Ru-Ba-Ru ( Vol.2)

2004
Ustad Bismillah Khan, iconic Indian shehnai maestro.
Bismillah Khan
AA
Amjad Ali Khan
2 tracks 49m
Ustad Bismillah Khan and Ustad Amjad Ali Khan released Ru-Ba-Ru (Vol. 2) in 2004, blending shehnai and sarod in a jugalbandi of raga Bhairavi and Vaishnav devotional themes.
2 tracks • 49m
# Title
21:39
2 tracks Total: 49m

About Ru-Ba-Ru ( Vol.2)

Ru-Ba-Ru (Vol. 2) is a collaborative studio album by Indian classical musicians Ustad Bismillah Khan and Ustad Amjad Ali Khan. The album was released in 2004 as an official production under an unspecified label. It features two tracks that blend the shehnai and sarod, instruments traditionally associated with the Benaras and Senia gharana traditions respectively.

The album includes two compositions: Vaisnav Ram Dhun and Bhairavi. Vaisnav Ram Dhun draws from devotional themes rooted in the Vaishnav tradition, while Bhairavi explores the eponymous raga known for its early-morning rendition and emotive depth. Both tracks showcase the improvisational interplay between Khan’s shehnai and Khan’s sarod, accompanied by traditional percussion and tanpura.

Ustad Bismillah Khan (1916–2006) contributed his signature shehnai performances, recognized for their lyrical phrasing and adherence to the Banaras gharana. Ustad Amjad Ali Khan (b. 1945) performed on the sarod, representing the Senia-Bangash lineage with intricate taan patterns and rhythmic precision. The collaboration marked a convergence of North Indian classical styles, emphasizing alaap, jor, and jhala sections in both tracks.

The release date of the album aligns with its 2004 publication, though specific recording sessions or live performance contexts remain undocumented. The format of the original release is not explicitly stated in available sources, but it circulated in physical and digital distributions typical of Indian classical releases during the period. No additional production personnel, session details, or alternate editions are confirmed.

Ru-Ba-Ru (Vol. 2) follows an earlier volume in the series, though the exact relationship between the two releases is not detailed in public records. The album’s reception and commercial performance are similarly unrecorded, but it remains a noted example of cross-instrumental jugalbandi in Hindustani classical music.