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Grooves of Punjab

Folk Music (Audio CD)

Price : U.S $ 27.95


a. Dauru Grooves 

Originally a farmer, Narata Ram, a ninety year old Jogi sings and also playsthe Jogia Sarangi. He started learning music at the age of five and has beenperforming since 1947. His renditions are usually accompanied by the hand held percussion instrument Dauru the sounds of which vary from a deep resonance to a sharp, instantaneous beat. This particular piece captures the folk rhythms that are played and at places also manifests the depth more commonly associated with the genre of Dhadhi.

b. Dhamaal and Jhummer 

Various forms of the drum like Indian percussion instrument Dhol are respectively ubiquitous to all celebrations across India. This piece brings to fore the beats which accompany the dance genres of Dhamaal and Jhummer from the state of Punjab. A light handed sound, almost profound in its effect is offset by the deeper boom from the other end of the Dhol. A typical dance rhythm is first played which then goes on to gain tempo and volume as is the pattern of these dances which rise in fervor toward the end. 

c. Giddhe Ki Taal

Dalbar Singh and group are performers of a dance form called Malwai Giddha where all participants both play an instrument each and dance to the tune.The structure of the genre is such that singing and the playing of instruments are successive activities conducted one after the other many times over in one performance. Since the instruments are played to mark the cumulative crescendo of fun and tease created by the lyrics, the pace is absolutely frantic. The Bukhchu (bhapang),Dholki, Algoza, Ektara, Chimta, Sap, Kato and Ghada are simultaneously and furiously played to express a cathartic moment of reveling. This piece is purely instrumental and aptly captures this intensity. 

d. Grooves of Dhol

Bhangra and Dhol are almost synonyms of each other in terms of the Punjabi fervor that they come to represent. The dance is unthinkable without the spirited beats of the Dhol, the sharp strike on one end complementing the deep resonance emanating from the other. Repetitive, up tempo rhythms are usually played for the Bhangra which is traditionally faster paced than the Luddi and the Jhummer, though it does has a pronounced cadence across its span.

e. Jangam Rhythm

A group of Jangam artists play the Dafli, Khartal, Dholki, Damru and present a rhythm to which salutations of Lord Shiva are strung during a rendition by these wandering devotional performers. As regards the simplicity of the instruments employed, this piece is rather fast paced though many of the Jangam performances are a lot softer. Both- the strike on the Dafli and the clank of the Khartal have a simple repetitive pattern that provides the backdrop for the beat to which the Dholki and Damru are played.  

f. Keharva – Dhol 

The Dhol and Chimta create a typical Punjabi folk clime and if there were ever to be a signature rhythm to Punjab this would be it. In its warm simplicity the rendition is rather profound and has universal resonance. The rich cadence does equal justice to its fast, uppermost impulses and the slow, rather intoxicating, indulgent troughs.   

g. Keharva - Veen Vaja

Gyan Singh Memi and group have been performing ‘Veen Vaja’ since lastforty five years in Punjab. A very old tradition of Punjab, Veen(Bagpipe) isusually played during weddings of Sikhs. Here, the Chimta, Dhol, Side Srums, and Tambura accompany the very fast paced piece and rather mask the shrill notes of the Veen. 

h. Sammi, Luddi and Bhangra

Beats characteristic of the different dance genres of Punjab show slight variation and yet all are equally enriched with the spirited music of the Dhol. For dances that originated from farmer movements of sowing seeds or harvesting, the beats are apt accompaniments to steps that involve bending and rising in succession and to the high energy jumps that are so typical to these dances.

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