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Excellent Sound of Sitar: Shahid Parvez At His Best

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Album Review

Zakir Hussain accompanies on tabla. Of the two recordings listed, this is by far the better. Featured material comprises "Raga Gurjari Todi," "Ragashree" and "Bhairavi (Dhun)."

Customer Reviews

Ustad Shahid Parvez – King of Melody & Rhythm

Ustad Shahid Parvez – King of Melody & Rhythm It could be said that Ustad Shahid Parvez is one of the finest Sitar exponents the world has known. Ustad Shahid Parvez hails from the revered Etawah or Vilayatkhani Gharana (family/school of Hindustani music). Generally speaking, the hallmark of this gharana is the adaptation of the Hindustani classical vocal idiom to the art of sitar playing. That this Gharana is renowned for its technical virtuosity in the areas of left hand dexterity Meend (legato) & right-hand speed is very well established over generations of recordings. While Ustad Shahid Parvez exemplifies this gharana’s characteristics through his mastery over the aforementioned repertoire, he also adds some new dimensions to it. Close attention is paid to every note and each note is rendered with utmost clarity, regardless of speed – no mean feat given the speed at which he plays! The main areas where Ustad Shahid Parvez may differ from other members of this gharana are: - Adoption of the Dhrupad (as against Khayal) idiom to Alaap (exposition) and Jod phrasing. It could be argued that Pandit Buddhaditya Mukherjee also did the same but the adoption is unequivocal in the case of Ustad Shahid Parvez. This lends a very meditative quality to his Alaap. Careful examination may also reveal that the timing aspects of the Jod section are arguably superior. - Mastery over various taals (rhythmic cycles) at various layas (tempos). Most of the other artists in this gharana are most comfortable with Teentaal (16 beat cycle) and medium and faster tempos. - His rendering of legato is arguably superior to his contemporaries – the work is far more subtle and the control unmatched. This CD is ample testimony of the aforementioned. Western listeners should find Gurjari Todi interesting since it is based on the minor scale (flattened 3rd) but not in the traditional sense since it also has a flattened 2nd, augmented 4th, and flattened 6th! The pathos and gravitas of this raga are undeniable.

A g 12

I can see why it's called his best !

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