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Film Songs Based on Classical Ragas (1. A morning with Asavari/Jaunpuri. Guest article by Subodh Agrawal(I had once hesitantly asked Subodh whether he would be writing on Asavari and Jaunpuri in his series on articles on film songs based on classical ragas. The reason for my hesitation was that these ragas might be too light for a connoisseur like him. Therefore, I was extremely happy to find his article on my favourite ragas without any extra nudging from me. The beautiful Ragamalika painting on Asavari Ragini, used as the thumbnail with the article, located by his daughter, is from the Victoria & Albert Museum, London collection, available on their website, which I have downloaded with their permission with grateful thanks.

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As credited by the V & A Museum, this is by an unknown artist from Hyderabad from 1. Subodh decodes the similar ragas Asavari, Jaunpuri and Dev Gandhar with his characteristic clarity.

About the painting, he pointed out a unique feature: In all the paintings on Asavari, snake figures very prominently for some unknown reason. As you enjoy this post, the experts are also called upon to throw light on the snake- Asavari connection.  Thanks Subodh for another excellent piece.

AK)Indian ragas have different times of the day assigned to them. One begins with Lalit at the crack of dawn, and goes on to the Bhairav family. Asavari and its clones Jaunpuri and Dev Gandhar belong to late morning. The original version of Asavari used all four komal swaras – much like Bhairavi.

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It then ceded popularity to the modern version of Asavari, which uses shudh ‘re’ but komal ‘ga’, ‘dha’ and ‘ni’. When Pandit Vishnu Narayan Bhatkhande grouped north Indian ragas into ten thaats, he chose Asavari (with shudh ‘re’) as the key raga of the thaat named after it.

The original Asavari is now known as ‘Komal Rishabh Asavari’. The modern Asavari in turn ceded popularity to Jaunpuri, which differs from it only in using the seventh note ‘ni’ in ascending movement. Interestingly, with the shifting of people’s preference from shudh ‘re’ Asavari to Jaunpuri, komal ‘re’ Asavari has made a comeback of sorts. Most of the recordings labeled simply Asavari are in komal ‘re’ Asavari. Dev Gandhar also uses shudh ‘ga’ sparingly in addition to the Komal one. The three ragas sound very similar and some experts on music, including Pandit Omkarnath Thakur, do not consider Asavari and Jaunpuri to be different ragas. Watch Mean Girls Online (2017). In this article I will not distinguish between the two.

However, the songs of Dev Gandhar will be pointed out. Asavari has the same scale as Darbari. It is the difference in movement that distinguishes the two ragas. One doesn’t need to be an expert in classical music to tell them apart. Laymen with an ear for music don’t have any difficulty in distinguishing them.

In fact the one raga that gets confused with both Asavari and Darbari is Desi – known to aficionados of Hindi Film Music via Aaj gawat man mero jhoom ke of Baiju Bawra. Jaunpur in Uttar Pradesh was the capital city of a Sultanate that broke free of the Tughlaqs in late fourteenth century and maintained its independence for nearly a century before succumbing to the Lodhis. The rulers of Jaunpur were keen patrons of the arts, and the last one – Sultan Hussain Sharqi – was himself a distinguished musician. It is probable that the Jaunpuri flavor of Asavari was developed by him or under his patronage. I have come across recordings on You. Tube from NCERT that provide brief and accessible introductions to different ragas.

Readers may like to visit these recordings for Asavari and Jaunpuri to understand the formal structure of the two ragas and get a feel for their similarities and differences. Jhulna Jhulaao private song by K L Saigal (1. This song is in Dev Gandhar, but presents the full flavor of Jaunpuri.

The shudh ‘ga’ is heard in ‘…bo…’ of ‘…koyal bole rama’. I have seen it described as the first recording of Saigal. If it is indeed true then the great man had come to the recording scene fully formed – there isn’t a trace of rawness in this perfect rendering: 2.

Shri Ram bhajo dukh mein sukh mein private song circa 1. K C Dey. I was introduced to this song thanks to AK’s post on K C Dey. Asavari/Jaunpuri excel in creating a mood of devotion: 3.

Apne man mein preet basa le by Ashraf Khan from Baghban (1. Mushtaq Hussain. My thanks to AK for locating this old gem. I had not heard it before: 4. Ram prabhu adhar jagat ke by Pandit Bhimsen Joshi from Sant Tulsidas, music by Gyan Dutt. The instrumental prelude to this song intentionally or unintentionally strays into the Darbari- Adana territory.

Panditji immediately establishes Asavari as soon as he starts the bhajan in his powerful voice: 5. Dil ko laga ke ham ne kuchch bhi na paya by Uma Devi from Anokhi Ada (1. Naushad. One wonders how many beautiful songs have been lost to us because Uma Devi found success as the generously endowed Tuntun. I read on a website that this song inspired Madan Mohan to compose the next song in this list: 6. Meri yaad mein tum na aansoo bahana by Talat Mahmood from Madhosh (1. Madan Mohan. I don’t find a striking resemblance between the tune of this song and the previous one. In fact, this one brings out the characteristic movements of Jaunpuri a lot more clearly – the raga is established with the instrumental prelude itself.

Another Talat song Jayen to jayen kahan is also listed as being in this raga, but despite its greatness as a song in itself, it does not present the characteristic movement that well: 7. Jab dil ko satawe gam by Lata Mangeshkar and Saraswati Rane from Sargam (1. C Ramachandra. Another one in Dev Gandhar, and like the previous one it does a better job of creating the mood of Jaunpuri than songs in Jaunpuri proper. Interestingly the word sargam in …chhed sakhi sargam is sung on the notes sa- re- ga- ma in that order, with shudh ‘ga’. Rahiye ab aisi jagah by Suraiya from Miza Ghalib (1.

Ghulam Mohammad. Suraiya was the last of the great singer- actors. Both her qualities are very much on display in this beautiful song: 9. Dil chhed koi aisa nagma by Hemant Kumar from Inspector (1. Hemant Kumar. This beautiful song is in two versions – male and female. I am including the male version in deference to the site Administrator’s known preference. It is purely incidental that Hemant also happens to be my favourite singer: 1.

Jaan sake to jaan by Mohammad Rafi from Ustad (1. O P Nayyar. This was the first song that was introduced to me as an example of Jaunpuri. It is quite faithful to the raga, and can be used by learners to get a feel for it. I begin the classical pieces with a rendering in Komal Rishabh Asavari by DV Paluskar. The raga sounds very much like standard Asavari or Jaunpuri, although the use of komal ‘re’ lends it a Bhairav like gravity mixed with a Todi like pathos: http: //gaana. Paluskar again, this time in Jaunpuri, Raghukil reeti sada chali aayee: Ustad Bade Ghulam Ali presents Jaunpuri in his signature style: A very spiritual and soulful tribute to Baiju Bawra from Pandit Jasraj in Komal Rishabh Asavari.

I can’t place the main accompanying instrument. Surbahar? Some variant of veena? Modified guitar? There are many more excellent recordings of Jaunpuri on You. Tube and other music sites. Let me close this article with this one from the great Kishori Amonkar. The recording begins a little abruptly, but that annoyance is soon lost in the soulful mood created by the maestra: Tagged as. Hindi film songs on classical ragas.