Hindustani Vocal

Hindustani Vocal

Ustad Bade Ghulam Ali Khan was an Indian vocalist.
Bade Ghulam Ali Khan
3 tracks 1h 8m
Ustad Bade Ghulam Ali Khan released a studio album of Hindustani khayal under Sangeet Natak Akademi, featuring rare Raga Lankesri with intricate taan patterns and bol-banao.
3 tracks • 1h 8m
# Title
30:54
26:21
11:30
3 tracks Total: 1h 8m

About Hindustani Vocal

Bade Ghulam Ali Khan – Hindustani Vocal (Sangeet Natak Akademi) is an official studio recording of Hindustani classical khayal by the Indian vocalist Ustad Bade Ghulam Ali Khan. The album features three raga performances captured in a controlled recording environment. The Sangeet Natak Akademi released the collection on compact disc under its archival series, though the exact release year remains undocumented in widely accessible sources.

The recording showcases Khan’s Patiala gharana style through extended alap, jor, and jhala sections followed by bandish presentations in vilambit and drut laya. The tracklist includes Raga Lankesri, a rare raga associated with the late evening or early night, rendered with intricate taan patterns and bol-banao. The second composition presents Raga Malkauns, a pentatonic raga traditionally performed at midnight, where Khan employs deep gamak and meend techniques. The final track features Raga Adana, a serious and introspective raga of the Kafi thaat, noted for its use of komal re and komal dha.

The Sangeet Natak Akademi produced the album as part of its efforts to preserve recordings of 20th-century Hindustani maestros. The label sourced the material from its archives, though production credits for the original recording session are not specified in available documentation. Khan performs with tanpura and tabla accompaniment, though the accompanying artists go unnamed in the release metadata. The CD format retains the unedited takes, emphasizing the spontaneity of Khan’s improvisations within the fixed raga structures.

This release holds significance as one of the few commercially available recordings of Bade Ghulam Ali Khan in a studio setting, contrasting with his more widely circulated live concert recordings. The Sangeet Natak Akademi’s edition includes minimal liner notes, focusing on the raga descriptions rather than session details. Collectors and scholars often reference the album for its clarity in capturing Khan’s vocal phrasing and the acoustic properties of his gayaki.

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