PT. Ulhas Kashalakar: ‘Helps a lot in the process of home learning’

Famous singer PT. Ulhas Kashalkar | Photo Credit: Special Arrangement

This was the conclusion of the 102nd Sankat Mochan Sangeet Samaroh in Varanasi, and a continuous flow of devotees was seen in the courtyard of the Sankat Mochan Temple. Will a classical sory work in this busy, crowded environment, an idea. But PT. A deep spiritual person, Ulhas Kashalakar, looked unaffected because he hummed some swars to examine the mic. He gave a brief but sharp glimpse of his choice with a sign of gentle Nishad and went to sing slow Tilwara Bandish based on the portrayal of Kedar based on the portrayal of Kedar, the residence of Shiva. The Kajoling route of Behalawa was beautifully highlighted by PT. Suresh Talwalkar’s tabla was also enough to attract the attention of the audience. ‘Kanha Re, Nand-Nandana’, popular small thought, then a Tarana, put his magic.

Before the Ulhas Kashalakar went ahead to close recurrence with the hymn, there were requests for a jod raga. Well, because the singer does magic with Jod/Mishra/Sankeerna Raags, in which two or more raga moves together. For example, the Sanj Swarwali (Saraoli) invented by Ustad Villait Khan, and the premiere was presented in the voice of Ulhas Kashalakar, displayed almost all the major ragas of the evening. This makes it a sankeerna (narrow) raag. Space deficiency sometimes results in raags if an artist is treated due to lack of expertise. However, Ulhas Kashalakar arranged them systematically as aesthetics of multi-headed flowers.

Malkanas-Bahar came as a double colored gift for its fans-dominated the upper half by Malkan and Bahar at the bottom half of the octave. There was no confusion, the infection was smooth. Malakoun is thoughtful, powerful and regal while outside is relaxed, playful and light. But, like a well -adjusted couple, they were present together despite their oblique contrasting characters.

Ulhas Kashakar 2025 edition in Sankat Mochan Sangeet Samaroh | Photo Credit: Special Arrangement

Ulhas Kashalakar said that while speaking about his method and approach while separating the ragas, Ulhas Kashakar said: “The only method is familiar with the raga. We often talk about fusion, but very few people sing such exercises before trying. Raags, rags, junctions, and turn points, and turn points, and turn points, and a new challenging points. Help in opening fountainheads.

As someone is a master of Gwalior, Jaipur and Agra Gharan, each of whom has a set of favorite raga, rhythm and compositions, does Ulhas Kashalakar mix home characteristics for a thrilling innovation? “I am a traditionalist. Alhaiya Bilawal, Hamar, Gaur Sarang, Chhayanat, Kedar, Kamod and Gwalior Excel in Yemen and Bhairav. Jaipur specializes to go for Petmanjari, Khat, Sawani, Shudi Nut, Nat’s Liver and Ani.

So, how does Ulhas Kashalakar define the sanctity of the raga and singers?

“The purity is what the gurus gave us. The characteristics of the gharana help immensely in the learning process. The house gives the foundation; the rest can be added to someone’s ability or limit. For example, in Kiran Gharana, Gangubai Hungal and Bhimsen Joshi’s singing style are very different. Most are used.

“When I started my singing career, I sang Galiyor, Jaipur and Agra houses, the way I was taught. But, with time and maturity, I included many changes in my own different ways, and brought all the three styles closer,” the famous singer said.