Raga Marwa: Jor - Jhala

IK
Imrat Khan
12:59
Sitarist Imrat Khan released Raga Marwa in 1992 via Nimbus Records, featuring his solo interpretation of the morning raga with komal re and tivra ma scales in vilambit and drut sections.
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About Raga Marwa: Jor - Jhala

Raga Marwa is a studio album by sitarist Imrat Khan, released on CD by Nimbus Records in 1992. The recording centers on the Marwa raga, a morning raga in Hindustani classical tradition characterized by its use of the komal re (flattened second) and tivra ma (sharp fourth) scales. The album captures Khan’s interpretation in the vilambit (slow) and drut (fast) sections, adhering to the gayaki ang (vocal-style phrasing) associated with the Imdadkhani gharana.

The second track, titled Raga Marwa: Jor – Jhala, spans 12 minutes and 59 seconds. Khan performs the jor (middle developmental phase) and jhala (fast, rhythmic climax) segments, demonstrating intricate taan patterns and meend (glissando) techniques. The accompaniment details remain undocumented in available sources, but the recording aligns with Khan’s signature approach to alaap-based exploration before transitioning into structured rhythmic play. The album omits percussion support, focusing on the solo sitar’s expressive range.

Imrat Khan (1935–2018) belonged to the seventh generation of the Ettawah gharana, a lineage founded by his grandfather Imdad Khan. His recordings, including this 1992 release, contributed to the global dissemination of the sitar and surbahar repertoire. Nimbus Records, a UK-based label specializing in classical and world music, produced the album as part of its series on Indian instrumental traditions. No reissues or alternate editions of this specific recording are confirmed in public archives.

The tracklist sequence and total runtime of the full album are not fully documented in the provided context. The 1992 release date corresponds to the original CD pressing, with distribution primarily in European and North American markets. Khan’s rendition of Raga Marwa exemplifies the dhrupad-influenced phrasing typical of his early-to-mid career solo works, distinguishing it from his later collaborative projects.