution, however. "The other part is, there is sometimes confusion about what is right and wrong. There are so many teachers right now, and everybody thinks they are right. That's one problem, people are getting a little confused. The good thing is, that people in this country are really serious and going into details and deeper, sometimes more than us. If I say because I am from India I know so much about yoga, that's not right. If I say Indian music is only for me, that's wrong. It's for everybody."
Besides his AACM directorship, Chaudhuri has taught in Canada and Switzerland, and currently holds a position at the CalArts School of Music. Aside from the musical luminaries he has performed with and trained, his closest collaborators are his family. His wife, Jane Rockwood Chaudhuri, began studying Indian classical vocal music in 1978, and their two sons, Nilanjan and Ishan, are primed to continue the familial tradition. Nilanjan, who at age five coaxed his father into lessons, is helping young American ears learn new rhythmic possibilities.
"More people are playing assembling it in a different way," Chaudhuri comments. "My little kid is playing the drum set in a jazz band at school. One day I went to his concert, and there was a solo drum piece. His teacher couldn't figure out what he was doing, but I could figure it out what. He was playing a tabla composition."
For all the touring and teaching, tablas remain personal to Chaudhuri. He began the discipline as a form of spiritual elevation, to bring himself into contact with his own internal rhythms. To this day the instrument seduces him into states of trance, speaking in a language that, while universal to the many ears, is deeply embedded in his private architecture. To master an instrument one must become associated with the sound until no separation between player and what's played exists. Given his extraordinary career, Swapan Chaudhuri is no other than the tablas his 10 fingers caress each day.
"When you really focus on it and concentrate, and then you play, after a while you feel like you are not inside you. Something happens at that point, somebody takes over and you are not there and are just listening. When you play tabla, every time you tune it sounds different. Some days it sounds beautiful and others it is difficult. Some days the concerts are all there, others you feel like the tabla is yelling at you. I feel I'm surrendering myself whenever I sit to perform. I say 'You take over and do whatever you want,' and then it works. Its not one life's job, its never ending. That's the beauty of music."
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The excitement, the authenticity, their warm nature, the love and the 100 % commitment with which they win and inspire the audience can hardly be described in words. In the way the let the Spanish rhythm pulsate and how they create a unique atmosphere makes it a new experience every time.
ALMA are together since the three musicians met each other in 1992 at the Spanish cultural festival and started to beseech the Spanish nights with a musical firework. Since then ALMA stands for them also for friendship and family.
Already after their first meeting the boys started touring with an exciting programme with traditional and own songs. Shows at city festivals, television shows (RTL), fairs and exhibitions (IAA), sporting events in stadiums (DFB football game against Spain, Frankfurt Galaxy – Barcelona Dragons), the world exhibition in Hannover as well as After Partys such as Joaquin Corts during his tour through Germany in 1998 and the "Ballett Christina Hoyos" in 2001 belonged suddenly to their every day life. This year a well-known jury of SWR3 nominated the ALMA Band to "SWR3 Rookie of the week".
VIVA showed their video clip with their dance progject MOJITO to their single "EO EA! Que viva la noche" in their N1 Rotation. Further shows followed in all relevant television channels: ARD (Maus Club, Tigerenten Club, IFA
Camale
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 | Two BambhoodhasFlautists Pandit Raghunath Seth and Steve Gorn set the stage for the transmission of traditionBy : Anthony Peter Westbrook., Maryland Over the last few years, the World Music Institute has presented many concerts of Indian classical music in New York. Their most recent offering, "Masters of Indian Music" at the Washington Square Church on March 25, 2000, presented Indian artist, Pandit Raghunath Seth of Mumbai, and American Steve Gorn of New York performing Hindustani music side by side to a sell-out crowd. The concert served to celebrate the artists' recently released CDs of classical flute music--Seth on the India Archive Music label and Gorn's Luminous Ragas on his own, Bamboo Ras Productions. Their synergy is typical of a little-known trend within Indian music. It is by no means a new phenomenon for Western musicians to study Indian music. Once artists such as Pt. Ravi Shankar and Ustad Ali Akbar Khan brought Hindustani music to Western audiences in the 60s and 70s, something of a fad was begun among American and European musicians, particularly in rock and jazz genres already oriented toward improvisation. Guitarists took up the sitar, drummers purchased tablas, and the beat went on. Shankar found himself teaching Beatle George Harrison and performing with classical violinist Yehudi Menuhin at the United Nations, while Khan opened a school of Indian music in the San Francisco Bay Area that is still going strong today. Gradually the fad has matured into a genuine interest. A number of Indian artists have spent time in residence in the music departments of Western universities, and several major institutions--the Rotterdam Conservatory in Holland, the Birmingham Conservatory, UK, and Maharishi University of Management in the US--offer full-time degree programs in Indian music. From all this activity, perhaps a dozen Western artists have reached a professional performance level in Hindustani music: Ken Zuckerman and Steve James on sarod, the fine sitarist Allyn Minor, vocalists Warren Senders and Stanley Scott, cellist Nancy Lesh and percussionists Peter Fagiola and Ray Spiegel. What is interesting, however, is the number of Americans who have mastered the bansuri, the bamboo flute of Hindustani classical music. These include a student of Pt. Hariprasad Chaurasia, John Wubbenhorst [HT January, 2000]; David Philipson, who studies with Pandit Nityanand of Haldipur; Leon Leiffer, a disciple of Pandit Devendra Murdeshwar and Steve Gorn, who is currently working with Seth. Seth occupies a unique position in modern Hindustani music. He is best known as a classical performer, but there is much more to his musical life. He is equally well-known as a composer of light music, a diligent musicologist, historian and a craftsman who has helped to improve the construction of his instrument. He has produced major film documentaries about music. With all this, it is his status as a major exponent of the bansuri that secures his reputation; he has received many awards for his work and has toured and recorded widely. Seth was born in Gwalior, and received his early musical training in Lucknow. Having settled upon the bansuri as his instrument of choice, he traveled to Mumbai where he came under the influence of Pannalal Ghosh, the only significant exponent of this instrument in all of India at that time. Pannalal's great achievement was to found or revive a tradition of classical performance on flute, after a period of centuries when it was regarded as a purely folk instrument. But this still did not constitute a rigid school, or gharana, as exists with sitar, sarod or vocal music. As a result, flute performers have been freer to build a personal style. In Seth's case, he built upon what he had learned from Pannalal, adding various elements, both melodic and rhythmic, from existing vocal and instrumental traditions until he had achieved a fine blend of them both, forging a style through individual effort and imagination, something very few Indian artists attempt. In order to do this, he has had to overcome certain technical limitations with the instrument itself, adding a bamboo key to facilitate the correct rendition of certain ragas by allowing for a perfectly smooth glissando between the fourth note (ma), and the fifth note (pa), which is otherwise difficult to accomplish on the bansuri. The relative freshness and openness of the bansuri tradition has also contributed to the popularity of the instrument among Western musicians. The older styles typically demand a strenuous and extended guru-shishya relationship that can be very difficult for a Westerner, unless he or she is willing to relocate to India for lengthy periods of time. Some bansuri students have done this, but others have been able to develop their skills in different ways. Wubbenhorst continues his studies with Chaurasia through the Rotterdam Conservatory. Gorn has taken yet another approach. One of the most respected participants in the World Music movement, Gorn performs in a wide range of genres on soprano saxophone, clarinet and a variety of flutes. He has toured and recorded with jazz stalwarts Don Cherry, Jack de Johnette and Tony Levin and World Music artists Glen Velez, Krishna Das, Jai Uttal and Badal Roy. Gorn is widely known in the West for his creative blends of Indian and Western music. At the core of his style, however, and suffusing all he does, is a profound association with the bansuri tradition extending over three decades. It began on an extended trip to India in 1971 when he was introduced to one of Pannalal's senior disciples, Sri Gour Goswami. On extended visits to India during the 1970s Gorn studied under Goswami's guidance and, later, after Goswami's death, continued to work with the late Ustad Z.M. Dagar and Professor Deba Prasad Banerjee. Absorbing all that he could, Gorn went on to forge a unique personal style. Since 1994, however, Gorn has been taking instruction from Seth. "This has added another dimension to my playing," Gorn reports. "I liked the fact that Raghunathji comes from the extended Pannalal Ghosh tradition, that traditional, vocal style. I have learned many wonderful compositions from him and tremendous inventiveness in developing taans [highly decorated, improvised melodic passages]. But most of all I was personally drawn to his sound--such a full, rich, warm sound on the flute. I really like that."Above all, perhaps, from all his teachers, Gorn has learned the reverence inherent in Indian music. "Music is one of the greatest aspects of Hinduism," Pandit Seth informed him. "For us, music is not mere entertainment; we play music to reach God." |
At the age of 12, he began performing in a trio with his teacher Youssef and Tarek Sawires, a fine traditional percussionist. This platform enabled the young musician to expose his compositions to the public for the first time. Since these formative years, Tawadros has explored diverse ways of expanding the role of the oud as an instrument in Australian society. As a member of the Coptic Orthodox Church, his musical education has also been fostered by his involvement in this important part of his life, establishing a Coptic Youth Orchestra with his friend, saxophonist Christian Watson.
In December 2001 Tawadros returned to Egypt and began studying the Egyptian violin with the celebrated Egyptian violinist, Esawi Daghir. Daghir was so impressed by his talent that he decided to teach him pro bono and has taken special care with Tawadros' Egyptian violin education since this time.
Joseph Tawadros has performed at the Sydney Opera House, Cairo Opera House, Alexandria Opera House, Huntington Classical Music Festival, Womadelaide, Sydney Conservatorium of Music, City Recital Hall Angel Place, National Multicultural Festival, Institut Du Monde Arabe (Paris) with such artists as tabla master Zakir Hussain, sarangi master Sultan Khan, Slava Grigoryan, Richard Tognetti and the Australian Chamber Orchestra, James Crabb, Christian Lindberg, Neil Finn, Mark Isaacs, William Barton, Karin Schaupp, Bobby Singh and Katie Noonan.In March 2004, Joseph completed his Egyptian tour of Cairo and Alexandria, being invited by the Egyptian Minister of Culture and the Opera House, it was the first cultural exchange between the Australian and the Egyptian governments. In the same year Joseph was also invited to perform at the WOMAD festival in Adelaide as a solo artist, in this he also took part in the All-Star jam session in front of an audience 30,000 people. This platform allowed Joseph to perform with Malian Band Tinirawen, Irish Band Kila, Sarangi Master Ustad Sultan Khan and his Indian percussionists, Algerian singer Hamid Baroudi, Didgeridoo player Mark Atkins and Tabla Maestro Ustad Zakir Hussain, who had chosen the musicians for the collaboration.
In July of 2004, Joseph toured Italy with accordion virtuoso James Crabb, and had the pleasure of performing as a guest with ARIA award winning jazz band Wanderlust at the prestigious Villa Cellimontana jazz festival in Rome. 2004 has also seen the release of his debut album 'Storyteller' (ABC Classics), which was nominated for an ARIA award for the Best World Music album. The first official recording of this type of music in Australia, 'Storyteller' was launched by Her Excellency, the Governor of NSW Professor Marie Bashir on the 17th June as a beautiful personal gesture for the young artist, a moment he most dearly cherishes. In the same year, Joseph completed his Bachelor of Music degree at the University of NSW, majoring in performance and composition.
Since 1999 Joseph has performed in numerous concerts for the Australian Institute of Eastern Music and plays an active part within the institute, an opportunity he enjoys immensely. This opportunity has also encouraged a deep interest in Indian, jazz, western classical music, and fusion.
Joseph has released three Cds Storyteller – Solo Oud (ABC Classics 2004), Rouhani - with Bobby Singh (ABC Classics 2005) and Visions (JT 2005).
CAMALE Camale means chamaleon in catalan.Most of the artists of Camale come from the theatre group ARTRISTRAS who have worked collectively for 20 years and which is one of the most famous and expressive representative of catalan street theatre.In spring 94 they realised a wish cherished for a long time: they founded their own performance group designs, realizing fantanstic scenical images and figures for very special occasions.The company is strongly marked from the mediterranean tradition of"fiestas", spirit of celebration, so that they use the typical forms of masks, big-heads, giants and monsters, and pyrotechnics in their performances.The figures and elements are born out of mediterrean myths, but also bring to mind modern art and its spanish representatives Mir and Picasso. Aside from the special performances, CAMALE has created "Medusa", a peculiar and very poetical street parade performance in honour of the mediterranean sea.
Sonido Tres ist eine Gruppe von Musikern, die es sich zum Ziel gesetzt haben, die traditionelle kubanische Musik in ihrer Essenz bekannt zu machen. 
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