Listen to or buy this album. Track list: Jhoola – Sur Malhar Dar Laage Oonchi Atariyaa – Sur Malhar Lata Mangeshkar Speaks Kisko Aisi Baat Kahen – Gaud Malhar Ban Mein – Gaud Malhar Jaani Jaani – Gaud Malhar Maadho Mukund & Maro Kaakariyaa – Ramdasi Malhar Sundar Surajanavaa – Charukeshi Balam Mori Chaando Kalaiya – Bilaskhani Todi Tarana – Tanata Na Deem – Bilaskhani Todi Sakal Mil Sunat Raag Vilaas Tarana – Taan Re – Bilaskhani Todi Tapan Laagi Geheri – Shuddha Sarang Bataide Mohe Gaan – Shuddha Sarang Kite Din Piya Dekhe Bin Beete – Shuddha Sarang Mori Kar Pakarat – Dhani An artist’s ‘kahen’ is his particular way of bringing to life the lyrical and melodic content of a song and imbuing it with emotive significance. Every maestro that Hindustani Classical Music has seen has had his own unique kahen. Satyasheel Deshpande’s kahen is a soulful rendering of his innate expression, nurtured by his intense study of and exposure to these maestros through his father, the eminent musicologist Shri Vamanrao Deshpande, his guru, Pt. Kumar Gandharva and his phenomenal study of the art through his archives, The Samvaad Foundation. Kahen takes a fresh new look at the

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Preview and buy this album. Track list: Aeji Savare – Kalingada Jal Jamuna – Pancham Se gara Three Moods Of Kaafi Chale Jaiho Bedarda – Pahadi Dagar Mori Chhando Lag Gai Chot – Gara Ras Ke Bhare Tore Nain – Bhairavi The Thumri is one of the most enchanting forms of North Indian music. ‘Thumri Katha- The story of Thumri’ is an attempt to showcase the various faces of the Thumri. Thumri Katha encompasses the many emotions and situations that this ‘lighter’ form of classical music has traditionally portrayed. The thumri is essentially an expression of the sringar rasa, of the delicate, passionate, playful utterances of the young woman in love. Frequently though, emotions of indescribable divinity emerge from all of the thumri’s erstwhile almost naughty playfulness. Incorporating these ideas into one album to do justice to the variety traditionally found in Thumri singing was, to quote Satyasheelji, quite a challenge. Never one to do things half-heartedly, Satyasheelji devoted almost six months to this project, listening to the approximately 250 thumris he has in his archive. He moulded the tonalities of his voice to suit thumri singing. To add to this, each thumri has been sung by Satyasheelji in the

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