Raga Hamir Bahar - Alap; Vilambit Teen Taal

Bismillah Khan
29:46
Bismillah Khan released the 29-minute Raga Hamir Bahar on Saaz – Shehnai Volume II in 2007, featuring an extended alap in Teen Taal.
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About Raga Hamir Bahar - Alap; Vilambit Teen Taal

Bismillah Khan performed Raga Hamir Bahar – Alap; Vilambit Teen Taal as the opening track on the 2007 album Saaz – Shehnai Volume II. The label Living Media India released the recording in March 2007 on compact disc. The composition spans 29 minutes and 48 seconds, showcasing Khan’s interpretation of the raga through an extended alap followed by a slow-paced vilambit section in Teen Taal, a 16-beat rhythmic cycle.

The album belongs to Khan’s later discography and focuses on the shehnai, a double-reed wind instrument traditionally associated with North Indian classical music. Khan’s rendition of Hamir Bahar reflects the raga’s characteristic phrases and melodic contours, rooted in the Kafi thaat. The recording captures his improvisational approach, emphasizing meend (glissando) and gamak (ornamentation) techniques. Accompaniment details remain undocumented in available sources, though the format suggests a typical ensemble with tanpura drone and tabla percussion.

Saaz – Shehnai Volume II compiles Khan’s performances without additional thematic or conceptual framing beyond the instrumental tradition. The album’s production aligns with Living Media India’s catalog of Indian classical releases, which often prioritize unedited live or studio recordings. No alternate versions, remixes, or reissues of this specific track appear in public records. The release date and label confirm its placement in Khan’s post-2000 output, following his receipt of the Bharat Ratna in 2001.

Notable aspects of the track include its duration, which allows for an expansive exploration of the raga’s development phases. Khan’s phrasing in the vilambit section adheres to the structural demands of Teen Taal, balancing rhythmic precision with melodic elaboration. The absence of lyrical content or vocal accompaniment centers attention on the shehnai’s expressive range. Further details about the recording session, such as location or contributing artists, are not publicly verified.