CE02

Raag Malkauns – Bombay 1968

Zia Mohiuddin Dagar or Zia Fariduddin Dagar

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“captures dhrupad’s reality like no other recording to my knowledge” – Ken Hunt, Jazzwise

One long track of Raag Malkauns, 69 minutes

One long track of Raag Malkauns, 69 minutes. But there is a vinyl edition, see below.

An Evening Raga in the Dhrupad Tradition.
Rudra Veena: Ustad Zia Mohiuddin Dagar
Vocal: Ustad Zia Fariduddin Dagar
Tamboura and supporting vocals: Ritwik Sanyal

Ustad Bahauddin Dagar on Malkauns

This is an ‘avdhav’ raag of the bhairavi thaat. Both rishabh and pancham are not present (varjit). The vaadi is of shudh madhyam. This raag is very suitable for alaap. It belongs to the 3^rd cycle of the night.
By nature this is a very straight kind of raag which can be recognized very easily by the presence of a clear madhyam. A good musiacian would touch rishabh and pancham in the avrohi in such a way so as to enhance the feeling and beauty of this raag without going out of the raag.

Aarohi sa ga ma dha ni sa

Avrohi sa ni dha ma ga sa

But you can get it digitally from digital sources, see links below.
There is however a new album where Ustad is accompanied by Pandit Taranath on pakhawaj.

Now out on vinyl!

Later on in 2023 this album together with their morning ragini Miyan ki Todi will be released on three vinyl albums by our friends at Black Sweat Records in Italy. Here is the link They already issued a couple of other albums from Country & Eastern on vinyl, notably Bahauddin Dagar’s Ahir Bhairav and Bitter Funeral Beer Band in Frankfurt.

Reviews

FOLK ROOTS, MARCH 2006
COUNTRY AND EASTERN’S INAUGURAL RELEASES ARE LIKELY CONTENDERS FOR BEST-OFS 2006
Country & Eastern’s second release is another archival gem. Made in February 1968 in Bombay, tje principal musicians are rudra veena maestro Zia Mohiuddin Dagar and the vocalist Zia Fariduddin Dagar. The Dagar name signals that this must be a dhrupad recital. In matters of dynamics, dhrupad has a different and more highly abstract sinsibility to more modern forms such as khayal that have supplanted it. Over almost 70 minutes they unfurl their raag of choice in a manner not dissimilar to a gardener when it comes to patience and preparation. They prepare their ground comprehensively, advancing almost in slow motion, syllable to syllable rather than word to word. Hot-blooded listeners may find it nigh on torpid in its asakening. That’s germination in spontaneous composition for you. Trust, this is an exquisite recording to savour, aq time capsule with its crod appreciation noises and tangible physicality, and one of the greatest dhrupad releases ever to come my way. Ritwik Sanyal accompanies on tamboura and vocals. Both releases would have benefited from more detailed notes, but do strive to hear them.

This duet, almost 70 minutes in length from one of the greatest dhrupad dynasties of modern times is a complete joy and education. This recording (with its coughs, whoops and a physicality that begs you to reach out and touch) captures dhrupad’s reality like no other recording to my knowledge. Exceptional, can’t say clearer than that. – Jazzwise

Listeners, including those not well acquainted with Indian classical music, will readily sense why raag malkauns is reserved for the late night hours.
“Raag Malkauns” is a type of raga which is associated with a late night-midnight mood, and this is indeed exactly the feeling it creates, and in which it develops. Most of the track sounds like a delicate tuning into this mood. It uses a pentatonic scale with two series of five notes, with some notes to bring grounding and a few others to open up and liberate the sphere. Thoroughly the mood evolves from a confirming sphere, with an adding depth to the expression of a rather dreamy slumbering late night sphere, to a more clarified rhythmical-melodious form of comfort. Near the end, and after having so calmly started, the energy has built up some fire from within, getting to a great dual inflicting energy to conclude within a calm contemplative nature. A great track, which sounds like the real thing, as I read it described elsewhere.