Vajjan Taal Mridang Rababa

An Unexpected Find

Hopkinton MA
October 18, 2008,
(Completed on a recent flight on November 17)

It is a damp fall morning in Massachusetts. Not really cold yet. Still lovely. The magnificent fall foliage looking a little faded, a little subdued. It is very early and there are no cars yet on the road. Our dog Aziza, straining at her leash, I walk up and down the winding, hilly, ebb and flow that is Saddle Hill road.

As is usually my habit, there is a morning Raga playing in my ears. I listen, a little absently to the magnificent Dhrupad Alaap unfolding. The Raga is Bairagi, a close relative of Ahir Bhairav and Gunkali. The Dhrupadia is very very adept. His voice has a little rasp to it but it sounds very pleasing. To my admittedly amateurish ears, the Alaap sounds less polished than the fabulous renditions of the contemporary princes of the Dagar Gharana, The Gundecha Bandhu, or Wasifuddin Dagar or Uday Bhawalkar.

But magnificent and powerful it is. This is not Dagarvani; this is Dhrupad in the Dharbhanga tradition and the singer is Pandit Vidur Mallick. The recording is on an obscure French label called Makar Records, which unfortunately seems to have gone out of business ! I have sampled many unexpected delights from the small but elegant Makar Records catalogue, but that is the subject of a different post. Back to Pandit Vidur Mallick singing Bairagi.

The Alaap is much shorter than the elaborate 50 minute wonders that I am more used to listening to, given my love for the Dagar tradition. The singer now launches into a very robust composition in Chartal, the regulation Dhrupad 12 beat Taal, which is also used extensively by knowledgeable practitioners of Gurmat Sangeet. The accompanist on the Pakhavaj is in his element. After singing the entire text, the singer unleashes a dizzying array of rhythmic variations and flourishes. Dugans (double speed), Chaugans (quadruple speed). A series of electrifying tihais leading to a dramatic conclusion !

But wait ! Were my ears deceiving me or did I just hear ‘Nanak’ ? I stop the shabad and move the slider back. Unmistakable. He did say Nanak ! Whats’ going on ? Is he singing Gurbani ?

I know nothing about the Dharbanga Dhrupad tradition. Perhaps because of the towering genius of Nasir Aminuddin, Nasir Moinuddin, Nasir Fiyazuddin, Nasir Zahiruddin, Zia Mohiuddin and the other luminaries of the Dagar Gharana, Dhrupad today is largely synonymous with Dagarvani. The Makar catalogue has given me a few teasing glimpses into some of the other Dhrupad Vanis but they are largely a mystery to me.

Many questions run through my mind. Where did this composition come from ? Dhrupadiyas, at least according to my meager knowledge, are traditionalists rather than innovators. It is highly unlikely that Pandit Vidur Mallick just picked out a shabad from Gurbani, set it to Chartal in Bairagi and decided to sing it during the Maker Records recording session ! A much more likely explanation is that this is an ancient composition from the Dharbanga tradition that he acquired from his teachers. Which begs another question. What is this ostensible link between this obscure Dhrupad Gharana and Gurbani ?

Unfortunately I have just questions. No answers. Perhaps some day I will run into Pandit Vidur Mallick and ask him. Perhaps he will shrug. Perhaps he will know! For now I will just enjoy this serendipitous find!

As you can well imagine, the next several days see me going back to the magnificent Dhrupad over and over again. The Shabad being sung is ‘Ram Simer Ram Simer Yahi Tero Kaj Hai’ from the Bani of Sri Guru Tegh Bahadur Ji. The style is clearly not traditional Gurmat Sangeet; this is a rendition squarely in Pandit Vidur Mallick’s own tradition as shown by the similarity with the other pieces on the CD.

(At the risk of digressing I have to stop and share a pet peeve, actually two that I have with Hindustani Classical Musicians singing Gurbani. :-) The words ‘simer’ and ‘simran’ occur often in Gurbani. I have never encountered a Hindustani Classical musician who can sing these words correctly. ‘Simer’ mutates into ‘Sumir’ and ‘Simran’ into ‘Sumiran’. Each time I hear this distortion I wince as if I have been struck. :-) The second pet peeve; Pandit Jasraj is probably the worst offender here. A lot of Hindustani Classical vocalists, draw upon Gurbani text, but often render it in ‘Bhajan’ style, usually set to a particularly insidious ‘Bhajani’ variant of Keherwa. This causes the rendition usually to migrate into the territory of film music inspired Kirtan, which my dear readers, you often find me ranting about :-))

But enough complaining ! Let us then visit what we do know about the intersection of Dhrupad and Gurmat Sangeet.

We are all aware of the genius of Guru Nanak Dev Ji; his starting of the Gurmat Sangeet tradition; his unique contributions. His unprecedented embrace of Hindustani, Carnatic and Folk Music to create a new form or Shayli. There are a few important clues that shed light on the importance of Dhrupad in the Gurmat Sangeet tradition.

The first clue emerges from Bhai Gurdas Ji’s writings :

Gang Banaras Hindua
Mussalman Mecca Ka’aba
Ghar Ghar Baba Gaviye
Vajjan Taal Mridang Rababa

Aha ! We all know about Bhai Mardana Ji and his Rabab ! But what is this Mridang that Bhai Sahib refers to ? The Mridang (or Mridangam) is the other name for the Pakhavaj or the unevenly sided drum that is used for percussive accompaniment in Dhrupad !

More clues.

Despite the backsliding that we suffered for several decades in Gurmat Sangeet, that we have just started to reverse now, even in the darkest years there were always a few Kirtaniye who valiantly and obstinately defied the mainstream an stuck to their guns in their embrace of traditional Gurmat Sangeet. Included in this august list would be some very famous and not so famous names such as Bhai Sahib Avtar Singh Gurcharan Singh Ji, Gyani Dyal Singh Ji and some of his students, Bhai Dharam Singh and Bhai Shamsher Singh Zakhmi Ji, Bibi Jaswant Kaur Ji.

Kirtaniye such as these kept the ancient tradition alive by continuing to sing compositions in Chartal, Dhamar, Ada Chautala, Slow Jhaptal, which are all Dhrupad staples. The traditional Sikh percussion instrument is not the Tabla but the Jori, which is a descendant of the Pakhawaj.

The structure of many old compositions that can be found in Gurbani Sangeet by Gian Singh Ji Abbotabad or Prachin Reet Ratnavali are in the form ‘Sthai, Antra , Sanchari and Abhog’ which are typical Dhrupad arrangemets.

Another small but relevant digression :

All of us who listen to Gurmat Sangeet have experienced what I am about to describe. Even those Kirtaniye who do not sing Dhrupad compositions will often launch into percussive pyrotechnics, usually towards the end of a shabad, where the Tabla player will energetically play the table in a very ‘different’ style, usually with flat palms, usually at speeds that are multiples of the basic rhythmic underpinnings of the composition.

This is called ‘Saath’. I first heard the term when I visited Bibi Jaswant Kaur Ji in Delhi a few years ago. I had heard ‘Saath’ being played on the tabla, pretty much forever, but I certainly did not know what it was called. Bibi Ji recalled fondly the times that she had heard the legendary Rababi percussionist Bhai Nasira Ji, playing Saath with Bhai Chand and Bhai Taba Ji, in the days of her youth when they were established Rababis at the Sri Harmandir Sahib.

Saath is one of the three forms that is played on the Jori in the Gurmat Sangeet tradition. The other two are ‘Gat’ and ‘Jat’. Gat is the most familiar. I am on exceedingly thin ice here but I will venture that Gat is the ‘typical’ style of Tabla playing that we encounter whenever shabads are sung set to Raga. I have a very poor feel for ‘Jat’ so it shall remain the subject of another post.

It is worthwhile here to recognize and acknowledge the efforts of Bhai Baldeep Singh, a noted Sikh musician, percussionist and instrument maker. In addition to studying the Dagarvani tradition, Bhai Baldeep Singh has mastered the Jori, learning from the redoubtable Arjan Singh Tarangar, the last great percussionist representing the Amritsari Baj (style of drumming). Bhai Baldeep Singh has also been training Parminder Singh, an immensely talented and hard working young percussionist, who I had the occasion to meet during his recent visit to Boston. We spent a few hours together as he initiated my son Amandeep into the mysteries of the Jori. This young man is bound for greatness and he will spearhead the revival of the Amritsari Baj, which has been dormant for so long.

Another fount of wisdom in this context is Bhai Sahib Gurcharan Singh Ji, the older brother of the late Bhai Sahib Avtar Singh Ji. Bhai Sahib has a treasure trove of ancient Jori and Pakhawaj compositions that are the essence of traditional Gurmat Sangeet percussion. The young Jori player from Toronto, Jaswinder Singh, who is an important part of the vibrant Toronto Gurmat Sangeet scene has been learning at Bhai Sahib’s feet, preserving and continuing the tradition.

I have to pause here and describe another delightful encounter with the ghost of the legendary Bhai Nasira Ji. This happened during the recently concluded Gurmat Sangeet Darbar at Stockton, organized by the Gurmat Sangeet Project in collaboration with the World Sikh Council, American Region, to commemorate the 300th Gurta Gaddi Diwas of the Sri Guru Granth Sahib Ji. Singing in the Darbar were Bhai Devinder Singh, Bhai Gulbagh Singh with Bhai Iqbal Singh providing Tabla accompaniment. After taking their position on stage, Bhai Iqbal Singh askes me to come closer and whispers, asking if he can play two handed Bols, obtained from the legendary Bhai Nasira Ji. What follows is probably one of the most flamboyant performances I have ever experienced on the Tabla. Words cannot even begin to describe the energy and artistry of Bhai Iqbal Singh in that performance !



(As an aside, the Jatha just arrived in Boston today, November 24; they will be here for two weeks ad will participate in the November 28 Rain Sabai)

But I digress. Lets us get back to the topic at hand !

Slements of the Dhrupad Ang such as Saath continued to persist widely !

All these things together shine a light on the profound connection between Gurmat Sangeet and the Dhrupad tradition.

Pandit Vidur Mallick’s rendition of a shabad in traditional Dhrupad style then is no surprise after all.

Here’s what I really want to discover. Is it not possible that just as Pandit Vidur Mallick had this jewel in his repertoire, there are many many others waiting to be discovered ! I have resolved to ask every Dhrupadiya I meet about any Gurbani compositions that may have been passed to them. And what they know about their history.

In the meantime let me enjoy the virtuosity of Pandit Vidur Mallick. (Since this is a commercially released, copyrighted recording, I cannot upload it to www.gurmatsangeetproject.com I will try to seek permission to do so from the owners of the Makar Catalogue. In the meantime if you can get your hands on ‘Pandit Vidur Mallick – The Lyrical Tradition of Dhrupad on the Makar label…..enjoy !)

Vaisakhi in Bangalore

Vaisakhi in Bangalore

Bangalore

April 14, 2008

It always annoys me intensely to have to travel during Vaisakhi or the major Gurpurbs. Over the years, celebrating these events at either the Milford or Millis Gurdwara Sahibs, in the Boston Area has been a wonderful experience. Weeks before the event, a feeling of pleasurable anticipation sets in. The kids are busy working on new shabads; our practice schedule becomes more intense, causing parents to grumble at the mid week trips to our home in Hopkinton or the Milford Gurdwara sahib. Then the day of the event approaches; everyone invariably runs late, much to my chagrin. Every major event probably results in my neck becoming at least a quarter of an inch longer as I crane it repeatedly, searching for stragglers, whose time-slot to sing is approaching!

This year however, I am in Bangalore, traveling on business. My neck probably appreciates the rest but, I am ill at ease, missing the celebration in Milford. Sunday, the 13^th of April dawns. I make my way to the main Bangalore Gurdwara sahib in Ulsoor.

I have been traveling to Bangalore on business for several years now. As I am wont to do whenever I travel, I always go to the Bangalore Gurdwara Sahib. I have fond memories of visiting Gurdwara Sahibs in many places. Visits to Gurdwara Sahibs in Singapore, Oslo, Kobe, Hong Kong, Toronto, London, and of course various other cities in the US and India have yielded a plethora of rich experiences and interactions with the local sangats, whose uniform kindness and warm welcome, I shall always cherish.

Bangalore has always been special. If memory serves me correctly, my first visit to the Bangalore Gurdwara was in early 2004. Somewhat serendipitously, I was staying at a hotel on M.G. Road, which was literally a few hundred yards from the Gurdwara Sahib ! It was early February; Basant was in the air. I remember contacting some of my relatives who live in Bangalore and asking them to arrange for a slot for me to sing at the Gurdwara Sahib, which they proceeded to do with some difficulty. (As a Prabhandak, I do realize that last minute additions to the Kirtan program on a Sunday can be annoying and somewhat difficult to accommodate !) That said, I am a firm believer that singing in the Guru’s Darbar is a great honor, and it is only achieved through Gur Parsad. If the Guru wills it, all barriers fall away; if not, no amount of desire, fueled as it often is with perhaps a covert desire for self aggrandizement, can bring this honor within one’s reach. Trust me on this one; I have experienced it; many times !

Anyway. Back to Basant, 2004. My first visit to the lovely Gurdwara Sahib at Ulsoor. I took my place behind the harmonium and the Bhai Sahib who was to accompany me starting tuning his tabla. Before starting the Manglacharan, my fingers flirted briefly with the harmonium to produce the few strains of Basant. Out of the corner of my eye, I noticed that an elderly man, sitting by the side of the stage took a seat beside me on the stage. He did not appear to be a Sikh; he was clearly a local. His clothes were shabby, perhaps even a little grimy and in his hands was a somewhat decrepit looking violin.

I sang two shabads that day in my allotted 20 minutes; one in the Purbi variant of Basant and the other in the Marwa variant. The memory of that day is indelibly imprinted on my soul. Rarely have I enjoyed singing so much. For those of you who have read my article on ‘Veerji’ Prem Singh Ji, this was clearly a 10% day. In no small part, the reason why that day was special was the beautiful violin accompaniment, by the elderly stranger. He was for sure a virtuoso, being able to play perfectly by ear with subtlety and nuance. The violin, for those of you that are not familiar with stringed instrument, is fret-less and hence very hard to play; providing accompaniment, with no prior knowledge of the compositions is no mean feat.

Over the years, I returned to Bangalore often, and sang at the Gurdwara Sahib many more times. Each time, my eyes would seek out the old violinist in vain. Singing in Bangalore was always wonderful, but it just wasn’t the same.

During my last trip, in February 2008, I finally went up to one of the Prabhandaks and asked about the old violinist. What I heard was very disheartening; of course I have no way of ascertaining its veracity ! Apparently the old man was an alcoholic; whatever money he would earn at the Gurdwara Sahib was apparently spent on liquor. When he started showing up at the Gurdwara Sahib drunk, he was barred from coming back.

The old violinist would not have been part of the sublime experience of singing in the Guru’s Darbar without His Grace. Why then, did he have to fall so hard ? Truly inscrutable are His ways !

April 13^th, 2008. I am back at the now familiar Bangalore Gurdwara Sahib. For the umpteenth time, I am incorrectly introduced as Sarbjit Singh, jehde Amreeka ton aaye ney. But that hardly matters. I start to sing the shabad, ‘Jagat Jot Japai Nis Basur’, the very definition of a Khalsa. It is a lovely composition in Tintal, composed by my first Ustad Bhai Sahib Nazar Singh Ji, in Raga Ahir Bhairav. The Bhai Sahib accompanying me insists however on playing Keherva. Even so, singing in the Guru’s Darbar is always uplifting, even on a ‘90%’ day. I am inspired and want to sing the next shabad in Vilambhit Jhaptaal. A beautiful composition in Raga Gunkali, that was part of Bhai Sahib Dharam Singh Zakhmi Ji’s repertoire. When I ask the Bhai Sahib if he can play Jhaptal, he sheepishly mutters in an undertone : “Sabh Phull Phall Gya Ji; Keherwa, Dardra Hi Theek Hai”.

I nod and switch to ‘Deh Shiva Bar Mohe Ehe’ in Raga Brindabani Sarang. The composition is in Tintaal too; but today, Keherwa will have to do.

In the meantime, celebrations continue in Boston. The kids manage fine without me. Reliable sources tell me that some of them even sang a Partal in Todi. The whole nine yards with Chartaal di duggan and parmans.

I guess it doesn’t really matter where I am. It feels good to be in the sangat on Vaisakhi.

Rapture in Toronto

Rapture in Toronto

Swarna Shatabdi Express

April 7, 2008

As the swift Shatabdi Express carries me from Delhi to Amritsar, I sit back to reflect on the fourth annual Gurmat Sangeet Darbar, that concluded last week at the Mississauga Gurdwara Sahib in the Toronto area. Was it really just a week ago? It has already become an indelible part of my kaleidoscope of impossibly heady Gurmat Sangeet related experiences!

The energy was amazing, to the point that it had to be experienced and truly cannot be described in words. Several of us who returned from Toronto to Boston last Sunday are still suffering from palpable signs of withdrawal!

The Gurmat Sangeet Darbar was conceived in 2004 during a Boston visit by Harinder Singh of The Sikh Research Institute. After his talk to the Sangat, he and I were sitting, chatting in the empty Darbar Hall, both of us expressing joy at the near renaissance that was starting to become apparent in the world of Gurmat Sangeet. Interestingly, this renaissance seemed to have started not as one might have expected in the cradle of Gurmat Sangeet, but rather in the West, where determined young men and women, often with no musical background were intrepidly picking up stringed instruments, conquering their extreme degree of difficulty and deploying them for accompaniment in Gurmat Sangeet. After almost six to seven decades of neglect and backsliding, it appeared that traditional Gurmat Sangeet was ready for a comeback!

Several individuals deserve mention here. Professor Surinder Singh, of the Raj Academy in London had mounted a successful effort to teach traditional Sikh stringed instruments on a large scale to a huge number of students. After a hiatus of nearly fifty years Bhai Sahib Avtar Singh Ji had embraced the Taus again. Visionaries such as Dr. Gurnam Singh, Chair of Gurmat Sangeet Studies at Punjabi University, were slowly starting to have an impact on the practice of Gurmat Sangeet at institutions such as the Sri Harmandir Sahib, where the odd stringed instrument was starting to make its appearance. Harpreet Kaur, a young Sikh film-maker was in the process of producing a documentary, ‘The Saz of Gurmat Sangeet’ in which she was profiling mostly young men and woman who were living the revival of Gurmat Sangeet.

It was this fecund and exhilarating environment that led us down the path of brainstorming about an annual event that would travel to multiple North American cities, and would focus on young practitioners of Gurmat Sangeet, who were truly the torch bearers of this renaissance.

As we brainstormed further, we decided to add another key element to this program. Even during the darkest years, when pandering to popular taste and the unabashed pursuit of fame and money were insidiously diluting the tradition, there always had been some individuals who had been completely steadfast in their adherence to the Gurmat Sangeet tradition. This annual event would also be a forum for honoring such individuals for their lifetime of Seva to the Panth and Gurmat Sangeet.

The brainstorming resulted in the First Annual Gurmat Sangeet Darbar that was held in Boston in 2005. The first individual honored was S. Harbhajan Singh Ji, son of the legendary Bhai Sahib Samund Singh Ji, arguably one of the finest Ragis of the 20^th Century. S. Harbhajan Singh Ji, all his life had remained steadfast in his attempts to preserve his father’s legacy through the simple mechanism of constantly singing the great traditional compositions that he had learned from him. In addition the occasion was graced by young non professional Kirtaniyas whose enthusiastic contributions were tremendously appreciated by the Sangat. (Recordings from this event can be found here)

The Second Annual Gurmat Sangeet Darbar was held at Chicago. It was similarly an inspiring event during which, Gyani Dyal Singh Ji, arguably the greatest musicologist the Panth has ever produced, was honored. Gyani Dyal Singh Ji, in addition to serving as Principal of the Rakab Ganj Kirtan Vidyalay for almost 40 years, had authored at least 6 books on Gurmat Sangeet and had been instrumental in the musical annotation of hundreds of traditional Gurmat Sangeet compositions, which had been published as the text Gurbani Sangeet, by Gian Singh Ji ‘Abbotabad’ in the 1950s. (An article that talks about this seminal effort can be found here). (Read more about Gyani Dyal Singh Ji here) (Recordings from this event can be found here)

The Third Annual Gurmat Sangeet Darbar was a low key event held at the Millis Gurdwara Sahib in the Boston area in 2007. Attempts to hold the event in Los Angeles or New Jersey didn’t quite work out because of various logistical issues. (Recordings from this event can be found here)

On December 12, 2007 I received a brief email from Harvinder Singh, who I had never heard from before, from Toronto, expressing interest in hosting the 2008 Gurmat Sangeet Darbar in Toronto. Having had some exposure to the richness of the contemporary Gurmat Sangeet experience in Toronto, I jumped at the opportunity and planning for the 2008 Darbar started in earnest. Harvinder Singh’s chief co-conspirator was Gurmit Singh, who is a sevadar in the managing committee at the Mississauga Gurdwara Sahib in the Toronto area.

Gurmit Singh & Harvinder Singh, Conspirators in Chief

The next few months were spent in planning the logistics, picking a theme and contacting the young Kirtaniye, who the program would center around. The other significant question was whether we could find a deserving person from the world of Gurmat Sangeet to honor at the program.

The theme of the 2008 Gurmat Sangeet Darbar was:

jau supnw Aru pyKnw AYsy jg kau jwin ]

ien mY kCu swco nhI nwnk ibnu Bgvwn ]23]

Evanescent, like a dream, know this world to be

All of this is unreal, O Nanak, without Waheguru. ||23||

In addition to featuring young Kirtaniyas, the program was to include:

· Gurmat Sangeet Learn-a-Shabad workshop, in which Kirtaniyas, young and old, would have the opportunity to learn a new Shabad. A range of material from basic shabads to Partaals would be covered according to the needs of each student

· Gurmat Sangeet Appreciation presentation, in which the unique aspects of the Gurmat Sangeet tradition would be discussed

The honoree was an easy decision, over the past few years, on numerous occasions; I have had the opportunity to hear several young Kirtaniye from the Toronto area. The hard work that the young men and women and their teachers had put into their training was clearly evident from the tayyari, from the second they started their Mangla Charans. Whenever I asked these young men and women, who their teacher was, the answer was always ‘Uncle Ji’. Uncle Ji, as it turns out, was Professor Purshottam Singh Ji, who for several decades has quietly and unassumingly been introducing numerous young men and women to the rich traditions of Gurmat Sangeet. Professor Sahib has always eschewed fame and publicity, embodying true Nishkam Seva. Almost to the point of being reclusive. Picking him was easy; getting him to attend was quite another matter, particularly as ‘recognition’ was involved. Fortunately, Dr. Amarjit Singh Ji of Buffalo, who has consistently encouraged our humble efforts by attending several of these events, turned out to be close friend of Professor Sahib’s and was instrumental in making him feel comfortable about the event.

In a flurry of activity in the last month and a half, Dr Amarjit Singh Ji helped pick several shabads consistent with the theme of the program and Professor Sahib proceeded to generate multiple new compositions, which he then taught to 16 of his Jathas, to be presented at the program! The effort put in was enormous and the result was the sublime Kirtan that we had the good fortune to hear in the Gurmat Sangeet Darbar.

Professor Purshottam Singh Ji, speaking after being honored at the Darbar

In addition to having the pleasure of hearing so many students, who have been studying with Professor Sahib, we got a glimpse of his humble and erudite personality, during his very brief but highly impactful remarks, after he was honored.

Professor Purshottam Singh Ji, accompanying Baljit Kaur, one of his very accomplished students

I have had other pleasant experiences related to Gurmat Sangeet at the Mississauga Gurdwara Sahib. I had attended a program here in 2005 in celebration of Basant and had several wonderful memories of my last visit. (Read more here) (Listen to recordings here)

Veer Gursev Singh on the Taus

One of my fondest memories from the program was the extraordinary warmth with which Gursev Singh met me, then a complete stranger. During this visit, it was wonderful to see Gursev Singh, with several other Singhs, thoroughly enjoying himself as he played the Taus, accompanying multiple Kirtaniye during the program.

I am not going to talk a great deal about the wonderful Kirtan; the best way to experience that is to listen to the recordings, which will be up on www.gurmatsangeetproject.com soon. Suffice it so say, listening to the Guru’s bani sung with such spirit, by young Kirtaniyas was truly a memorable experience. I would like to in this blog post, to introduce all of my readers to some of the truly admirable young men and women I had the privilege to meet and interact with.

Dr. Onkar Singh is a well known figure in Gurmat Sangeet circles. Blessed with a mellifluous voice, he is an outstanding exponent of Gurmat Sangeet, having grown up in a musically rich environment, interacting with the likes of Bhai Shamsher Singh Zakhmi Ji and Bhai Dilbagh Singh Ji.

Dr. Onkar Singh, accompanied by Rupinder Singh and Gursev Singh (Taus) and Gurpreet Singh (Tabla)

Gurpreet Singh Chana, also known as ‘The Tabla Guy’ is a very well known percussionist in the Toronto area. Trained on the table by Professor Purshottam Singh JI, he is known for his innovative and imaginative playing.

The Tabla Guy innovates on the Hang, a contemporary Swiss percussion instrument

Lakhpreet Kaur, and her siblings Sirjaut Kaur and Paramveer Singh were featured guests and invitees at the Gurmat Sangeet Darbar. Lakhpreet Kaur, who was featured in the ‘Saz of Gurmat Samgeet’ had picked up the Dilruba and Taus, largely on her own, with encouragement from Bhai Nazar Singh of Milwaukee, who was also responsible for introducing me to Gurmat Sangeet when I was a young man in Milwaukee almost two decades ago.

Paramveer Singh (Rabab), Lakhpreet Kaur (Taus), Sirjaut Kaur (Dilruba), S. Mohan Singh

Rupinder Singh has been a leading figure in the Gurmat Sangeet renaissance in the Toronto area. Making tremendous strides as a Taus player and a vocalist, he has gathered around him a dedicated group of young Kirtaniye totally committed to preserving and propagating the Gurmat Sangeet tradition.

Gursev Singh, Harman Singh, Manraj Singh, Rupinder Singh, Bhavpreet Singh & Jaswinder Singh at the 2008 Gurmat Sangeet Darbar

The Gurmat Sangeet Project Jatha being the youngest featured Jatha in the program, probably worked the hardest, getting Ready for the program. Amrit Kaur and Mehr Kaur have been studying Gurmat Sangeet and singing together for almost seven years now. Jaspreet Singh provides tabla accompaniment and Amandeep plays the Tanpura / Swarmandal. Rupinder Singh and Harman Singh were kind enough to accompany them on Taus during the program.

Rupinder Singh, Mehr Kaur, Amrit Kaur, Jaspreet Singh, Harman Singh, Amandeep Singh

The adventures of the Boston Jatha probably need a whole new blog post ! For now these photographs should suffice :

Everyone including Aziza, the family Lab pitches in	More practice
Amandeep gets his first Taus lesson	Downtime at the Falls

The local (Toronto) Jathas were all very impressive. Guneet Kaur, was probably the most impressive vocalist of all the participants in the Darbar. Her tayyari was absolutely superb. She sang ‘Ghol Gumai Lalna’ beautifully in Raga Tukhari with Jagjit Singh providing stellar accompaniment.

Karanjeet Singh, Bhavpreet Singh, Guneet Kaur, Jagjit Singh

Jagjeet Singh, holder of the Guiness Book Record for percussion

Tabla maestro Jagjit Singh is a student of the late Ustad Alla Rakha Ji’s and is now under the guidance of Ustad Zakir Hussein. Jagjit Singh, who recently set a new world record, playing the tabla continuously for several days ! As humble as he is talented, Jagjit Singh was a wonderful presence at the Darbar. He pro-actively took Jaspreet Singh under his wing and proceeded to teach him some exciting tabla improvisations.

One of the highlights of the Darbar was a Tabla Ensemble under the guidance of Jagjit Singh

It was truly inspiring to see this level of talent and virtuosity. For a moment, one was transported to the Darbar of Sri Guru Gobind Singh Ji, replete as it was with all forms of musical and artistic talent !

I would be remiss, if I did not mention several other young Kirtaniyas, whose presence and enthusiasm was so inspiring.

Karanjeet Singh is an accomplished Sarod and Rabab player; I first had the opportunity to hear him play with Onkar Singh, when we visited Toronto in 2005. He has made tremendous strides as a musician and has been instrumental in establishing a monthly youth oriented Gurmat Sangeet program in Toronto.

Diljot Kaur , Jaspreet Kaur and Simrann Kaur are students of Rupinder Singh’s. Their beautiful rendition of shabds by the Sri Guru Tegh Bahadur Sahib in nirdharit ragas, was truly inspiring.

I do not have a lot of information on Gurmeet Singh and Jagjit Singh, who did an outstanding job singing three beatutiful shabads in nirdharit ragas; their tayyari was evident in their very melodious singing.

Jaswinder Singh is a flamboyant and accomplished Tabaliya; he has been accompanying Rupinder Singh and other Kirtaniyas for several years and is also responsible for organizing the monthly darbars.

Harman Singh is an up and coming Taus and Dilruba player. He was kind enough to accompany the Boston Jatha, mastering the fairly difficult material very quickly and providing outstanding accompaniment to several Jathas.

Raviraj Singh, a young kirtaniya is a student of Professor Purshottam Singh Ji’s. During the workshop I encountered him singing a very nice rendition of the short khayal ‘Phaagwaa Brij Dekhan Ki Chalo Ri’, which is one of the seminal Basant compositions from the Hindusatani tradition.

Many excellent young kirtaniyas, who have been studying with Professor Sahib, sang beautiful shabads.

Jora Singh, accompanied by his brother Gagan Singh on Tabla

Manvit Kaur, Pawandip Kaur, accompanied by Professor Sahib

Four Sisters : Gurleen Kaur, Jasleen Kaur,Tanveer Kaur,Gurbans Kaur

Prabhjot Kaur, Devinder Kaur Monique Kaur, Ivpreet Kaur, Pavneet Kaur, Manjot Singh

The Malton Khalsa School jatha sang a beautiful composition in the rababi tradition in Shudh Malhar; the shabad was Har Jas Bolat Sri Ram Nama.

As Harvinder Singh and I were working through the logistics leading up to the 2008 Gurmat Sangeet Darbar, we realized that we had let one important piece fall through the cracks. We had not made arrangements for recording the program though Amritpal Singh of www.gursewa.org had very kindly agreed to webcast the program live. Literally as this occurred to me, I received an email message from. Ajit Singh a young Kirtan premi and audiophile from the Toronto area, offering to shoulder the responsibility for recording the entire program. What serendipity ! Or more appropriately the grace of the Guru. Ajit Singh spent hours and hours at the program, painstakingly recording each kirtaniya, constantly adjusting the mics and striving to produce top quality recordings for the Sangat.

A personal high point of the program for me occurred early on Sunday; fortuitously we ended up with a gap in the program as one of the scheduled Jathas could not make it. That gave me the opportunity to sing a shabad as well; unprepared as I was, I sang a shabad in Basant, which didn’t really align well with the theme of the program. It was a humbling and uplifting experience for me to participate in the program in this manner, and I do not have words to describe the profound joy I experienced, singing in the Guru’s darbar, surrounded by young Kirtaniyas, such as Karanjeet Singh, Rupinder Singh, Gursev Singh, Harman Singh and the Boston Jatha, who are the very embodiment of Chardi Kala !

The 2008 Gurmat Sangeet Darbar was a heady experience indeed. Most likely the Gurmat Sangeet Project will work with all of these inspiring young men and women to commit to an annual event in Toronto. The Gurmat Sangeet Darbar, as originally envisioned will continue to rotate through various North American cities. However, we are all eager to experience the warmth of the Toronto experience over and over again.

In Search of Almast

In Search of ‘Almast’

London, Feb 22 , 2007
(Completed on May 15, 2007)

Of late, the Gurmat Sangeet Blog has been somewhat dormant. Much more so because of inertia rather than a dearth of ideas or topics! Somewhat paradoxically, as I travel less, I have been writing less often, whereas one would think that I should actually have more time to write!

In any event, I find myself on the road again, with many hours until my next flight at Heathrow. The familiar urge resurfaces and I open up my laptop…..

Over the years, I have caught fleeting glimpses of an apparently brilliant, but relatively unknown figure in the world of Gurmat Sangeet. His name is Gian Singh ‘Almast’. The name itself is intriguing! It hints at an irreverent, radical intoxication. Rebellion. Immersion. Gian Singh ‘Almast’’s personality however, remains tantalizingly obscure. He surfaces briefly when old school Kirtaniyas get together and reminisce about a bygone era, but by and large he remains very elusive!

During an intimate, sparsely attended Friday evening Diwan at the Milford Gurdwara Sahib in 2003, Bhai Gurmeet Singh Shant is singing. The Shabad is ‘Pati Tore Malini’. The Bandish, or melody, is not the well known composition in Raga Kafi, popularized by the late Bhai Bakshish Singh Ji, which Gurmeet Siingh Shant is known to sing. It is a dazzling, fluid, enrapturing melody in Raga Kalavati that I have never heard before.

http://www.gurmatsangeetproject.com/Recordings/GurmitSinghShant9/pati%20tore%20malini.MP3

During langar, I find myself asking Gurmeet Singh Shant about the beautiful composition. He tells me that it was a composition by Almast Ji. An outline begins to emerge! I ask Gurmeet Singh Shant to sing more compositions by Almast. In subsequent Diwans, Gurmeet Singh Shant obliges. Every composition is more beautiful than the previous one. The outline now has more definition and the essence of Gian Singh Almast’s art and the sheer magnitude of his talent slowly starts to become apparent.

I go back home and frantically search through my archive of recordings by Gurmeet Singh Shant, recorded during many meetings over the years. I discover many other gems that for sure, reflect the musical genius of Almast Ji.

Saturday morning in Milford. The Sangat is slowly trickling in to attend a lecture-demonstration by the very talented Sikh musician, Baldeep Singh. As we wait, Baldeep Singh plays a recording of a Shabad, sung in Darbari Kanada. The depth and emotion in the singing is astounding. To my ears, it is as beautiful as listening to Khansahib Abdul Wahid Khan, or the more contemporary Ulhas Kashalkar, sing Darbari. I am enraptured. I ask Baldeep Singh about the singer and learn that it is none other than S. Thakar Singh, the reclusive, mysterious son of Gian Singh Almast !

Raja Mrigendra Singh, scion of the house of Patiala is visiting Boston. He has just delivered a lecture during Baisakhi celebrations at the Millis Gurdwara; we are in my home, chatting about various aspects of Gurmat Sangeet, particularly Sikh musicians and Kirtaniyas. Raja Mrigendra Singh fondly speaks of the legendary Gajjja Singh Ji and his research into Gurmat Sangeet. When I ask about Almast, I am in for a bit of a shock. He is dismissed as inconsequential, an eccentric and quirky musician. I am puzzled, because this doesn’t at all square with the portrait of Almast that is starting to emerge. A few years later, when I sit down with Gyani Dyal Singh Ji to talk about Almast, I finally understand.

August 2004. The Sikh Youth Symposium has come to Boston. Among the many visitors is a family from Atlanta, very involved with Kirtan. Even with all the distractions that come with organizing the event, I vividly remember their teenage daughter singing some beautiful shabads and their son being very adept on the tabla.

In August 2005, we visit Atlanta for the finals of the Symposium. It is banquet night. The family is on stage. S. Paramjit Singh Sarin plays the Sitar, his daughter Soni Kaur, plays the Dilruuba, Gurpreet Singh excels on the tabla and all of them including Archana Kaur sing. I wonder if my ears are deceiving me. The composition, a Guldasta or Ragmala sounds very familiar. It is indeed by Gian Singh Almast !

(Here is the same Guldasta sung by Bhai Gurmit Singh Shant : :)

http://www.gurmatsangeetproject.com/Recordings/GurmitSinghShant4/gurmeet%20singh%20shant%20-%20Bhairav%20gave.mp3

The Sarin family at the 2005 Sikh Youth Symposium in Atlanta

We congratulate S. Paramjit Singh and his family after the fine performance. We are told about the speed with which Soni Kaur has picked up the Dilruba, literally in a matter of months, which I treat at first as parental pride asserting itself ! The next day, the Sarins graciously host us. We sit together and share our passion about Gurmat Sangeet. We sing and share precious old compositions. We learn more about each other’s families and their interest in Gurmat Sangeet. During the conversation, I discover the secret of Soni Kaur’s almost magical progress on the Dilruba. Gian Singh Almast’s blood runs through her veins! The speed which she picked up the Dilruba is no surprise at all ! Her mother, Archana Kaur is the granddaughter of Gian Singh Almast!

Soni Kaur on the Dilruba; Atlanta 2005

It is 2006. Gyani Dyal Singh Ji is visiting with us in Boston. The Gurmat Sangeet Heritage Recordings project is in full swing. Bhai Kanwarpal Singh and his Jatha are also present to support and assist Gyani Ji. We spend many many hours, documenting Gurmat Sangeet compositions and gratefully drinking at the fountain of wealth of Gurmat Sangeet lore, that Gyani Ji is!

I finally strike gold in my quest for Gian Singh Almast. Gyani Ji is a contemporary of Gian Singh Almast’s son, S. Thakur Singh and has known Gian Singh well, as a young man. In his inimitable style, Gyani Ji holds forth talking freely and colorfully about the musical phenomenon that was Gian Singh Almast. Sometimes so colorfully that his words cannot be reproduced here!

The picture that emerges is of an unconventional, iconoclastic musical genius, with a penchant for showmanship and confidence in his musical prowess, almost bordering on arrogance. A larger than life personality with many appetites and the boldness to fully indulge in them. A composer, singer, instrumentalist and musician of incredible talent, the likes of whom has probably never been seen again in the Sikh Panth. A genius who lived life to the fullest and left the world, largely unsung.

His legacy, however, continues to live on. In his compositions, that are sung so beautifully by Gurmeet Singh Shant and Devinder Singh Shant. In the highly talented musicians among his descendants.

I cannot resist recounting a quick anecdote shared by Gyani Ji. The time: around 50 years ago. The young Dyal Singh is a Dilruba player at Sri Harmandir Sahib. He accompanies Bhai Samund Singh Ji and other legendary exponents of Gurmat Sangeet. It is evening. He sits in his room, lost in Riyaz, playing his Dilruba. His concentration is broken by a shadow that falls across his doorstep. He looks up. Sees the tall, imposing figure of an impossibly handsome man. Dressed rather dramatically in a long black, heavily embroidered Choga or cloak. Big Pagri on his head with a very elaborate fan or Turla. He stands in the doorway and listens to the young musician playing. The sound of a ‘Wah’ escapes his lips. It is none other than Gian Singh Almast! Later as he sits with Gyani Ji and they talk, he says: “Main kadey kisse @#&^%^&* nu vee Wah nahin kehnda !”

It is the last day of Gyani Dyal Singh Ji’s visit to Boston. We are in the middle of an impromptu, informal Kirtan Diwan at my home in Hopkinton. Gyani Ji has started by singing a mesmerizing Shabad in Shivranjani. Shivranjani is one of my least favorite Ragas, largely as a result of the abuse meted out to it in Hindi Film music, and popular music sung under the guise of Kirtan! But Gyaniji’s rendition in Shivranjani is truly beautiful.

For years, Gyani Ji has been threatening to sing a Thumri composed by S. Joginder Singh, the teacher of Gian Singh Almast. Today he is in his element. His eyes are twinkling as he finally gets ready to deliver.

The Thumri is breathtaking! It is a composition by S. Joginder Singh Ji in Veer Ras in praise of Guru Gobind Singh Sahib. “Danka Ki Dhamak Sunn” It is in Raga Hindol, set to Soolfak, if memory serves me correctly. The cadence of the composition is amazing. It can only be appreciated by listening to it. Every musician I have played it for, since, has been completely enraptured.

http://www.gurmatsangeetproject.com/Recordings/heritage/thumris/danka%20ki%20dhamak%20sun.mp3

Gyani Dyal Singh Ji, Hopkinton 2006

There is more to come. Gyani Ji goes on to sing “Dhoom Pari Jagat Me Tumri”. Another Thumri in Raga Nayki Kanada, also in praise of Guru Gobind Singh Sahib. The words and the composition are by Gian Singh Almast.

Here at last..... is the ephemeral essence of the genius of Almast........

http://www.gurmatsangeetproject.com/Recordings/heritage/thumris/dhoom%20pari%20jag%20me%20tumri.mp3

Our Own Bhatkhande

Paris, October 9, 2006

(Completed 5/17/07)

Our own Bhatkhande

As the frequency of my travels has diminished, so have my blog entries. Being trapped in a plane for many hours has certainly resulted in some upside for me! Finding myself with forced leisure once again, I open my laptop and start writing down, thoughts that have been swirling in my head for several weeks.

The very first entry in the Gurmat Sangeet Blog was about Gyani Dyal Singh Ji; regular readers do not really need an introduction! The catalyst for my thoughts, prompting me to write about Gyani Ji again was a diatribe, whose author shall stay nameless, in reaction to the announcement of the Second Annual Gurmat Sangeet Durbar in Chicago in August, in which Gyani Ji featured as the honoree.

Who is this Gyani Dyal Singh, my nameless friend wanted to know. And why is he worthy of recognition? What has he done in the field of Gurmat Sangeet, whose very existence the nameless one questioned as a Sangeet Shayli in its own right !

My first reaction was mild anger, which gave way to amusement. This is not a riposte to the angry and mean-spirited utterings, rooted no doubt in a deep seated lack of self esteem, which were very hurtful to those of us whose lives have been profoundly enriched by the Guru's Sangeet. The purpose is much more to share with the Sangat at large, a sense, albeit fleeting, of the personality and essence of Gyani Dyal Singh Ji. Over the past year or so, I have had the good fortune to spend a lot of time with Gyani Ji, record him extensively and enjoy his never ending reminisces about the titans of Gurmat Sangeet of the last century, who he rubbed shoulders with and observed very closely.

Through hours of conversations with GyaniJi, I have come to experience the aura of Gian Singh Ji Abbotabad, Bhai Samund Singh Ji, Bhai Taba Ji, Bhai Lal Ji, Bhai Chand Ji, Sardar Bahadur Dharam Singh Ji, Gian Singh Ji ' Almast', Bhai Dharm Singh Zakhmi Ji and countless others, who to me, before I met Gyani Ji were just names. Names, sometimes on book covers, or scribbled on the jackets of scratchy tapes, or mentioned fleetingly in conversations about an era long gone! I write this article, primarily to share this precious gift that I have received from Gyani Ji; a gift that rightfully belongs to every Gurmat Sangeet Premi !

Gyani Dyal Singh Ji was probably a very unlikely candidate to take on the mantle of the leading musicologist in the Sikh Panth ! He belonged to a family of farmers and Zamindars in the predominantly Hindi speaking area around Hapur in UP. He had not inherited any connection to the Guru's Sangeet from his family. As a child however, he saw the respect that the few Sikh Pracharaks who could be found in that part of India, received. That prompted him to leave home in search of his destiny.

Sardar Bahadur Dharam Singh Ji, was a prominent Sikh businessman in Delhi. He made his fortune in the construction business and was involved in building much of the government infrastructure in Imperial Delhi under the British. He was also a visionary and truly committed to Seva and Parchar. Recognizing that need for Parchar and the sharp lack of qualified Parcharaks in the Hindi belt, where Sikhs had settled for more than a hundred years and had a significant presence, he formed the Guru Nanak Vidya Bhandar Trust and established the Rakab Ganj Kirtann Vidyalay.

In service at the Vidyalay was Gyani Hardit Singh Ji, a student of Pandit Nathu Ram Ji's. The young Dyal Singh sought out Gyani Hardit Singh Ji as his teacher and spent many years with his Ustad learning the nuances of Raga, Tala and Stringed Instruments.

Gyani Ji even today, is in awe of Sardar Bahadur Dharam Singh Ji's vision as well as his commitment to Seva. He recounts several incidents witnessed by him or his Ustad Gyani Hardit Singh Ji, which are worth recounting. Khalsa Colleges were sprouting in the Punjab. A charter had been established and enlightened Sikhs all over were attempting to set up educational institutions. One such group of Sikhs from the North West Frontier Provinces paid a visit to Sardar Dharam Singh Ji. They needed a lakh of rupees (1,00,000) to get a college going; they had a vision, much enthusiasm but no funds. A lakh was an astronomical sum of money in those days ! Upon receiving the delegation and hearing of their plans, on the spot Sardar Dharam Singh Ji instructed his munshi to turn over a payment he had just received of seventy thousand rupees as funding for the college !

Generous as he was in his support of Panthic causes, Sardar Dharam Singh Ji believed in a very frugal existence. Gyani Ji recounts another very interesting anecdote. Another delegation of visitors came to meet Sardar Sahib to seek funds for a Panthic Project. Sardar Sahib's servant was asked to make tea for the visitors, upon which he declared that the kitchen was out of sugar, prompting a rebuke from Sardar Sahib ! The delegation, seeing this domestic quibbling on the consumption of sugar, got up to leave. When Sardar Sahib pushed them on their reason for wanting to leave, even without stating their purpose, somewhat reluctantly the petitioners told him that they were seeking money, but upon seeing him upbraid his servant on the trifling matter of how much sugar was being consumed, felt that they had come to the wrong place. Sardar Sahib gave them the funds they were seeking and remarked - "If I or my family spend money in a wasteful manner, how will we fund Panthic projects ?" Such was the nature of Sardar Bahadur Dharam Singh Ji, whose vision resulted in the establishment of the Rakab Ganj Kirtan Vidyalay, which has produced and continues to produce some of the best Ragis in the Panth !

After his studies with Gyani Hardit Singh Ji were complete, Gyani Dyal Singh Ji sought employment at the Sri Harmanndir Sahib as a Dilruba player. He accompanied many Ragis such as Bhai Sahib Samund Singh Ji, one of the pre-eminent Ragis of the last century.

There is nobody that Gyani Dyal Singh Ji remembers with greater fondess than Bhai Samund Singh Ji. He speaks often of Bhai Samund Singh Ji's virtuosity, his vast repertoire and his luminous personality. Gyani Ji, a harsh critic of anyone who preaches Sikhi, but does not practice it, remembers Bhai Samund Singh as a man of principle. Jiwan Vale !

He recounts an incident that occurred during a Kirtan Durbar at Gurdwara Sis Ganj Sahib in Delhi. It was an evening Diwan. Bhai Samund Singh Ji had just finished singing the shabad Jai Jai Jag Karan Srist Ubaran Mam prit paran Jai Tegang, set to a magnificent bandish in Raga Malkauns in Iktaal. (Incidentally this Shabad was recorded as part of the Heritage Recordings project and will be made available on the Gurmat Sangeet Project website). Right in the Diwan, one of the Prabhandaks stood up before the enraptured Sangat and announced that Bhai Sahib Samund Singh Ji was to be offered employment at Gurdwara Sis Ganj Sahib, Even as the roar of the Jakara was subsiding, Bhai Samund Singh Ji was asked to announce his acceptance, at which Bhai Sahib, with folded hands requested some time to consider the offer.

Later after hearing that Bhai Sahib had turned down the offer, Gyani Ji went up to him and asked him why he had turned down such a prestigious appointment, which would have only benefited the Sangat of Delhi. Bhai Samund Ji’s reply was perceptive, and unfortunately almost oracular. “Bhai Dyal Singh” he said. “The world has changed. When I was in service at Nankana Sahib, I was empowered. Given respect and authority. I was responsible for arranging Diwans; determining who would sing and when. I worked with the support of dedicated and enlightened Gurdwara Management. I see dark days ahead when our institutions are run by politicians, whose interest is not Dharam Parchar or Seva, but personal aggrandization. It will be impossible for me to serve in such an environment. After leaving Nankana Sahib, I have resolved never to serve under a Management Committee.

Gyani Ji served the Panth with distinction and dedication for almost forty years as the Principal of the Rakab Ganj Kirtan Vidyalay. He was appointed to this position in 1967 upon the passing away of Gyani Hardit Singh, after the unanimous nomination of his peers, fellow students of Gyani Hardit Singh. He spent a lifetime at the institution, living frugally, teaching the principles of Gurmat and Gurmat Sangeet to mostly very poor children from the Saharanpur/Dehradun area. Most children would spend 4-5 years at the Vidyalay in a rigorous program under Gyaniji’s watchful eye. The result was the enrichment of the Panth through outstanding Kirtaniyas, rooted in the Gurmat Sangeet Tradition such as Bhai Surjit Singh, Bhai Kanwarpal Singh, Bhai Parkash Singh and numerous others. In addition he served as a lifelong mentor to several of his peers such as Bhai Chattar Singh, facilitating their continued progress in the world of Gurmat Sangeet.

The wealth of anecdotal, oral history of Gurmat Sangeet that I obtained from Gyaniji is too vast to be documented in its entirety in this short article. I did record my conversations with Gyaniji as well, which someday will be posted on the GurmatSangeetProject website. (Albeit after significant editing, to purge the conversations of some of Gyaniji’s colorful language, which at times can make a Punjabi truck driver blush)

The title of this article refers to Pandit Vishnu Narain Bhatkhande, a scholar and musicologist, who was instrumental in helping Hindustani Classical Music emerge from the closed world of the courts of Kings and the havelis of Jagirdars, into the mainstream, making it accessible to the masses. Bhatkande rendered a huge service to Hindustani Classical Music by creating a script for the notation of musical compositions, from a tradition that had largely been oral and jealously guarded to boot ! Bhatkhande spent many years, single mindedly pursuing Gharanedar musicians, who had in their possession, age old compositions passed down to them by their ancestors. Coaxing, cajoling, often bribing, Pandit Bhatkhande collected a vast repertoire of compositions that he learned, and then recorded in a series of volumes on musicology that he published. In the world of Hindustani Classical Music, Pandit Bhatkhande is truly a colossus !

Gyani Dyal Singh Ji, in the world of Gurmat Sangeet, occupies a position very similar to Pandit Bhatkhande’s in Hindustani Classical Music !

Another historical figure that Gyani Ji remembers with near reverence is the redoubtable Gian Singh Abbotabad. Gian Singh Ji came from a prominent family in modern day Pakistan. From an early age he had a deep interest in Gurmat Sangeet, pursuing every opportunity to learn old compositions from the various Kirtaniyas he encountered. After Partition, he moved to Delhi where he established an extremely successful Arms & Ammunition business, while continuing to indulge in his passion for Gurmat Sangeet. Gyaniji speaks of Gian Singh Ji as a one of a kind visionary, whose personality combined tremendous intellectual ability, generosity and practicality.

Gian Singh Ji had the vision to realize that traditional Gurmat Sangeet had started to decline and that the vast repertoire of Gurmat Sangeet compositions he had acquired over the years was a Panthic treasure that was now critical to preserve. However, he was no theoretician or musicologist ! Gyani Dyal Singh, who was a young Dilruba player at the Sri Harmandir Sahib at that time was recommended to Gian Singh Ji as someone with the musicological expertise to help facilitate his task. He was employed by Gian Singh Ji and asked to come to Delhi to begin the task of preserving old Gurmat Sangeet compositions.

Recognizing the richness of the Rababi tradition within Gurmat Sangeet, Gian Singh Ji thought it judicious to document its compositions as well. However, after Partition all of the famous Rababis such as Bhai Chand, Bhi Lal, Bhai Taba and others had migrated to Pakistan. Bhai Taba Ji, a member of Bhai Chand’s Jatha and one of the finest musicians in the Rababi tradition was invited to return to Delhi. Bhai Taba made several trips to Delhi from Lahore, often staying three months at a time, working with the young Dyal Singh to document his repertoire. This was a legendary collaboration that resulted in hundreds of Rababi compositions being incorporated into Gurbani Sangeet, that work that was created by Gian Singh Ji and his team.

Gyani Dyal Singh Ji expresses tremendous love and respect for Bhai Taba Ji, who according to him was a musical genius. He recounts several instances, when Bhai Taba Ji would sing a certain composition, which to Dyal Singh’s trained ears would not be true to the Raga it was being sung in. It has to be remembered that the Rababis were extraordinary musicians, but were in no way musicologists or theoriticians. All of their learning was in the oral tradition, where the master teaches the student by singing compositions and asking him to reproduce its nuances, eventually taking the training wheels off and encouraging the student to improvise. Thus several subtle errors had crept into the versions of the compositions Bhai Taba Ji had learned. Gyani Ji, recounts with astonishment, how Bhai Taba could effortlessly render a new variant of a composition, instantaneously, with a note added, or dropped or modified from Shudh (pure) to Komal (flat), upon receiving Gyani Ji’s feedback !

According to Gyani Ji, Bhai Taba Ji did all the musical heavy lifting in the well known Bhai Chand’s Jatha. While Bhai Chand was a good Kirtaniya, he did not possess Bhai Taba Ji’s musical genius. His unique talent was his astonishing command over Gurbani and his ability to deliver very well thought out Parmans while singing shabads. That according to Gyani Ji was the real reason for his immense popularity. Gyani Ji believes that Bhai Chand was the originator of the practice of singing excerpts from another shabad, relevant to the theme of the shabad being sung, as Parmaans.

All this talk of the Rababis and their talent, primpted me to ask GyaniJi a question that I had often pondered in the past. The Rababis, were Mulsims, and kept their Muslim identity. However, they sang, beautifully and movingly at Sri Harmandir Sahib. Was the singing of Gurbani merely their profession ? Or did they bear deep, abiding love for the Guru in their hearts ? The true, complete answer to this question probably died, along with the old school Rababis. Gyani Ji’s view on this question was, a little saddening. According to him, Bhai Lal, the cream of the crop of the Rababis of his day, after singing Gurbani, would quietly rinse his mouth, to cleanse it, having sung the unclean verses of the infidels. Depressing for sure ! Perhaps it was just a quirk of one Rababi’s personality!

The time I spent with Gyani Ji was truly enriching. The very personal, anecdotal view he provided into the world of Gurmat Sangeet and the hearts and minds of his contemporaries is a rare treasure. May Waheguru bless him with a long life and Chardi Kala! May he continue to regale lovers of Gurmat Sangeet with his rich reminiscences. May Waheguru send forth more like him, who will keep the flame of this wonderful tradition burning bright forever.

Veerji

Hopkinton, MA
May 10, 2006

Everybody who knows him, apprently calls him Virji. I have never met him, but I do know him.

It was probably 1989, or maybe early 1990. I had finished grad school and had moved to Milwaukee from New York. I was fortunate to find in Milwaukee, a few individuals who had a profound impact on my life. One of them was Bhai Sahib Nazar Singh Ji, who initiated me into the joys of the Guru's Sangeet.

But this article is not about Bhai Sahib. I will write about another time.

This article is about Veerji, who I was introduced to by my good friend Dr. Ravinderjit Singh, who now lives in Rochester, MN. The introduction was through a scratchy 90 minute cassette. The recording quality was quite poor. There were pops, clicks and a persistent hiss. And that indescribable sound of an ancient cassette recorder stopping and starting, which had insinuated itself into the recording. Numerous times.

But the kirtan. There was something special in it. It was clearly brimming with love for the Guru.

In my personal experience, there is a quality associated with Kirtan that completely transcends virtuosity, training, voice and preparedness. This quality is really hard to describe; it can only be felt. Those of you who are Kirtaniyas will know exactly what I am talking about !

You sing the same shabad. Over and over again. On may different occasions. Maybe one time, out of a hundred, if you are lucky, you achieve it. Again, it has nothing to do with your voice, your proficiency in Raag, or lack thereof. It has everything to do with Gur Parsad. On that rare occasion, you feel a conenction to the Guru. Your voice drips with Amrit Ras. The Sangat feels it. You do for sure ! It is different.

It is this evanescent, ephemeral connection that every Kirtaniya seeks. The bliss that results when it is achieved is beyond description.

It is this connection that I discerned in Veerji's Kirtan when I first heard it. I suspect that the fact that I can find this connection rarely, if ever, speaks to my inadequacies as a human being and a Sikh. Listening to Veerji, takes me halfway there at least !

I was so enamored of his singing when I frist heard him. I could listen to nothing else. The scratchy tape became scratchier. I starting pestering Ravinderjit Singh and didn't stop until he convinced a friend to part with his entire collection of shabads by Virji, recorded painstakingly over the years.

I remembering excitedly sharing copies with anyone who remotely cared about music. The cognoscenti of the Milwaukee Hindustani Classical scene, who I was starting to hang out with. A dear friend who was similarly immersed in Gurnmat Sangeet and very knowledgeable. The feedback was mixed, but I didn't care. My erudite firend dismissed the recordings as being sung based on 'old film songs'. I didn't care. The connection was what mattered to me.

Several years later, I wrote to Veerji. Told him how profoundly his singing of the Gurus' Bani had impacted me. I asked him if he would ever consider visiting the US. I got a reply from him. It was clearly the work of a mystic. More than a letter. Beautiful prose that read like poetry, which I read haltingly and cherished.

Snippets of information. His name is Prem Singh. Veerji is not a professional kirtaniya. He is actually an entrepreneur in Amritsar, who apparently doesn't pay much attention to his business. Singing the Guru's Bani. Teachig children. Disappearing for weeks on end, to be found, connected to the Guru in some remote oasis.

I ran into S. Mohinder Singh 'Thumri', a Sikh musician from Amritsar at Bridgewater, NJ. After I heard him sing a beautiful shabad in Raga Bihagda, I remarked that I had a similar shabad sung by Veerji. Mohinder Singh Ji acknowledged him as a student.

Over the years, I have had no further contact with Veerji. I have been to Amritsar numerous times, but somehow never met him.

His beautiful Kirtan, which I am digitizing that this very moment, has stayed with me. It will be up on the Gurmat Sangeet Project website at :

http://www.gurmatsangeetproject.com/Pages/PremSingh.asp

After all these years, as my journey into Gurmat Sangeet continues, I return to Veerji's Kirtan. Often.

Partucularly when my heart is heavy.

It never fails to work its magic. Everything else ceases to matter. I am connected to the Guru again.

Thank you Veerji !

A gem discovered

Gobind Sadan, Delhi
July 2005

(Note : I started writing this article in September 2005, but it was completed and published on February 28, 2006)

A warm summer morning in Delhi. The rains are here and Delhi is a giant muddy puddle. After driving for what feels likes hours, I am finally there. We've passed through run down shanty towns. As well as rows upon rows of spotless 'farm houses', gated and somehow intimidating.

Over the years, as my interest in Gurmat Sangeet grows, I inevitably talkto many kirtaniyas and kirtan premis about the great Rababi tradiiton, which is all but dead today. Many wistfully reminisce of the legendary Bhai Lal, and the redoubtable Bhai Chand and Bhai Taba who sang for years at the Harmandir Sahib, before 1947.

Bhai Taba Ji's presence looms large. An outstanding musician. A veritbale repository of traditional Gurmat Sangeet composition. A lovely, humble man. Dedicated.

Young Nampreet Singh, a Kirtaniya from Toronto first tells me about a possible living link to the Rababi tradition. A frail old woman. Once a student of the legendary Bhai Taba Ji. Her name : Bibi Jaswant Kaur. Last known whereabouts ? Nobody seems to know.

Baldeep Singh, the Sikh musician, visits Boston. In a casual conversation he speaks warmly about an old woman, a student of Bhai Taba Ji, who he often visits. Bibi Jaswant Kaur is found !

Tentatively, I send an email to Gobind Sadan and I get a response. I call, and am directed to a neighbor's house, who is kind enough to fetch Bibi Ji. Somewhat tentatively, I ask her if she would be willing to meet me. To my delight she agrees. Emboldened, I ask if she will consider letting me record her. She is willing, but she doesn't really have an accompanist on the Tabla.

It is thus I find myself at Gobind Sadan this muggy monsoon morning. Bhai Kavinder Singh, a student of Gyani Dyal Singh Ji's, who plays the tabla with Bhai Jitender Singh has been drafted. He has been asked to polish his skills, particularly at the lesser known Dhrupad Taals that a student of the great Bhai Taba Ji is likely to play.

Bhai Kavinder Singh hasn't arrived yet. I am clearly expected. A kindly old Gursikh, popularly known as Bhagat Ji at Gobind Sadan, who has been waiting for me, directs me to Bibi Ji's apartment.

Bibi Jaswant Kaur Ji

She is the youngest 85 year old I have ever met. She welcomes me with genuine warmth. Slices fruits for Bhagat Ji and me despite my protests.

The next couple of hours are a delight. She remembers everything. Her sixteen years as a student of Bhai Taba Ji in Amritsar. As a seven year old, she remembers listening in as her aunt is taught by the legendary Dilip Chand Vedi Ji. Her father's surprise at her being able to perfectly render a Thumri she hears her aunt sing. Her first lessons in Gurmat Sangit with the Bhai Sahib from the local gurdwara. Her father nurtures her talent by moving to Amritsar after retirement. Engages the services of Bhai Taba Ji to teach his young daughter. Bhai Taba Ji visits their house every day to teach her. His is accompanied by Bhai Nasira Ji, who plays the Jori and specializes in playing Sath (dhrupad bols that in modern times are played on the Pakhawaj)

She talks about Bhai Taba Ji. His humility. Father of nine daughters. Constantly worrying about getting them married. The devastating effects of Partition in 1947, when Bhai Taba Ji, Bhai Nasira Ji, Bhai Chand Ji move to Pakistan. Travellers bring back poignant tales of the Muslim Rababis, once revered keepers of the Gurmat Sangit Tradition, now without an audience or patrons in Pakistan. Their art withering and dying. Heart wrenching portraits of neglect, tears and despair. Driven to desperation. Devoid of any skills other than the singing of Gurbani. Some become quacks and make their living applying leeches to the ill. Others earn their living by beating silver into thin layers of foil for the confectioners of Lahore.

She remembers two and a half hour Kirtan Chowkis that Bhai Chand Bhai Taba participate in. To my surprise I learn that there is no accompaiment by stringed instruments. Both Rababis accompany themselves on harmonimums. They do not use Tanpuras.

She talks about her life at Gobind Sadan. She has been here for thirtyfive years, after the death of her husband, singing for half an hour each morning and another half hour each evening. For the last twenty, Bhagat Ji has accompanied her faithfully every day.

Bhai Kavinder Singh is here at last. I have asked Bibi Ji to sing some compositions in particular, that are transcribed in Gian Singh Abbotabad Ji's books on Gurbani Kirtan.

The next fortyfive minutes I am transported to another era. Shabad after beautiful shabad in the traditional Rabai style, each rendered with joy and love, by this amazing eighty five year old Kirtaniya. A direct link to our hertitage. To the divine message of Baba Nanak and the glorious music of Bhai Mardana.

The renditions speak orders of magnitude more eloquently than my words :

(Har jan bolat sri ram nama; Raga Shudh Malhar)
(Jal jasi dhola hath na lai kasumbde; Raga Suhi)
(Maha maha mumarkhi chadiya sadaa basant; Raga Basant-Marwa ang)
(Man re jap ram nam gopal; Raga Darbari Kanada)

Bibi Jaswant Kaur Ji, Bhai Kavinder Singh and Bhagat Ji

Bibi Ji is kind enought to give me some more of her recordings; they are all available at the Gurmat Sangeet Project Bibi Jaswant Kaur Page

Its time to leave. She is tired. I would love to do something for her. Anything. But she is content. She lacks nothing. Wants nothing. She is happy. She is the guardian of a great, priceless treasure. Each day of her rich life, she shares it. Selfelessly. Joyously. Humbly.

Thank you Rashid Khan !

Gangtok
July 4, 2005

Monsoon in the Eastern Himalayas. Everything is lush green. The rain comes down incessantly. For two days, in vain, I have yearned for a glimpse of Kanchenjunga. The weather gods are kind today. It is 6 a.m. Wonder of wonders ! A patch of blue sky ! I leave the house in a hurry. This is probably one of the few opportunities to go for a walk that I will get on this trip !

I make my way to 'The Ridge', a flat and scenic walk that winds around the Palace of the Chogyal, the former ruler of Sikkim, the Royal Monastery and the enigmatically named 'Whitehall' where I remember watching badminton tournaments many years ago as a child.

As I walk, breathing in the washed, crisp mountain air, savoring a few glimpses of some of the peaks of Kanchenjunga and the many many tall mountains all around me, my ears are filled with the majestic strains of Raga Bhairav. No ordinary Bhairav this ! The Badhat of the Raga is slow and measured. Impeccable. The aesthetics are sublime.

Rashid Khan is singing Bhairav. I carry Rashid Khan wherever I go. I have heard him in Oslo. He has given me much joy in Bangalore and in Cape Town and in Shanghai. The half a dozen recordings by him that I always have in my MP3 player are no less precious than my Tanpura recording that is a must for Riyaz on the Road :-)

So, you ask me dear reader, what on earth is Rashid Khan doing in a blog post on Gurmat Sangeet ?

I love all the Ragas in the Sri Guru Granth Sahib, but Bhairav has a special place in my heart. If you remember, in a recent post, I talked about my feeble attempts at singing in Bhai Avtar Singh Ji's presence; the Raga I picked was Bhairav ! Later Bhai Sahib provided a lot of encouragement and gave me a pat on the back for my use of the Ga and the Ni as grace notes (Kann Swar). I was quite bewildered ! The few subtelties I am aware of while singing, such as how to sing the Dha in Bhupali and the Ri in Sarang, I have learned from my Ustad, Warren Senders. He has never taught me Bhairav ! So where on earth did the ever-so-appropriate grace notes come from ? I certainly had no clue that I was even employing them !

Then it struck me ! Rashid Khan ! Of course !

Song of Shiva. That is the title of the CD by Rashid Khan that contains the sublime Bhairav that I am enjoying so much today. I have heard it so many times in the past few years that the poor CD has died a premature death ! Overuse, abandonment in my truck, multiple scratches through accidental proximity to a large hammer that we use to knock cricket stumps into the ground!! Over and over again, Rashid Khan's elegant rendition has permeated my very soul, to the point that I am able to reproduce some of the nuances of Raga Bhairav when I sing !

Isn't it wonderful ? Does he not deserve to be thanked ?

My interest in Gurmat Sangeet is only about 15 years old. It was trigered by two recordings I heard as a young man in Milwaukee. The Bilaval Partaal that I referred to in my last post, by Bhai Avtar Siingh Ji and Bhai Gurcharan Singh Ji. And a recording of a Kirtan Darbar at Bangla Sahib in which the redoubtable Singh Bandhu, Surinder Singh Ji and Tejpal Singh Ji rendered several shabads in Basant, Bahar and other Ragas.

In parallel, I began to develop an interest in Hindustani Classical music which has served me ver well in my journey into Gurmat Sangeet as well. I discovered Pandit Bhimsen Joshi Ji right around the same time that I discovered Bhai Avtar Singh Ji and the Singh Bandhu. Bhai Shamsher Singh Ji Zakhmi and Mallikarjun Mansoor stormed into my life roughly at the same tinme. As did Bade Ghulam A li Khan Sahib and perhaps most importantly Amir Khan Sahib whose stately, majestic renditions of Marwa, Megh, Malkauns and Todi are without parallel.

Of the contemporary musicians in the world of Hindustani Music, I have enjoyed listening to Rashid Khan, Ulhas Kashalkar, Veena Sahasrabudhe and Prabha Atre the most. Of the really young musicians, I have greatly enjoyed live performances by Shounak Abhisekhi and Kaushiki Chakraborty, who I had the pleasere of hearing in Chennai and Jalandhar at Harballabh, respectively.

My interest in Hindustani Classical music has greatly enhanced my appreciation of Gurmat Sangeet, which of course is also Raga based.

It begins to drizzle. I make my way back home, trying to outrun the inevitable downpour that will follow.

Hopefully I will be back tomorrow. Perhaps I will listen to Begum Parveen Sultana singing Gujri. Maybe some day,I will have occasion to thank her as well !