Recorded at Darbar Festival 2018 on 28th October at the Barbican Theatre, London.

Musicians:
- Ustad Shahid Parvez (sitar)
- Ojas Adhiya (tabla)

Raag Yaman; Thaat: Kalyan; Samay: Evening
Raag Piloo; Thaat: Kafi, Samay: Afternoon

Ustad Parvez plays Yaman, cajoling the phrases with romance, finesse and repose. He unfurls each melody-laden phrase with bliss and generous dollops of very well-rounded glides and ornamentations. He retains the glides on his sitar with spectacular sustenance of notes. In the vilambit gat set to Rupak taal (7-beat cycle), his treatment of the raga is evocative and technically brilliant. “It is not about the number of hours one puts into practice; rather it is about single-minded devotion and giving yourself completely to this art form,” says he.

Ustad Parvez opens up about his training and the key factors that propelled him to become the best version of himself. In the drut gat, he displays a laykari that is staggering and at the same time, replete with the best phrases churned from Yaman. He ends the recital with a lilting and sweet lighter piece in Raag Piloo.

Adhiya captures the moments with suitable and very impressive rhythmic designs throughout the recital. “Each artist is different; Although Indian classical music requires you to be very creative, you cannot just go and play anything you like on stage; As an accompanist, it is important to understand the temperament of the artist and deploy your creativity accordingly,” says Adhiya.

Ustad Parvez is totally dedicated to the sitar, upholding the illustrious traditions of his ancestors while expanding the instrument’s technical boundaries. Critics back in India have described him as ‘Indian music personified’. Born into the legendary Imdadkhani gharana of Uttar Pradesh, he was always expected to carry the family legacy forward. His ancestors gave shape to the modern sitar, redesigning it and formulating the now-distinctive gayaki ang (singing style). His early training was famously demanding. He had to practice for the majority of his waking life, rarely playing outside or socialising with his peers. Today, he sits at the pinnacle of Hindustani music, touring widely while also finding time to teach at his eponymous SPK Academy in Arizona.

Adhiya combines extraordinary technical aptitude with a vast knowledge base, playing with a fluency that belies his years. Born in a small Maharashtra village, he was drawn to the tabla from infancy, experimenting with the instrument at the age of two. He taught himself keherwa taal soon afterwards, shocking his father when he first overheard him. Soon after he was listed in the Limca Book of Records as India’s youngest tabla artist, having debuted at the age of four. He began to accompany his parents, spiritual gurus, in their ceremonies, and aged five the family moved to Mumbai so he could study classical tabla with Shri Mridangraj of the Ajrada gharana. During his time as a student he also delved into jazz, ghazal, and Carnatic rhythm, and advises young artists to play everything they hear. Today he accompanies top artists and is firmly establishing himself as an exciting solo performer.