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The World's Musical Traditions, Vol. 10: Tabla Tarang--Melody on Drums

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Pandit Kamalesh Maitra

 
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The World's Musical Traditions, Vol. 10: Tabla Tarang--Melody on Drums
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One of the few tabla tarang masters plies his craft.

  • We Say...

    There are very few players of the tabla tarang, a series of up to 16 tuned tabla drums placed in a semi-circle around the musician that allow him to play both rhythm and melody. At times Maitra's playing seems almost magical, weaving a complex melody — and harmony — over difficult rhythms as he performs these morning ragas; often it's hard to believe there's only one person performing. These are lengthy pieces, offering him ample opportunity to demonstrate his highly evolved art. Indeed, there are moments, as on "Raag Mia Ki Todi," that seem almost orchestral, with the sarod (which he also plays) in the background, and the drums improvising around the basic theme. Maitra is a consummate player, a virtuoso on this highly unusual instrument, able to make it sing on these introspective pieces that bring a sense of calm, even when his hands seem to be doing the impossible all at once. Masterful, this is North Indian music with a difference.

  • They Say...

    As volume ten of their World's Musical Traditions set, Smithsonian Folkways released an album featuring Kamalesh Maitra, the last pandit (master) of the tabla tarang, a set of ten to 16 tabla drums (Maitra uses around 11 on this recording), each tuned to a different note, and without the bayan bass drum. The word tarang translates to "waves," which is meant to describe the sound of the drums as they are played. The player uses his palms to strike the drums in quick succession, hopefully to come as close to the human voice as possible in its shifts. On the recording, it becomes obvious how Maitra received his title of Pandit, as his virtuosity is stunning, especially when considering the size of the setup of the drums (a full half-circle around the performer) and the speed with which he is able to play them. The ragas played on this album are all morning ragas, or more specifically late-morning ragas, as all of them are forms of the Todi ragas (making use of the minor second, minor third, and sixth). While the music is wonderfully performed, giving an almost ethereal sound to the album, even true aficionados of North Indian classical music, used to half-hour ragas, can become bored partway through the 45-minute "Raag Mia Ki Todi," despite Maitra's virtuosity. Throughout, the album is perfectly executed and, despite the length of the last raga, is an exceptional find for any fan of Indian Classical music.

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