Interactive stories through Innovative Rhythmic Dialogue
Anuradha Pal presents an innovative, rhythmic dialogue, between the traditional and the contemporary Anuradhas; interweaving incredible repertoire from six gharanas, along with universally appealing stories. Interactive & spunky, Anuradha Pal’s Tabla Jugalbandi interweaves simple poetry,( based on the epics- Ramayan & Mahabharata) with Tabla, Music & the Keyboard casting a magical spell of edu- tainment, while maintaining stellar standards of tradition & discipline…
Anuradha Pal presents her Tabla Jugalbandi in 2 formats-
1) Tabla Jugalbandi ( Anuradha plus 1 Keyboard player, ie Totally 2 musicians)
2) Collective (Anuradha plus 4/ 5 musicians i.e. totally 5 or 6 musicians)
The New Indian Express
" Anuradha carries the methodical intuition of her Ustads, their clarity & showmanship in finger movements. Then, she has the dynamism, temperament & ‘presence’ of Pandit Kishan Maharaj, the tough lure for softness and detail of Pandit Shamta Prasad & a shooting madness for intrinsic fireworks of Ustad Ahmed Jan Thirakwa."
" She is as comfortable with following the tradition of her Punjab Gharana (she has imbibed the nuances of all the five gharanas) as she is with indulging in genre-free music. For Anuradha creativity is about extending frontiers, thinking beyond divides & being honest to the art. "
" She displayed dexterity playing typical ‘uthaans’ & ‘gats’ of Punjab Gharana… Amidst Laudatory claps from intrusive audience she embellished the Tabla bols with mathematical precision and artistic endurance. She delineated certain dialogues in Tabla Jugalbandi to the delight of the audience before concluding with an electrifying sequence of rela."
" Her music commands reverence… You want to shut your eyes because Anuradha is so strong as a performer, so perfectly placed in the competitive percussion world, that you really want to forget for a moment that she is a woman. You just want to focus on the music."
" Anuradha Pal, beautiful in her brilliance when on stage, clear as much in her articulation as on the Tabla, relates the sounds to varying contexts in everyday life. She calls her performance a Jugalbandi - one between her traditional base and contemporary explorations and between Purush and Prakriti with raags Shankara and Durga in the background. With rise and fall in pitch and pace of beats, she relates them to man-woman dialogue, Lord Nataraj’s damaru, Radha’s sulking mood, a horse’s gallop, a train crossing another and finally thunder, lightning and rain. One gets reminded of Birju Maharaj talking about rhythm and movement in nature."