You must understand that it is not just singing but conducting the magnum opus which matters. The rest are supporting. As an analogy, think of creepers and the supporting wall/pole and creepers are embellishments but can not survive on their own without the support system

Dr. Hazra you are absolutely right. Ustad Munawar Ali was a great singer.

Do they have similar voices (is that why he's overlooked) or does Munawwar Ji have a more bass voice? I'm asking so that I can differentiate and appreciate both their performances accordingly

@metalforlife4ever Munawar sahaab has more a more open akaar. Plus his taans are not as fast and quicksilver as Bade sahaab's.

moulinath mukherjee Ustaad Munnawar Ali Khan was as great an artist as Bade Khan Saheb. No doubt. Sad that he. Passed away early and we lost a great musician

Thanks a lot rafay Kashmiri ji to mention the khayal words.. here are no words to describe the unforgettable contribution of ustsd bade ghulam ali khan saheb. प्रणाम

Plz note that ye raag asavari nahin Balke Bhairavi thath wali komal rikhab asawari h. Q k is main rikhab komal h Jabke asawari thath wali asawari main rikhab Teevar hota h. Regards.

Sa

Ye asawari hi the but bad me name change kr k komal re asawari bnaya gya ..ajkal asawari me aik aur raag same name se tewar sur se Gaya jarha

@@ghazinaveed8108 Gharanon ki improvisation hoti he. Jiddat jab chal padi to phir ang ke taur bhi badlein ge. Magar dhang waqt to wohi hoga.

Very nice and Great voice

💗

@@entertainment4u356 no equal

Bhimsen Joshua can beat

And the comparison startss​@@acct123as3

Also listen to Pandit Bhimsen Joshi's khayal in the same rag. It's absolutely first rate and was recorded when Panditji was at the height of his powers.

The best Asavaris: Senior Dagars, Amir Khan, Bhimsen Joshi, Gangubai Hangal, Nikhil Banerjee, Rahimuddin Khan Dagar.

@@BhuvaneshB You left the best one off the list. ;)

@@sombhattacharyya6875 which one is that? I must not have listened to it.

@@sombhattacharyya6875 who is the best one of the list..can u please tell..I m curious to listen that.

rather meditative I'd say! This Asavari provides solace ..!!

@Vishy I meant note phrases.

@Vishy It's an unbroken sequence of notes.

@Vishy I generally like BGAK, for example his Gunkali, Bhupali and Kamod, but for me this was a subpar performance. It was not the length of vilambit, although BGAK is known to have issues with that; I meant the note sequences were unusually short for a serious raga like Asavari. As for Patiala besides BGAK as well as people influenced by Patiala, let's just say I'm not a fan of overusing embellishments and corrupting the khyal with light thumri-style stuff. Thumri has its own place, and there should be a clear delineation between it and khyal. To get back to this, BGAK was slurring at 7:55 and while I could pick up a word here and there I couldn't understand what he was saying. Could you please transliterate it for me?

@Vishy It is not an intellectual exercise. That is not the point of vilambit khyal. The point is to show the beauty of the raga, which is clearly missing in this recording.

@Vishy It is quite possible that I'm being extra hard on BGAK, given that, well, he's BGAK and I'm used to better performances from him.

Not got your point..strange means..is this abnormal..

@@acct123as3 Dear Death row. inmate from Tihar Jail.... OK. ..your id reads like that of one. Yea, I do listen to Karnatic as I do to several other genres of music. Things beyond you. Your illiterate response clearly indicates your crude and narrow mindset. Perhaps your mind is about as broad as the narrow galli/ghetto in which you live. Aaarey bhaiyan/miyan... I know my music and need no lecture from the likes of you. Hindustani music belongs to the whole world and not to a certain sections of people or certain regions. Learn the great lessons from the great Hindustani masters who took a generous view of all styles of music. Kaan khol ke sunno bhai... .Take in some good elements of culture from the great masters. Refine your sensibility and language thus. Perhaps you hang out with mediocres and duds. Explains your attitude. Do something about it for your own sake. It is a matter of pride that I can listen to and appreciate many forms of Indian/Western music. Bhaiyan/miyan, I doubt if you can make such a claim given the uncouth way on which you speak of Carnatic music. Sanskaaar.... sanskar! Namaste..

@@acct123as3 Dear Gadde-e-hind, cow-belt ignoramus, I require no lectures from the likes of you on music. Just because I have South Indian last name, pappus like you automatically come to set conclusions about my tastes in music. No point in trying to put even an ounce of common sense into that thick skull of yours. First of all, I never criticised BGAK'S music in any way in my first comment. I suppose your power of comprehension is as poor as your English skills. Do seek the help of someone in your galli mohalla who is a little more knowledgeable than you and read my response once again. I was referring to the comments that were interspersed in his otherwise good performance which took away the flow. You started hopping up and down as though I had abused your father (i.e. pif you have one). You claim to have listened to many great Karnatic masters and pass negative remarks about all of them. The great BGAK expressed great admiration for the music of ML Vasanthakumari and GNB. He stayed in Madras for a while in MLV'S home and together practiced music. They had immense respect for each other's music. They did not indulge in cheap, ignorant statements made by the likes of you. People with tenth-rate minds like you create the North-South divide by spreading such poison. Classical music has made no impact on you other than worsening your ingrained prejudices. Dear Pappu, learn to be more open-minded in the manner of the great ustad. Your ear too stuffed with prejudices. Your mind and your intellect are as narrow as your street and stinks like the ganda-naala beside which you live. Great North Indian musicians like Abdul Karim khan, Aman Ali Khan, Ravi Shankar and Mukul Shivaputra have had the breadth of mind to absorb the best from the Karnatic system. Some of the truly greats in khyal singing hail from North Karnataka. So cut this bullshit about Karnatic versus Hindustani. The fact that you can't appreciate Karnatic music only indicates the extreme narrowness of your mind. For a change, why don't you try following the breadth of mind of great musicians instead of bleating such moronic remarks that would put even a child to shame! That sais, here's hope for even lallu-panchus like you.

@@acct123as3 Dear, I too am very familiar with all the things you mention. Don't try selling halwa to a halwai! Hindustani is as dear to me as Karnatic. If you can't appreciate or understand the genius of Karnatic, that dear is your limitation and your problem. Many musicians and pundits from the North are not free from this bias. Interstingly, some of the very good books on North Indian music have been written by South Indians. By the way, you may also be aware that raagas like Abhogi, Basant Mukhari, Salagvarali, Kalavati, Latangi, Charukeshi, Kirwani, Bairagi (from Karnatic Revati), Janasamohini, Vachaspati, Hamsadhvani etc. were taken from the Karnatic paddhati. These ragas are very popular among North Indian singers and instrumentalists. Darbari, Brindavani Sarang, Pahadi, Jaijaiwanti ( Dwijavanti) Bhairavi( Sindubhairavi) came from the north. Kafi's equivalent in Karnatic is called Kharaharapriya and Malkauns is Hindolam. Hindolam and Kharaharapriya have existed independently of Hindustani music. Ragas have entered both systems as a result of the contact between the musicians of the two systems. Aman Ali Khan was inspired by Dikshitar's 'Vatapi' and composed 'Laagi lagan pati.' There are other examples too. By the way, Aman Ali belongs to Bhendi bazaar and not Bhindi bazaar! News to me that thillana was borrowed from tarana. Nevrr heard or read such a thing before. Ever beholden to your very deep scholarship! Only to remind you Panditji that the sawaal-jawaab section popular in Maihar gharana shows the influence of the thaniyavartanam part in Karnatic concerts. Let us not get into all that. Both the musical systems belong to India. Hindustani music is not the family property of people of North. It is a pity that despite knowing all this, your ear and heart have not become flexible and accepting and remains blinkered by cultural prejudices. You probably listen to Karnatic only to confirm your poor understanding of it. You get the point, eh bhaiyan...mmmm... bahot achha!

@@acct123as3 First of all there are singers of the Bhendi bazaar gharana who still sing. pt. Shivkumar Shukla and TD Janorikar used to sing until their demise. Suhasini Koratkar continues the tradition. Your limitless ignorance is very evident from the statement that you make about Karnatic ragas rendered in the North. All the ragas I mentioned are quite popular among singers of all gharanas. Hamsadhvani is not the only Karnatic raga used in Hindustani. Go and listen to Ustad Amir Khan's Abhogi or Charukeshi. Ravi shankar's Simhendra- Madyhamam, Malini Rajurkar's Salagvarali, Shivkumar Sharma's Kirwani or Jitendra Abhisheki's Amritavarshini. After all, BGAK is not the only Hindustani singer and Patiala is not the only gharana. There are older and greater gharanas as there are greater singers in the North. If you are fixated on BGAK, that's your problem.

@@acct123as3 Chacchaji, Ah, so all your profound knowledge of Indian music is based on the musings of internet pundits! No wonder you spout so much of idiocy. Read my previous responses fro which it is clear to any person of average sense that it is you has taken a strong beating. You have been badly punched and left with a bleeding nose because you have only GAS and no muscle or bone in your arguments. Weeping Mallu! HA! Gas bag Chacha. Chacha Pappu, go and read authentic works of scholarship on the origins of Indian music instead of quoting off of Internet sources. TM Krishna...Moutal....hoho hohoho! These are your great authorities! SHAME! At least TRY to sound intelligent. One of the earliest references to South Indian music go back to the Tamil work Silapaddikaram written in the fourth centre AD. It had its own distinctive ornaments and style which tally with the way it is sung today. Only to say that Karnatic music evolved separately after a point of time in history. Both systems originate in the Vedic chants. They also have Bharat and Matanga as basic texts. Islamic invasions change the picture completely in the North. Well known that Hindustani took on Persian and other influences that came in with the Islamic culture after the 12 and 13th centuries. The Dhrupad sung even today has resemblances to Karnatic ragas tanam pallavi. All point to a common root. Samjha! Many North Indian musicians and genuine scholars point to the common root. People like you blinded by prejudice and stupidity want to prove your superiority forgetting the fact that Karnatic music is loved and appreciated in all South Indian states. Unlike you, many in South India are not blinded by stupid prejudice which is why they listen to , study and even write about Hindustani music. A true lover of music would do that. You can have your opinions on BGAK'S music. He was as good as finished by 1961. He had a fantastic voice but his raag-daari was clearly put into question when Ustad Amir khan entered the scene. Clearly he has been the single most influential singer on the younger generation. Singers ranging from Bhimsen Joshi through Kishori amonkar to Rashid khan came under his influence. Patiala gharana dwindled after BGAK'S death. Munnawar ali was brilliant doubtless. No major voice left now after the demise of Fateh Ali of Pakistan. Not so with Amir khan. These are matters of opinion. So tatambari Chacha. Respond only if you have something concrete. Spare me your verbal flatulence. Happens in old age when digestive powers weaken. Theekadal hein...mmmmm

Come on man...don't kid yourself, Pandit Bhinsen Joshi indeed is a great vocalist, but Ustad Bade Ghulam Ali Khan is what can be called the true reincarnation of Tansen the great

@@dionysuspicious bhimsen joshi taan are better than ustad bgak

@@acct123as3 NO absolutely not.

@@Prof_Hazra_IIT how can you say it absolutely not..bhimsen joshis taans are much faster than bgak, and his range is more than 4 octaves..where as bgak had only little range of 3 octaves..and bhimsen Joshi could sing in many genres..but ustad cannot sing in all the taals, only teen taal always..the perfection is more in bhimsen Joshi ..the taans of bhinsen joshi is more clear, swift and complicated.. and it is seen on a google group chat that ustad never dare to perform where he came to know that bhimsen joshi was performing.joshi ji could produce taans for non stop 15 seconds in single breath..but ustad could only make taans maximum to 6 second.

@@Prof_Hazra_IIT do you have any pieces of bgak from 1940s and 50s