Rāga kinarī bhairavī: Ālāpa/Joḏ/Jhālā / Druta tīntāla gata

Pandit Balaram Pathak
19:16
Pandit Balaram Pathak released a 23-minute 1987 Khayāl performance in rāga Kinarī Bhairavī on Ocora’s Inde du Nord, featuring ālāpa, joḍ, jhālā and a 16-beat druta tīntāla climax.
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About Rāga kinarī bhairavī: Ālāpa/Joḏ/Jhālā / Druta tīntāla gata

Rāga kinarī bhairavī: Ālāpa/Joḏ/Jhālā / Druta tīntāla gata is a 23-minute and 45-second recording by Pandit Balaram Pathak released as the second track on the album Inde du Nord. The album appeared on November 1987 under the French label Ocora in CD format.

The composition features an ālāpa (unmetered improvisation), followed by joḍ (medium-tempo development) and jhālā (fast, rhythmic climax) in rāga Kinarī Bhairavī, a variant of the morning bhairavī parent scale. The performance concludes with a druta tīntāla composition, a 16-beat cycle rendered at a brisk tempo. The track exemplifies the Khayāl style of Hindustani classical vocal music, emphasizing intricate melodic elaboration and rhythmic precision.

Pandit Balaram Pathak provides the sole vocal performance. Accompaniment details remain uncredited in the available context, though traditional Hindustani presentations of this era typically included tanpura drone and tabla percussion. The recording captures a live or studio session, though the exact location and production specifics are not documented in the provided information.

Inde du Nord forms part of Ocora’s series on regional classical traditions, focusing on North Indian (Hindustani) music. The album’s tracklist and liner notes are not fully described in the given context, but the inclusion of Rāga Kinarī Bhairavī aligns with the label’s emphasis on rare or less-commercially recorded rāgas. The 1987 release date places it within a period of growing international distribution for Indian classical recordings, facilitated by labels like Ocora and Nonesuch Explorer.

The track’s duration and structure reflect the extended improvisational conventions of Hindustani classical concerts. The ālāpa section establishes the rāga’s modal framework, while the tīntāla composition demonstrates Pathak’s command of laya (rhythmic intricacy) and taans (rapid melodic phrases). No lyricist or composer is attributed to the bandish (fixed composition) in the available data.