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Formats and Editions
1. Vilambit / Madhya / Drut Laya
2. Vilambit / Madhya / Drut Laya
3. Vilambit / Madhya / Drut Laya
4. Vilambit / Madhya / Drut Laya
5. Vilambit / Madhya / Drut Laya
6. Vilambit / Madhya / Drut Laya
7. Vilambit / Madhya / Drut Laya
8. Vilambit / Madhya / Drut Laya
9. Vilambit / Madhya / Drut Laya
10. Vilambit / Madhya / Drut Laya
11. Vilambit / Madhya / Drut Laya
12. Vilambit / Madhya / Drut Laya
13. Vilambit / Madhya / Drut Laya
14. Vilambit / Madhya / Drut Laya
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17. Vilambit / Madhya / Drut Laya
18. Vilambit / Madhya / Drut Laya
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20. Vilambit / Madhya / Drut Laya
21. Vilambit / Madhya / Drut Laya
22. Vilambit / Madhya / Drut Laya
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25. Vilambit / Madhya / Drut Laya
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30. Vilambit / Madhya / Drut Laya
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35. Vilambit / Madhya / Drut Laya
36. Vilambit / Madhya / Drut Laya
37. Vilambit / Madhya / Drut Laya
38. Vilambit / Madhya / Drut Laya
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40. Vilambit / Madhya / Drut Laya
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42. Vilambit / Madhya / Drut Laya
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50. Vilambit / Madhya / Drut Laya
51. Vilambit / Madhya / Drut Laya
52. Vilambit / Madhya / Drut Laya
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56. Vilambit / Madhya / Drut Laya
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60. Vilambit / Madhya / Drut Laya
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76. Vilambit / Madhya / Drut Laya
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78. Vilambit / Madhya / Drut Laya
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80. Vilambit / Madhya / Drut Laya
81. Vilambit / Madhya / Drut Laya
More Info:
Anand Badamikar presents a loosely structured, relaxed, and informal performance on the tabla of the rhythm cycle tintal, as if he were playing for a group of close friends rather than a formal audience. It is through this kind of intimate recording that one is able to gain insights into the tabla aesthetic that are rarely available on other recordings. Anand Badamikar's performance demonstrates a singular aesthetic vision, yet also reflects the breadth of compositional influences to which his teacher, Taranath Rao, was exposed.
