Kalapini Komkali & Shewta Jhaveri

I periodically check what is happening in Indian Classical Vocal Music

While going through Music India for the latest in Indian found two interesting female singers Kalapini Komkali and Shewta Jhavery. They only had sung one ragas each so it is hard to judge them. But I can still say that I was pleased by the promise they showed and their future appears bright.

Ms. Komkali is the daughter of legendary Kumar Gandharva one of greatest living exponent of Indian classical music who defies the traditions and can hardly be called product of any school. He is the recipient of Padma Bhushana Kalidas Sanman and Ustad Hafiz Ali Khan Award).

This site gave a recorded singing in Shivkedar Ragg (mood) by Ms. Komkali. I liked the way she started the singing picking up fast without spending time. That is very much like her father. She very much follows her father in style and her breathing follows just like her father and same beauty places. In start Vilambit Ektal the bols are “ jogi Jagto re” and its beautiful rendering in Shivkedar rag. She follows with prefect precision melodic scales, features and notes in komal (soft) and flat in both ascending and descending movements.

Her movements are more precise than her father’s which may be reflection of her fathers mastery and nature of not following path. But following well lead path is really excellent for her and there is no discordant note(which can be some times I have noted- though admit master can some times go over rule as they are so exceptional) The dominant note was Dha and consant note was Re.

At about 18 minutes she shifts to Drut-trital and she really starts enjoying that you can see from the happy voice. The bols are Chalia tu aai ka. I am not sure it appears she is perfect good student of her father. Her all peaks are at almost same places as her father. Her voice is sweet with hint of maturing woman with quite hint of young woman still and it is a feast to ears. It is hard for a little banyan tree to grow under shadow of great Banyan. So it is a great credit to this woman to have such an illustrious father and still be able to grow out of his shadows and come across as good singer. I was very happy with this.

Fortunately I was able to get a cassette (there still few patrons of Indian classical music a dying aristocratic breed) in Karachi and her singing of Raga Yaman was really great and great in use of melodic scales sharp and medium and rest of notes were natural notes (shudha swars) Dominnat note was Ga and consonant note was ni. I do not remember bols. There was excellent accompanists both on Tabala and harmonium and excellent rapport between them. I have started liking her songs and I listen at night while and it evokes tranquil mood. I expect Ms. K. Komkalli will carry on the legacy of her father and give the future generation the glimpses of her fathers singing.

Ms. Shewta Jhaveri

I never knew this singer and extremely impressed by mastery and her musical acrobatic rushing towards crescendo.

Surprisingly she sings a most simple raga of Puriya Dhansri. This one of raga taught at earlier stage as its more simple than others. This raga is very popular and every great artist has delivered and is great pleasure to ears.

Now we will go to starting of Vilambit Ektal by Ms Jhaveri. She has the instincts of great singers. Within half minutes she establishes her command and distinct impression (Vilambit Ektal bol are “ Doodhan Ja”) and her interpretation. If I am right (I can be totally wrong as I have no formal training but I studied little on paper Puriya Dhansri is not complete(sampoorna) raga like yaman. Still I have heard so many limitless scope improvisations.

Some of the great improvisation of these ragas are by great giants like PT. K Gandharva, Vazebuwa, Pt. Joshi, P. Atre including almost all middle aged singers. I felt Ms. Jahaveri’s rendering and mastery can be comparable to anyof the great masters. She exceeds in few things we will see as we go.

By first five minutes she is riding and dominating tabla and harmonium and she starts slow but steady rising , total flawless control on all notes absolutely no discordant notes its smooth ride. No harsh notes all still Komal and medium but its like slowly Karachi Lahore train starts getting speed beyond urban Karachi and flat arid Sindh lands and
train picks up speed and there is rhythm . Same way Ms. Shwta starts slowly rising taking time to visit all those beautiful notes one after another in no hurry but determined journey.

Mentally you know the next notes as she is following standard beaten path but when she is there you know she is happy and like a watching a morning sun over horizon in the great Thar desert. It just made me happy. The singer is enjoying and you can feel her joy. It is perfect just as was composed. Now the bird is at full height, waiting for rising of air currents.

The artist like the great eagle starts getting more acrobatic. Now the bird is rising and diving a medium dive but gives idea for some thing to watch and hold in ears for ever. Now Shewta is floating she has found her voice a total master not a greatest eagle in sky but best in its class, total in harmony now if even tabala or harmonium is stopped nothing needed those breaks when she needs to breath are just part of same continuum, its like you have climbed mountain and you are viewing down a river.

Its nearing 20 minutes. Its heaven with that vilambit tals and her repeated bols of “doodhan Ja” still anticipating the next stage. Now your eyes are dead and only brain and ears alive. She is singing those beautiful notes and the reverberations starts. You feel you are seeing the Sindhudarya at places like Dera Gazi Khan. Immense and tranquil, just you can go on watching eternally and same reverberations Shewta gives. She pauses for microsecond to breath you don’t hear Sath but that reverberation.

As a listener I got alert as all great artist transition from Vilambit Ekatal to drut trital is breath taking. Let us see how Shewataji does. Let us hope she is great as up to now.

You nearly hope you can help that landing from Vilambit Ektal to Drut trital. But landing is just a new start as you know all singers change in 1/20 of second. That small pause is slow, critical and defining. I think a great fighter on air carriers do that type of land and go. This is more difficult – its mental and physical.

Yes she is coming in to land and take off: end of start and beginning of end. Its exactly 22 minutes what a journey. There is pause.

And you close eyes in anticipation. Its enchantment, magic. Tabla and harmonium and young Shewta must be looking at each and they start together and she starts note ‘ Sham Murari Banwari Giridhai”. My heart get feeling of pleasure and relief. You know she is charged and the next journey is real tough but she is ready. Tabbalist is also charged. It is drut trital, (thak , thak , thak) hold on we are for pleasure spectacular rise. Like a fighter pilot her mind is ready for fast actions the radar is on and she is closing in, you are also ready for action not to loose any of these sweet peaks.

Within 5 minutes she is very fast and repetwa is going so fast. God knows how she can go such fast you are at same pace still she has very clear bols(words) very clear. Once the reverberations starts. She needs to breath thank god we can get to breathe too. Like a rocket she starts roaring, notes are harsh they are thrilling … so much variation so fast its floating not on thermal currents but its now power singing . Shewta is not going to wait for any body. She is peaking and at next second like hawk she is dropping, I am afraid coming down with out parachute.

We old men worry for that young lady, beware you are not like that master powerful eagle like Pandit Joshi or Pt. Kumar Gandharva or late Ustald Abdul Karim Khan “kirana Giants”. She pulls up beautifully you really appreciate that female beauty and skills of just pulling up. You are happy, just like she is happy and proud . She has just as good control as the giants. Only better as she is not sweating. Now you are happy and you know she is great and you do not have to worry lend your ears to yourself fully to the young lady and just relax.

She is going very fast its last run. She is aware that you can hear her breathing in singing. Young girl has gone too far too high she has to return to nest. It is like the pilot announcing that he will be on ground soon. She is doing last traditional ways all singers do, you are waiting for last minute and sharing the happy feeling she has accomplished. And you know is over. She landed beautifully intact , she is happy.

And all good things come to end.