Santoor Release Group

Santoor

First released 1993 Tabla
Pandit Shivkumar Sharma was an Indian classical music maestro, widely known for popularising the santoor on the global stage.
Shivkumar Sharma
Ustad Zakir Hussain, legendary Indian tabla maestro and son of Ustad Alla Rakha.
Zakir Hussain
1 Release 4 tracks CD
Shivkumar Sharma released Santoor – Raga Rageshri in 1993, performing a 16-beat khayal-style raga on the Kashmiri santoor with tabla and tanpura.

Tracklist (Primary Release)

# Title
28:13
20:12
9:25
17:27
4 tracks

About Santoor

Santoor – Raga Rageshri is a 1993 studio album by Indian classical musician Shivkumar Sharma. The release features Sharma on the santoor, a hammered dulcimer of Kashmiri origin, accompanied by traditional tabla and tanpura. The album centers on a single raga performance, Raga Rageshri, structured in the classical khayal format with progressive developmental sections.

Sharma recorded the album for an unspecified label. The release format included physical media, though the exact configurations (cassette, CD, or LP) remain undocumented in available sources. The tracklist comprises four movements: Alap-Jor-Jhala, Slow Gat, Madhya Gat, and Drut Gat. These segments follow the conventional arc of a North Indian classical performance, beginning with the unmetered alap and advancing through rhythmic compositions of increasing tempo.

The Alap-Jor-Jhala section introduces the raga’s melodic framework without percussion. Sharma explores the raga’s ascending and descending phrases, emphasizing the komal re (flattened second) and komal dha (flattened sixth) that define Rageshri. The Jor and Jhala subsections introduce rhythmic pulse and rapid strumming patterns, respectively, while maintaining the raga’s introspective mood.

The subsequent three tracks present composed themes (gat) in teental, a 16-beat cycle. Slow Gat establishes the primary melody at a deliberate pace, allowing elaboration of the raga’s ornamental phrases. Madhya Gat accelerates the tempo while retaining the raga’s lyrical quality. The concluding Drut Gat reaches a virtuosic speed, showcasing Sharma’s precision in executing complex taans (melodic runs) and jhala patterns on the santoor.

The album exemplifies Sharma’s role in adapting the santoor to Hindustani classical music, an instrument he popularized as a solo concert instrument beginning in the 1950s. Collaborating musicians for this recording are not credited in accessible references. The release date of January 1, 1993, marks its commercial availability, though the exact recording period is unconfirmed.