Sitar: Raga - Sree

IK
Imrat Khan
Imrat Khan released Raga: Sree in 1974, a 12 vinyl featuring a single extended Hindustani raga performance in the Imdadkhani gharana style with vocal-like phrasing.
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About Sitar: Raga - Sree

Raga: Sree is a studio album by sitarist Imrat Khan, released in 1974 under the His Master’s Voice label. The recording appeared on a 12\" vinyl format and features a single extended performance of Raga Sree, a classical raga in the Hindustani tradition. The album is cataloged as part of Khan’s discography during his tenure as a leading exponent of the Imdadkhani gharana (school) of sitar, known for its emphasis on gayaki ang (vocal-style phrasing) and intricate tantrakari (string technique).

The track Sitar: Raga - Sree occupies side B of the vinyl release. Khan performs the raga in the vilambit (slow) and drut (fast) sections, adhering to the structural conventions of alaap, jor, and jhala followed by a composed gat with improvisations. Accompaniment details remain undocumented in available sources, though traditional tabla support is standard for such recordings of the period. The album cover and liner notes, where present, typically included minimal text, prioritizing Khan’s artistic lineage and the raga’s theoretical framework.

The 1974 release coincided with a period of heightened international exposure for Hindustani classical music, following the global recognition of Ravi Shankar in the 1960s and 1970s. Khan’s interpretation of Raga Sree exemplifies the Imdadkhani style through its restrained ornamentation and emphasis on swara (note) clarity. The recording’s production quality reflects the technical standards of His Master’s Voice, a prominent Indian label under the EMI group, which distributed classical and film music during the era.

No reissues or digital remasters of this specific release are confirmed in public records as of the latest available data. The original vinyl remains a collector’s item for enthusiasts of Khan’s work and the broader etawa baj (sitar style associated with the Imdadkhani gharana). Additional session details, including recording location, engineers, or alternate takes, are not documented in accessible archives.