Recorded at Darbar Festival 2017 on 9th November at Sadler's Wells, Islington, London.

Musicians:
- Pravin Godkhindi (bansuri)
- Supreet Deshpande (tabla)

Music Pieces:
- Raag Maru Bihag, Thaat: Kalyan, Samay: late evening
- Raag Jog, Thaat: Kafi, Samay: late evening
- Dhun in Mishra Pahadi

In this exciting presentation, two evening ragas are portrayed in two different styles. Pravin Godkhindi performs Raag Maru Bihag in the gayaki ang – a style where an instrumentalist tries to bring the recital closest to a vocal presentation by incorporating sustained notes, slow oscillations and seamless glides highlighting multiple notes.

His second piece is Raag Jog which follows the tantrakari ang - the instrumental style characterised by spry and sharpness that can be executed by high mastery of technique on the instrument.

Godkhindi is accompanied by Supreet Deshpande on the tabla. While the former shows incredible creativity of melody and laykari, the latter has a sharp control over rhythm and its calibrated expression in music. Godkhindi introduces Maru Bihag with a brief alap, quickly establishing the blend between the Kalyan and Behag characteristics that form the core of this raga. The vistaar pans out, flowing spaciously within the vilambit Ektaal khayal in deeply meditative, breathy phrases full of repose. Godkhindi ends this section with the popular Maru Bihag composition by eminent vocalist Prabha Atre – Jagoo Main Saari Raina Balma (I remain awake all night my beloved). Here, he negotiates well with the sensuous movements of the composition weaving taans in a wide variety of patterns.

Next, he begins Raag Jog with an alap and Jod. Brimming this buoyant melody with mystique, he unfurls its ‘bluesy’ silhouettes with command and repose. With a detailed demonstration aided by technique, Godkhindi creates majesty and tranquil in the slower composition set to Rupak taal. In the faster composition set to Teental, he heightens the climax with sharply contrasting emotions and a strategic application of both shudh and komal Ga (pure and flat 3rd).

Godkhindi ends his recital with a playful dhun in Mishra Pahadi. His description of the piece to the audience comprising imageries of a cowherd or a shephard playing the flute in oblivion as the animals graze is as evocative and witty as his rendition of it. Deshpande merges brilliantly into this piece, strutting with the flow of notes with apposite bols and stylisation.