Rag Shankara, Rag Mala In Jogia

''Rag Shankara, Rag Mala in Jogia'' is a studio album by Indian classical musician Ram Narayan, released in 1990. Recorded on 15 and 16 November 1989 in Wyastone Leys near Monmouth, Wales, the album features a ''sarangi'' performance of the solemn night ''raga'' ''Shankara'' and a '' ragamala'' ("garland of ragas") based on the introspective early morning ''raga'' ''Jogiya'' (or ''Jogia''). On both tracks, Narayan performs a long non-metrical introduction to unfold the ''raga'', during which he adds a pulse, until he is joined by the ''tabla'' (percussion) player to perform a composition.

Origin

The album consists of performances of the ''ragas'' ''Shankara'' and ''Jogiya'' (also called ''Jogia''); ''Jogiya'' is performed in '' raga mala'' form.

''Shankara'' is considered a solemn and dignified ''raga'' that is difficult to master. It has been described by Vamanrao Deshpande as representing the "heroic mood". Luiz Martinez José argued that the ''raga'' was named for a gentle and guarding incarnation of the Hindu deity Shiva. ''Shankara'' is performed in the late night and distinguished by an emphasis on the third (Ga) and seventh (Ni) notes, the upper tetrachord, and several characteristic phrases and slow glides in descend. It has similarities to the South Indian ''raga'' ''Hansadhvani''.

''Jogiya'' is considered an introspective ''raga'' named for the ''yogi'' practice, and is often performed in devotional music and the light classical genre ''thumri''.Bor 1999, p. 92 Peter Manuel described it as the most important ''raga'' of the '' Bhairav'' ''that'' (''raga'' class based on the ''Bhairav'' scale type). ''Jogiya'' is performed at daybreak and emphasizes the tonic (Sa) and the fifth (Pa). It has several characteristic phrases and, like ''Shankara'', is suited for the upper tetrachord. Joep Bor argued that the ''raga'' appears to be related to ''raga'' ''Asavari''. ''Jogiya'' is one of Narayan's favorite ''ragas''.

A ''raga mala'' ("garland of ragas") allows for the introduction of other ''ragas'', which can be from any time of the day.Bor 1999, p. 181 The change from ''Jogiya'' into another ''raga'' and back must be smooth as there is no break in the music, making a ''raga mala'' difficult to perform.

Recording and artwork

''Rag Shankara, Rag Mala in Jogia'' was recorded on 15 and 16 November 1989 in Wyastone Leys near Monmouth, Wales. Narayan begins the performances by playing a long ''alap'' (non-metrical introduction) and '' jor'' (performance with pulse). The ''tabla'' player then joins Narayan in performing a composition, repeating the rhythmic cycle on which the composition is based and playing occasional improvisations.

The album cover features a painting made ca. 1760 in Murshidabad in the provincial Mughal style of Bengal. It depicts a young woman sitting next to a lake, playing on a ''rudra veena'' to a parakeet, which symbolizes her absent lover. A picture of Narayan with his ''sarangi'', taken by Joseph Stieger, is on the back of the album.

Reception

Allmusic critic Ken Hunt described Narayan's performance of "Rag Shankara" as "ideal for the night hours" and R. S. Murthi of the ''New Straits Times'' argued that the album showcased the "delicate tone" of the ''sarangi'' and its capacity for "seductive lyricism".

Track listing

# "Rāg Shankara" – 39:11
# "Rāg Mala in Jogia" – 31:50

Personnel

* Ram Narayan – ''sarangi''
* Anindo Chatterjee – ''tabla''
* Uma Mehta – '' tambura''
* Uma Phalke – ''tambura''

References

External links

*

{{Authority control

1990 albums
Ram Narayan albums