It is said that this raga originated from a regional song from Gorakhpur and some people even prefer to call it simply Gorakh because the raga bardly reveals the characteristic features of Kalyan. In many compositions of this raga, one can feel bues of Raga Durga when the komal ‘Ni’ is omitted while an impression of Raga Bageshri is created when the komal ‘Ni’ is highlighted. In Gorakh Kalyan compositions, Nishad is komal (flat) and Gondhar is omitted altogether. Its Vadi swar (most frequently used note) is Madhyam and Samvadi swar (second – most frequently used note) is Shadaj (Sa). The usage of Pancham is rather weak in this raga and is mostly restricted to a descending glide between Dha and Ma.
Thaat-Khamaj Time-Early night
Jaati – Audav-ShadavAroha: Sa Re Ma Dha Ni Dha Sa Avroha: Sa ni Dha Pa Ma Re Sa Ni Dha Sa
Ustad Rashid Khan
When Ustad Enayat Hussain Khan Saheb founded the Rampur-Sahaswan gharana, little did he imagine that his great-grandson, Rashid would, one day, go on to become one of its leading exponents. It was his tutelage under his illustrious granduncle Ustad Nisar Hussain Khan that changed Rashid Khan who had shown little interest in music initially. In a traditional one-to-one manner, Ustad Nisar Hussain Khan brought out Rasid’s latent talent to the forefront. The Rampur-Sahaswan gharana owes its allegiance to Senia traditions and the names of some great maestros are attached to it. Hence young Rashid had a lot to look up to.
However, arduous training and complete dedication made him at par with the greatest of names associated with the gharana. At the same time, he also found the time to absorb certain traditions of other gharanas. His first public performance was at the age of II and ever since, his rich and sonorous voice has become the most favoured amongst music listeners all over the world. Today, Ustad Rashid Khan is involved in capturing his audience with his inimitable alaaps, tans and taraanas. The fine balance that he creates between his technical virtuosity and his aesthetic creativity, has the capacity to hold the audience completely spell-bound.
Raga – Gorakh Kalyan……………………….62:24
Vilambit Ektaal ‘Kab Ghar Aaye’ Drut Teentaal ‘Dhan Dhan Bhaag’ Drut Teentaal ‘Ae Ri Mayi Aaj’ Tabla: Rashid Mustaffa Thirakwa Harmonium: Seema Shirodkar Sarangi: Kamal Sabri Tanpura: Prasad Kharpade, Bajirao Patole Recorded at Western Outdoor, Mumbai. Sound Engineers: Daman Sood/Avinash Oak and subhash Gawde Photo Courtesy: Roman Chakraborty.
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