I regularly perform concerts in California and the southwestern United States.   Please contact me to inquire about concert arrangements.  I am happy to adjust the repertoire to audience interests.  The following notes offer background for the recordings of this page.

Be Dardi Tohe
This track uses a traditional Bhajan, using contemporary poetry.  Accompanying on Tabla is Sri Abhiman Kaushal.  Accompanying on western key using keyboard is Sri Krishna Gopinath.

Drut Khayal in Raag Shivranjani
Shivranjani is originally a Carnatik raga that has been adopted in Hindustani style.  Accompanying on Tabla is the renowned drummer Sri Arup Chattopadhyay and accompanying on Sarangi is Pundit Ramesh Mishra, one of the few exponents of Sarangi.

Thumri in Mishra Shivranjani
Thumri is a type of semi-classical stule of singing where multiple ragas are used to enhance the mood of the melody while always returning to a base raga. Accompanying on Tabla is Sri Arup Chattopadhyay and accompanying on Sarangi is Pundit Ramesh Mishra.

Tarana in Raag Malkauns
Recorded in pentatonic night Raga Malkauns.  Accompanying on Tabla is Sri Abhiman Kaushal. Accompanying on keyboard is Sri Krishna Gopinath.

Bhajan in Sindhi Bhairabi
This is a very old Bhajan of Meera Bai.  Sindhi Bhairabi is considered one of the most beautiful ragas and is extensively used in semi-classical and light classical singing.

Be Dardi Tohe (1:48 sample, full recording 6:56 - 2007)
An experimental recording of a traditional Bhajan using western chord as back ground music. Poetry depicts the pain of a loyal devotee, unable to find peace as his master, Lord Krishna has not granted him his wish, a glimpse of the lord.

Drut Khayal in Raag Shivranjani (1:00 sample, full recording 12:46 - 2008)
A traditional rendering of Raga in relatively faster pace, accompanied by Tabla and Sarangi.

Thumri in Raag Mishra Shivranjani (1:56 sample, full recording 12:30 - 2008)
A melodious and subtle form of singing, in semi classical format using a base raga and several other compatible ragas, improvised as the music progreses. Poetry is typically of a romantic essence.

Tarana in raag Malkauns (1:10 sample, full recording 4:02 - 2007)
Component of traditional rendering of a Raga. Typically a Tarana comes at the end of a recital lasting an hour or longer. This is fast paced and indicated the climax of a musical presentation. the poetry is mutilated strokes of sitar, tabla and syllables from notes.

Bhajan in Sindhi Bhairabi (2:10 sample, full recording 6:18 - 2008)
A traditional devotional song, using a raga considered by many the sweetest of all.  Poetry by the 16th century poet Meera Bai.