Twilight Zone With Rupak Kulkarni

Rakesh Chaurasia

Flute Player
Rupak Kulkarni
Pakhawaj Player
Pandit Bhavani Shankar
Tabla Player
Yogesh Samsi

About this album

Here's a different album for our music lovers - Twilight Zone, an unusual musical conversation on two flutes. The artists, Rupak Kulkarni and Rakesh Chaurasia, both disciples of the internationally acclaimed flautist Pandit Hariprasa Chaurasia, are among the torch-bearers of the tradition.

Rakesh Chaurasia is considered among the most promising musicians of the younger generation. He has imbibed the right balance of strength and serenity from his legendary uncle. He is also an accomplished playback musician who has recorded with most of the stalwarts of the Indian film industry. His focus however remains the classical tradition.

Raag Jait
Originating from the Marwa Thaat, Raag Jait is an Audav Raag, which means it uses only five notes in its ascending as well as descending movement. The notes totally omitted are Ma and Ni. A twilight melody, Raag Jait uses Re in both regular and flat forms. The Wadi of the predominant note is Pa while the Samwadi or the supporting note is Sa. There are two variations to this Raag that are quite popular. In one of them the musicians use Ma in its sharp form and the other they use Dha in the regular and flat forms. A very serene Raag, Jait lends itself to meditative and contemplative moods.

In this album Rupak and Rakesh present a very mature, balanced musical dialogue where the rapport between the two is almost palpable. Right from the opening phrase they have created an evolved communion where there is graceful unfolding of the Raag in a complimentary creative endeavor. Each has tried to enhance the other's playing and creativity. Their perfect understanding of each other's musical intent is further embellished by very controlled yet powerful presence of Pakhawaj by Bhavani Shankar. The meditative Alap is followed by an equally beautiful Jod and jhala, where the two flautists have let the Taans flow in a ripple-like effect.

This is followed by a composition set to Madhyalay Matta Taal, a nine beat rhythmic cycle. Like in the Alap, in this composition too the two artists have rendered skillful improvisations in the complex rhythmic cycle.

The Drut composition set to Teentaal serves as the befitting finale to their masterful rendition of Raag Jait. Once again not only do they create an enchanting web of Taans, but even the interplay between melody and rhythm is magical.


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