samadust's Full Review: Sampradaya by Pandit Shiv Kumar Sharma
On this recording, Pandit Shiv Kumar Sharma and his son Rahul Sharma duet together on the santoor, the Indian pre-cursor to the hammered dulcimer. The style of duet played here, by master and son, is referred to in Classical Indian music, as the jugalbandi.
Pandit Shiv Kumar Sharma, a legend in his home country India, recorded his first album in 1960 and has since revived the usage of the santoor as a solo instrument. Sharma was born in the northern Indian state of Kashmir in 1938. After a short career as a pre-teen playing the sarod, the violin and the harmonium, he took up the santoor at the age of 16. Over the years he has established himself as a distinguished santoor master and built a lineage of disciples including his own son Rahul. The title of this recording, Sampradaya is an indicator of the inherent connection between master and disciple. The santoor, having 116 strings is a highly complex instrument. The strings are played percussively with a pair of carved wooden sticks
Typical of Classical Indian musical form, this composition is played in two separate parts, the first, Alap which is played in the absence of tabla or any sort of percussion. The two santoors serenade eachother with a slow deliberate trickle. The leading santoor plays rich, sharp and percussive notes while the following santoor simmers in the background creating layers with brush strokes. The intricate process of playing without accompaniment during the Alap sets the mood for the coming melody.
The second part of the composition, which includes the accompaniment of the tabla, offers the improvised modes of Rupak Taal, a seven beat rhythmic piece, Adha Taal, and Teen Taal.
The first track which consists of only the jugalbandi, or duet of the two santoors is quiet and soothing. The distinct and heavenly vibratory sound of the tense string being struck by the wooden sticks is meditative. The exclusion of the tabla creates an empty space for the strings to compliment eachother, their playful melodies are simple and complex at once.
The disciple is clearly being lead through the recording. Respectivly he waits to complete the melodies his father begins. The level of reciprocation during the Alap is mesmerizing as they weave musical quilts out of blank space.
The following tracks are accentuated by the concave, deep chested swoon of the tabla played by Shafaat Ahmed Khan. Masterfully he combines its depth with its tinny flat surface following tightly as the two Sharmas explore the ancient abyss of the santoor's musical diversity.
This is one of the best Indian Santoor recordings available in America. Shiv Kumar Sharma is one of the greatest living masters of the instrument and at the time of this recording, early 1999 he was at his best. The four Classical compositions on this disc are perfect selections for exhibiting the santoors improvisational qualities as they allow a lot of room for maneuvering. For a refreshing sidestep from the frequently heard sitar, I would suggest this as an introduction to the santoor.
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