In the second part of the series on the thumri 'Baajuband khula khula jaaee', listen to this evergreen Bhairavi composition sung by vocalists who otherwise practise a variety of genres. Evidently, their manner of elaborating the composition is influenced by the iconic presentations of Faiyaz Khan and Bade Ghulam Ali Khan, which were included in the first part of this series. These expositions do not have the detailed and layered handling of song-text, melody and rhythm, that would be the convention for thumri singers.
The first track features renowned ghazal singer Ghulam Ali from Pakistan. His short rendition of the thumri in the fourteen-count taal Deepchandi is followed by a bandish ki thumri in the same raag from 4.11” in the track.
Ghulam Ali
Another short rendition of the same thumri comes from the well-known Jagjit Singh. He sings the composition in the sixteen count Teentaal and follows it from 3.57” into the clip with a tarana in the same taal.
Jagjeet Singh
The earlier clips show the propensity of both vocalists to include specific taan patterns of swift melodic patterns in their presentations of the thumri. They also do not devote as much attention to the song-text in the manner that they would otherwise do when singing the ghazal form.
The next track features Abida Parveen, who is known for her musical renditions of Sufi poetry. She sings the thumri in Deepchandi, with a doha or couplet introducing the main composition. She also intersperses her short presentation with dohas. Interestingly, Abida Parveen often chooses to elaborate upon the word baaju, dividing the compound word baajuband, which means armlet.
Abida Parven
We conclude with Lata Mangeshkar’s rendition inspired by the original thumri. From the film Baajuband, the piece is interspersed with couplets. The credit for the composition goes to Muhammad Shafi. The piece ends with the recitation of tabla compositions that are often used in Kathak dance.
Lata Mangeshkar
Listen to the first part of this series here.
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The first track features renowned ghazal singer Ghulam Ali from Pakistan. His short rendition of the thumri in the fourteen-count taal Deepchandi is followed by a bandish ki thumri in the same raag from 4.11” in the track.
Ghulam Ali
Another short rendition of the same thumri comes from the well-known Jagjit Singh. He sings the composition in the sixteen count Teentaal and follows it from 3.57” into the clip with a tarana in the same taal.
Jagjeet Singh
The earlier clips show the propensity of both vocalists to include specific taan patterns of swift melodic patterns in their presentations of the thumri. They also do not devote as much attention to the song-text in the manner that they would otherwise do when singing the ghazal form.
The next track features Abida Parveen, who is known for her musical renditions of Sufi poetry. She sings the thumri in Deepchandi, with a doha or couplet introducing the main composition. She also intersperses her short presentation with dohas. Interestingly, Abida Parveen often chooses to elaborate upon the word baaju, dividing the compound word baajuband, which means armlet.
Abida Parven
We conclude with Lata Mangeshkar’s rendition inspired by the original thumri. From the film Baajuband, the piece is interspersed with couplets. The credit for the composition goes to Muhammad Shafi. The piece ends with the recitation of tabla compositions that are often used in Kathak dance.
Lata Mangeshkar
Listen to the first part of this series here.
