I'd also include Puriya, Shuddha Kalyan . Listening to Bhimsen Joshi for a long time does that to you. That is because he becomes the very embodiment of the raag. Not many singers can do that ever.

@@fhdowntheline1825 q

Kya baat hai!

@@FarhanAmin1994 This was the first ever classical music I listened to, I still remember the HMV record containing Multani and Puriya on both sides, 1978 I think it was.

We could tear ourselves away from that place reverberating with his eloquent music. Just mesmerising.

Enormously lucky of you. You have described your experience evocatively for contemporary listeners such as me. Thanks a lot for that.

All features of a composition were developed with a great sense of balance. Be it alap, bol alap, taans or bol taans. An uncanny sense of proportion to give strees on a particular "Anga" to bring out the core personality of the raag being rendered. He had a close bond with his favourite raags. They had become one with each other so much that one wondered whether it was he sang the raag or the raag got itself sung by him, trusting in his art to be raised to a higher level each time.

You're lucky ❤️

Thanks. Please do subscribe and share among rasiks.

From what I know, the two vilambits BSJ would often sing would be 'Saheb jamaal tu toh payo re' and 'E gokul gaam ma chhora', both in Ektaal. Among the druts, of course, figure both 'Kangan mundariya mori' (sung also by Abdul Karim) and 'Nainan mein aan baan'. There is also a khayal of his own that was recently sung by his son. No other recording.

@@FarhanAmin1994 Awesome information.

kzfaq.info/get/bejne/hblhmNCdtNTYlas.html

@@FarhanAmin1994 HMV had released panditji's long-playing record in the late 1960s in Multani. The vilambit and drut bandishes were "E Gokul Gaam" and "Kangana Mudaria" respectively. On the other side of this record was the raag yaman in vilambit and drut. All are available in you tube.

That is indeed correct. Thank you.

Dhanyavaad for your kind words,Vinay sir. :)

Very true.

Yes both acompanists are correctly mentioned by Bharatji.

Have listened again and again. It prompts you to hum for a long time afterwards.

He is in complete control of the progress of his music and yet there is an element of spontaneity which makes it fresh every time one listens to it. This must be the secret of great music of every master

:D

Do you know where this took place? One of my family members says he remembers being present for this performance.

Aha! I don't seem to have any more details at the moment, though.

I haven't found Bhimsen ji's Bilaskhani Todi yet but his student, Vinayak Torvi has sung it in a mehfil: kzfaq.info/get/bejne/frNgqbJnsreWhmw.html

@@FarhanAmin1994 thank you. Will check it out. Ever since I listened to Jayateerth Mevundi's Bilaskhani Todi, I am constantly looking for Pandit ji's version. One day, a samaritan like you shall unearth it!

@@FarhanAmin1994 He never sang Bilaskkhani , his forte was komal rishabh asavari todi

Aha! Never? That is truly sad. I identifed a Bhairavi where he sang a short taan of Bilaskhani. It seems he even sang Hemavati (shared by Auroville radio) in his youthful and callow days.

The vilambit is 'Gokul gaam ka chhora'. www.swarganga.org/bandish_details.php?id=1277

The drut is 'Nainan mein aan baan' www.swarganga.org/bandish_details.php?id=1286 In both cases, Bhimsen has slightly different lyrics.

It is already on KZfaq so far as I know. Both the Multani and I think the Bhairavi he sang after that. You will have to dig around a bit. The Multani length is 36 min.

@@FarhanAmin1994 Farhan sheth, any information on purshottam kapila? Just heard him accompanying bhimsen ji in the mulani recording. He was at par with the pt. ji. Any idea what happened to him afterwards?

I so wish I knew! It is one of the mysteries out there,perhaps waiting to be unraveled.

@@FarhanAmin1994 Indeed, thanks for the reply though❤️.