Raga Darbaari -Pandit Bhimsen joshi

जब आम की फुलवारी में आमो के वृक्षों मे फूल लगते हैं तब कहते है बौर आ गये अर्थात एक दम अलग अर्थ सामने आता है-जब उनकी मंजिरियों में रस भर गये तो वे बौरा गये (मद से भरे वे बौरागये), पगला गये । ‘Madness’ का ऐसा पवित्र भाव पश्चिम के साहित्य में नहीं मिलता। वहाँ कहीं न कही ‘Madness’ चाहे वह साहित्यक-दार्शनिक हो शराब के नशे के भाव से जुडता है। मैने तो ‘Madness’ का यह भाव अनेको महान पश्चिमी दार्शनिको- साहित्यकारो को पढने के बाद भी नहीं पाया। पंडित भीमसेन जोशी कें गायन की खासियत को हम इसी सन्दर्भ में समझ सकते हैं। जब वे राग में उतरते हैं तो मानो एक अद्भूत खुमारी उन पर छा जाती हो, मानो वे बौरा जाते हों । इस राग को सुनने के बाद कुछ ऐसा ही मुझे लगा। यह राग असावरी है जिसे राग नहीं माना जाता बल्कि रागीनी माना जाता है मतलब यह आशा की जाती है कि थोडा इसमें स्त्रैण चित्त का प्रक्षेप होना ही चाहिये लेकिन जिस तरह इसे वे पूर्ण राग में बदलते हुये प्रतीत होते है वह अद्भूत है।

This Raga Darbaari by legend vocalist Pandit Bhimsen joshi is unmatched. Raga Darbaari originated in Kannada and said to be introduced by Taansen to north India. You might have never heard this raga with song titled ‘Jhanak jha-nak-wa baje more bichuva’ in ‘raaga teen taal’ in such a distinguished style. Thaat or mood means the way of singing, this is in Asavari which is not a raga but ragni. Ragni asavari evokes the moods depicting yearning for love, anguish, and melancholy . It is generally late night raga. Tradition ascribes certain ragas to particular times of the day, seasons, or holidays; this is called samay. It is said that appropriate performance may bring harmony, while playing at different times may bring disharmony.

Pt. Bhimsen Joshi has set another style of singing the ragas though ragas are originated in the families of great singers and every vocalist learns from them and usually sing in the same tahjeeb but he transcends the gharana style of singing. Pandit Bhimsen Joshi enriched the Kirana gharana by adding his own distinctive style. By adapting best characteristics from other gharanas he created an unique vocal idiom. On his singing some influence is also of Vedic singing that comes from his South Indian Brahmin sansakara. His performances were always done in a divine ecstatic mode with accurate notes which make use of his exceptional vocals and a mastery over rhythm. To listen him is experiencing the sublime. Packed with extreme emotion his khayal gayaki is a miracle. He was a distinguished Khayal singer and exponent. He was Naad sadhak and we can feel it in his way of alaap. Bhimsen is a prodigy – unique – a miraculous singer. Bhimsen Joshi has a different place in Indian classical music, He is like a sun who has given a new life to Indian classical music. He has left a rich legacy and inheritance of singing for the generations to come. His emphasis on emotion in khayal gayaki says everything about him. He was the singer of the soul; he touches your very being with his singing. His world leads you at the another shore of Naada where you experience a kind of silence mixed with emotions. For Pt. Bhimsen speech (vaani is a prayer, an offering to the absolute. He used to sing divine , his whole vocal exercise seems to us as if he was making it vocal on the horizon of silence. Bhimsen Joshi is the recipient of several prestigious awards. These include: Padma Shri (1972) Sangeet Natak Akademi Award (1976) Padma Bhushan (1985), and Padma Vibhushan (1999) and Barat Ratna (2008) the highest award in India.

Below is also Ragdarbari by Pt. Bhimsen joshi and Ustad Rashid khan. song is ” kin bairan kaan bhare ,mora piya murshid bolat nahi”. Thaat(mode) of this raga too is Asavari and proper time to enjoy it is late night. Compare Nadanusandhan of  Guru and Shisya? Shisya still stands no where, though he is now said to be a master and knows the raga perfectly. He sings with throat while Pt. is from inside completely absorbed in himself.

Read this Hindi article –>हिन्दुस्तानी शास्त्रीय संगीत हीं वास्तव में सेक्यूलर है