The Musician

Based in Mississauga., Ontario, Canada, Irshad Khan is one of the foremost representatives of

a musical heritage unprecedented in India. He is the torchbearer of the younger generation of

the leading school of Sitar, known as the Imdadkhani Etawa Gharana. Irshad Khan is

internationally recognized as one of the greatest living sitar players, and as the leading surbahar

(bass sitar) exponent of his generation.

Irshad‟s individual stamp in both these instruments ascends from the distinctiveness of his

technique and mental prowess. His style is followed and inspires many formative and

professional sitar players of his generation. His dedication to the subtleties of the raga is in

bringing out its essence in rendering its pure form of feelings and expressions.

His phenomenal control of the intricate "gayaki-ang"(vocal) and "tantra-ang"(instrumental) styles

makes Irshad Khan one of today‟s most dynamic musicians of the world.

Whether performing familiar works from the traditional ragas, or exploring cultures and musical

forms outside of the Indian classical tradition, Irshad strives to play music that stimulates the

imagination. His multi-faceted musical interests have taken him in exciting new directions. He is

constantly searching for new ways to communicate with his audiences. This remarkable

versatility allows Irshad Khan to transcend cultural barriers, and turn each performance into a

spellbinding and unforgettable experience for audiences everywhere.

Having emerged as a child prodigy, Irshad Khan gave his first public performance at the age of

seven. His international debut was at the Queen Elizabeth Hall in London, England when he

was only 13. At 18, he made history by becoming the youngest soloist to perform at one of the

most prestigious international music festivals held in London, known as the Indian All Night

Concert at the Proms. Since then he has played in over 40 nations that include music festivals

and conferences throughout North America, the EU, Russia, the Middle East, the Far East, and

of course, India.

Irshad Khan is the founder/president of Universal Academy for Musicians, based in Mississauga

and Mumbai, India. Apart from actively performing internationally, he also conducts workshops,

lectures and master classes in various educational institutions.

Legendary Heritage and Education

Irshad Khan is the son and disciple of Ustad Imrat Khan, and nephew of Ustad Vilayat Khan.

Received musical training from his father starting as a toddler with a toy Sitar and singing.

Music was as much a part of his up-bringing as was learning to speak. To him , music was like a

language and was raised with continuous first hand training (Guru Shishya Param Pra style),

which is the “one on one” traditional system of passing musical knowledge and ability down for

hundreds of years.

His family represents the most respected gharana (musical heritage), known as the Imdadkhani

gharana, of sitar and surbahar players in the world. Dating back over 400 years, Irshad‟s

ancestors were among the best musicians and leading sitar players of India, and are credited

for the introduction of the “gayaki-ang” vocal style on the sitar.

His family has also been paramount in the evolution of the Sitar into its present form as well as

in the creation of the Surbahar (bass sitar), which was invented by Irshad Khan‟s great-great

grandfather Ustad Sahebdad Khan. Their instrumental techniques and compositions are known

to be iconic and are practiced and followed by Indian classical musicians worldwide. Irshad has

developed and advanced the difficult and complex techniques of Sitar and Surbahar (bass

sitar), descending down from his fore-fathers.

Irshad Khan‟s great grand-father

While the Imdadkhani gharana of sitar & surbahar is known after Ustad Imdad Khan, its origin

can be traced back to his father, Sahebdad Khan of Etawah, and is, therefore, sometimes

known as the Etawah gharana. Sahebdad Khan was the inventor of the surbahar and his

forefathers past down their family's music for generations from the 16th century Moghul courts.

However, it was Sahebdad's son, Imdad Khan, who came to be known for his innovative sitar

and surbahar style which led to the gharana being named after him. Imdad Khan was a court

musician at Indore and his two sons, Inayat Khan and Wahid Khan, followed in his footsteps.

Irshad‟s Grand-father

In fact, it is Inayat Khan, in particular, who introduced the playing of the khayal gayaki style on

the sitar. Inayat Khan was appointed as a musician in the court of the Maharaja of Gauripur,

although he was mainly based in Calcutta

Irshad‟s Father

Imrat Khan in particular received training on the surbahar from his paternal uncle, Ustad Wahid

Khan. As a consequence, the family's playing style was strongly influenced by vocal music and

this lead to the development and perfection of the khayal gayaki ang.

Irshad‟s Uncle

Inayat Khan's sons, Vilayat Khan and Imrat Khan, further polished the vocal style of sitar

playing. Moreover, following their father's death, the two brothers also received musical training

in khayal on their maternal side from their grandfather, Ustad Bandeh Hassan Khan, uncle

Zindeh Hassan Khan, and mother, Bashiran Begum.

Press Reviews

International reviews :

My vision is to bring in quality and traditional classical music to the forefront. I also aim

to enhance the quality of music, people are currently listening to.

Mumbai Mirror, India

There is a pulsating, lively energy field around Irshad Khan, a space that radiates with his

inner fire and creative vigor. There are no short cuts to his all round greatness

Gulf News, Dubai, U.A.E

His instrument emulates the sounds of birds and waterfalls. Emotions, colours and

expressions coming to life. The chords create poetry

The Lance, Windsor, Canada

Amazing performer, who has thrilled audiences around the world

K-W Chamber Mus. Soc. Press Release, Canada

Irshad Khan's supreme technique on the Sitar clearly marks him to be one of the most

dynamic sitarists of today

Detroit News, U.S.A

Listening to Khan perform is somewhat of a mind-bending. ...Khan feels and feeds off the

energy from the audience... ...a stunning, jaw-dropping display of virtuosity

The Record, Kitchener, Canada

Irshad has already successfully secured a sound foothold in the world of music

Bangladesh Observer, Bangladesh

This was music at its spontaneous, vibrant & sensual. One scarcely needed to be an

expert in Indian Music to get the message. At times the brilliant flights of fingers and

feelings had one sitting almost on the edge of the seat

South China Morning Post, China

An Advocate of Indian traditional music

New Straits Times, MalaysiaNew Straits Times, Malaysia

To watch him play is like watching a man go through a mystical experience. A young

musician in the audience said 'It was mind expanding I could listen for ever

Star India Journal, Canada

The blurred speed of hands. Amazing range of beautiful music from children till in their

teens to old people were all hypnotized, everybody sat in complete awe

Irish Times, Ireland

Feast of music for the hungry

The Times, England

Charismatic music mesmerizes audience

The Toronto Star, Canada

Irshad was exceptional

The Guardian, England

his meditative improvisations unfold with steeply patience, developing melodic patterns

with the kind of measured austerity one usually encounters only in dhrupad music

Critic‟s Choice, Chicago reader, U.S.A

The Mozart of Indian music

Isthmus, Milwaukee U.S.A

Scintillating performance

Boston Globe, U.S.A

Indian reviews :

His new album "Desires" presents a fresh sound, something completely different from

what we have heard on the last 20-odd albums.

The Statesman, India

"I feel what I sing is resonated with a lot of feeling through the notes of this instrument"

Times of India, Mumbai

„A‟ class affair

Midday, Bombay

In technical mastery over the instruments and in all round virtuosity, Irshad has reached

the hallmark through uncompromising hard work, and has set an example to be followed

by all young formative artists

The Statesman, Calcutta

his music bears testimony to a sound basic training, razor-sharp aesthetic sense,

incessant riyaz and fertile imagination

Times of India, Bombay

To listen to Irshad Khan was to set up on a voyage in a sea of sonorous sound. He held

his listeners spell bound, and there is no doubt that he has earned a niche for himself in

the edifice of Indian Classical music

Times of India, Bombay

a musician extraordinaire…the best contemporary sitar and surbahar exponent, Irshad

Khan is a musical magic by himself

Times of India, Goa, Bangalore

…breathtaking virtuosity.…variety of Taans played with unparalleled speed.…meends as

sweet as honey drops….

Navbharat, Gwalior

He has a sensitive temperament and human touch of fingers

Times of India, Delhi

Irshad in true form

Amrita Bazar Patrica, W.Bengal

Gifted Musician

Telegraph, Calcutta

Irshad Khan is a type of Sitar maestro whom one would like to hear again and again

Times of India, Lucknow

Recent Engagements

CANADA

• Toronto Symphony Orchestra at Roy Thomson Hall.

• National Art Centre Orchestra (NAC).

• Vancouver International Folk Festival.

• Winnipeg Folk Festival.

• Ontario Science Centre.

• Sun Fest.

• Toronto Harbour Front, Molson Place.

• Museum of Civilization, Ottawa.

• National Arts Centre; National Capital Comm. (NCC).

• Kitchener / Waterloo Chamber Music Society.

• Concerts in Vancouver, Calgary Edmonton, Sudbury.

• Concerts at several Universities, including; University Hall of Windsor, University of Ottawa,

McMaster University, Brock University, Carleton University, Wilfred Laurier University. Medical

Science Auditorium at the University of Toronto.

USA

• Concert at Smithsonian Institute, Washington.

• Ford Auditorium & Bhartiya Temple in Detroit.

• Concerts at several Universities, including; University of Texas-Austin, Duke University-North

Carolina, Harvard University, University of Rochester, University of Massachusetts, Wessline

University.

• Concerts at Aims, South Bend, Bloomington, Syracuse, New York Symphony Space, Dallas,

Philadelphia, Houston, Madison, Milwaukee, Wisconsin, Massachusetts, St. Louis, Washington

State, New York, Rochester, Newark, Durham, Connecticut and Oregon.

UNITED KINGDOM

• Womad festival, Redding.

• Plaved twice for "PROMS" Fest (Henry Promenade) whole night concert which was broadcast

live from London through BBC International Service from London.

• Also performed at the following festivals; Wingfield International Fest, Alden borough Festival,

Glastonbury Festival, Bracknell Festival, Canterbury Fest, Spitalfields Fest, Bury Sr. Edmond's

Fest, Brent Festival, Hazelwood International Music Fest, Nottingham Asian Fest, Lichfield Fest,

Bath International Festival.

• Venues Included:

Royal Albert Hall, Queen Elizabeth Hall, Wigmore Hall, Logan Hall, civic centers, cathedrals and

churches, TV Channel 4 "Eastern Eve" London. Concerts with Live audience and recordings for

BBC TV "Network East". "Music of India" Radio 3, BBC World Service. BBC Radio Music

Review, Central TV U.K. Visiting professor for advanced technical course in music at Dartington

College of Arts.

WEST GERMANY

• Concert and seminars in Schloss Elmalu.

• Radio Saarbrucken

• WDR Radio Koln

• EBU Radio Bremen - concert broadcast live for 90 minutes by 36 radio stations throughout

Europe.

• Concert tour of West Germany.

• Concert for celebrated television programme BIO'S BAHNHOE

FRANCE

• Concert at Ron Point, Paris - for Radio Paris.

• Etampe International festival.

• Nouvel Espace Culturel, Mulhouse.

• Ministry of Paris Cultural Affairs.

IRELAND

• Concerts at Cork International Festival and Oriada Fest.

• Lecture and seminars in Cork and Dublin, through Arts Council.

BELGIUM

• Concert in Brussels through Art's Council.

• Performed at Sfinks Fest and Hare Krishna Temple, Antwerpen.

• Live concert for Radio Brussels.

• Concert tour of Belgium.

SICILY

Womad Festival.

• Lecture on Indian music for Catania TV.

ITALY

• Concert tour in Rome, Venice, Bari, Monopoly.

GREECE

• Greece-India Fest at Acropolis in Athens.

• Ancient Arena in Delphi.

HOLLAND

• Regular concert tours of Holland with several concerts in Amsterdam, Including Mozes

Church, Tropical institute and Holland Fest.

• Open air concert for Hare Krishna in Amsterdam.

POLAND

• Appeared in concerts in Warsaw and participated in the Krakow Festival.

CZECHOSLOVAKIA

• Concert and seminar on Indian Music in Prague.

YUGOSLAVIA

• Zagreb Binnale Fest. -Zagreb TV

USSR

• Invited by the government of India for the opening of India Fest at The Kremlin.

• Tour of 25 concerts all over the Soviet Union.

Venues included: Kremlin Palace Hall, Tchaikovsky Hall, Operatta, Moscow conservatoire, etc.

JAPAN

Concerts in Tokyo, Osaka, Kobe.

• NHK TV

Venues included: Santoree Hall (2 concerts). Yakshijiy temple, Nara.

CHINA

• Conducted an official tour of China, as a guest of the Government, performing in all major

cities.

HONG KONG

• City Hall of Hong Kong (3 concerts).

• Hong Kong International Arts Festival.

MALAYSIA

• World Trade Centre at Kuala Lumpur, by invitation of the Prime Minister.

• Live concert for TV

NORWAY

• Tour of Norway.

• International Teachers' Seminar, Melbu.

DENMARK

• Copenhagen Fest.

MIDDLE EAST

• Regular concert tours in Dubai, Abu Dhabi and Sharjah, including a special concert of sitar

recital organized by Sharjah Cricket Association during the Sharjah Cricket Tournament.

• Concert at Sharjah Cricket stadium.

• Performances in Saudi Arabia.

BANGLADESH

• Concerts in Dhaka, Chittagong, Silhet, Gauripur.

• Major live aid concerts given for the Bangladesh flood relief in Dhaka & London. Venues

included: Shilpukala Academy, Bishya Sahirya, Bangla Academy, Dhaka Museum, Sonargaon

Ballroom, etc.

PAKISTAN

• First Indian sitar player to play for the Pakistan Television at an hour-long live concert at

Lahore

• Concerts at Karachi Sheraton, National College of Arts, Lahore.

CALCUTTA

• Doverlane Music Conference, ITC Sangeet Sammelan, Park Circus Music Conference,

Sadarang, West Bengal Music Conference.

NEW DELHI

• Vishnu Digambar, ITC Sammelan, Varsha Utsav, Sangeet Natak Academy, Trade Fair.

BOMBAY

• NCPA, Sajan Milap, IMG Xaviers, Bhartiya Vidya Bhavan, Bhatkhande Sangeet Sammelan,

Hare Krishna Temple, Vile-Parle Music Circle, Sangeet Mahabharti, Dadar-Matunga Cultural

Centre, Nehru Centre, Suburban Music Conference. Venues included:

• Pune-Sawai Gandharva Music Fest.

• Trivandrum-Nisha Gandhi Fest.

• Gwalior-Tansen Samaroh

• Udaipur-Maharana Kumbh Concert at Udaipur Palace Hotel.

• Varanasi-Sangeet Parishad

• Spicmcay Representation - Bhopal, Nagpur, Delhi, Meerut, Calcutta, Chandigarh, etc.

• Patna, Langar Toll,

Composer

Being a published composer from age 16, for his second LP record for HMV in 1980 in India...

enabled him to develop his unique compositional style... Rejuvenating and evolving the

traditional Indian music. His passion for composing now crosses many different genres. In

collaborations, the great variety of different venues and applications in which he composed,

demonstrates his ability and adaptability. He has worked in Films, TV shows, TV commercials,

and with a variety of musicians, writers, and arrangers in several countries. He has many

original commercial recordings sold worldwide.

Some of the diverse works include:

1. Premiered Live concert at Harbour Front Centre at the Molson Place Amphitheatre, Toronto

with Jane Bunnett on Saxophone and John Gwoski on Guitar. Titles composed and performed

Harbour Front Gravity, Earthdance, and From Calcutta to Toronto.

2. Raga Mishra Blues. Premiered at the Du Maurier Theatre for Toronto Blues Society in

performance with Madagascar Slim

3. Composed a 10 min piece for Toronto Symphony orchestra. Premiered at the Toronto

Symphony Orchestra in October/November 1994 with repeat performance for Family of Nations

at the National Arts Centre Orchestra in November 1995 conducted by Boris Brott.

4. Commissioned by Music Canada 2000 for Millennium project which was premiered at the

Harbour Front center for Canada Day July 2000. Pieces were Calcutta to Toronto, Sahara.

5. Composed and performed his latest work at the ROM (Royal Ontario Museum), a new mystic

composition “Call of the Dervish”. 2008

6. Al-Yamani –a seven minute piece composed and performed with the Mississauga Symphony

Orchestra in February 2010.

Films

Meaning &Melody documentary film made on Irshad Khan by Doordarshan, TV India.

Satgati - Satyajit Ray's film.

Composed music for Fish in The Sky BBC,documentary

Jhar - Bengali film made by Utpal Dutt.

Composed music & songs for Children's Film Society of India.

Composed and performed background music for Hindi Film, Mard, directed by Manmohan

Desai

Tim Horton‟s T.V. Commercial Canada

Ontario Tourism Commercial 2010

Mentor

Irshad Khan has conducted several combined lectures & concerts, at several Universities and

Festivals

CANADA

Composed and performed a sitar concerto for young audience with the Toronto Symphony

Orchestra and with the National Arts Center for United Nations. Workshops at Vancouver and

Winnipeg folk festivals.Lecture-Demonstration at Brock University. In school workshops in

Mississauga.

Presently, students from many parts of Canada and the U.S.A. are taking specialized training in

Toronto, from Irshad Khan, through the Universal Academy for Musicians.

USA

University of Texas, Austin; University of Madison, Wisconsin; Duke University, North Carolina.

Workshops for the young audience of Reedsport, Winchester Bay Chamber of Commerce,

Oregon. Appointed to teach introductory course of North Indian music at the Alfred University,

Harvard University, University of Rochester, University of Massachusetts, Wesleyan . Browns

Univ. RIT Rochester NY, Alfred Univ. NY, King Fischers college NY, Univ. of Illinois, Yale Univ.

Connecticut, Univ. of Iowa Amherst College MA, Albany State Univ

UNITED KINGDOM

Visiting professor for advanced technical course in music at Dartington College of Arts.Led

educational projects of Indian music for "Center for young musicians", London U.K.

WEST GERMANY

Invited as professor at the Music Hochschule, University of Berlin.

Lecture and seminars in Cork and Dublin, through Arts Council

Instruments

SITAR

Sitar is the most popular string instrument of the lute family invented in India by the great

poet/philosopher/musician Ameer Khusroo in the 13th Century. Irshad Khan‟s ancestors are

largely responsible for the evolution and perfection of the sitar into its present form through

numerous modifications.

It has a deep, pear-shaped body, and a fingerboard of about 3-feet long and 3-inches wide. It is

fashioned from a seasoned gourd made out of pumpkin with ground wood and teakwood. It has

a track of 20 metal frets with six or seven main playing strings.

The instrument is tuned to the Raga (melodic tune) being played, and the main strings are

plucked by a wire plectrum worn on the index finger of the right hand.

SURBAHAR

Irshad Khan is internationally recognized as one of the greatest and leading Surbahar exponent

of his generation. Irshad Khan‟s ancestors are greatly responsible for the Surbahar in its

present form. The Surbahar is a bass version of the Sitar and is also known as the larger cousin

of the Sitar. Successor of the Katchwa Veena which was invented by Irshad Khan‟s great –

great grandfather Ustad Sahebdad Khan further developed, standardized and perfected by

Irshad Khan‟s great grand father Ustad Imdad Khan, through whose name remains the most

prominent Gharana (School) of Sitar and Surbahar as the “Imdad Khani Etawa Gharana”.

Continuing on the footsteps of his legendary forefathers, Irshad Khan has mastered this regal

and majestic instrument and has further maintained and enhanced the real surbahar-ang

(technique) to its most advanced heights. Usually the Aalap, Jorh, Jhala of North Indian

Classical music is performed on the surbahar. Irshad Khan also performs along with the

Pakhawaj (heavy Bass percussion), which is used for accompanying him on his Dhrupad style

compositions.

The deep tones resonating sound of this large instrument has more depth and resonance than

the sitar and a wide range of over four octaves. Its unparallel sound quality, its richness of

overtones and its majesty of utterance can be regarded as “the most magnificent of all Indian

plucked instruments”. The most unique feature of the Surbahar is its capacity to pull one full

Saptak (7 notes to1octave) from a single note. Surbahar has always been played by only a few

handful of musicians as it is more complicated and technically difficult than its relative sitar. The

thick strings require sheer physical strength to master and to play it seriously, one must go

through a sound basic training of the real “Baaj” (musical and technical style) of this instrument.

The music produced by the Surbahar is however, the glorious blend of deep echoes, vibrations

and resonances. The Surbahar-ang (style) of playing is based on Dhrupad, the oldest, purest

and the most rigid form of singing which is produced with the long, slurring meends created by

pulling of the strings along the frets to give a range of several notes from one note. Normally the

Raags (melodic themes) chosen to play on this instrument are mainly of the Bhakti rasa, Veer

Rasa or Karuna rasa forms such a meditative, spiritual, heroic or devotional moods.

It has a deep pear shaped body and a fingerboard of about 4 feet long and 5 inches wide. It is

fashioned from a seasoned gourd made out of a big pumpkin along with ground wood,

tundwood or teakwood. It has a track of 20 thick metal frets and 7 playing strings on the top and

12 sympathetic resonating strings beneath the frets. Irshad Khan has added an extra string on

the upper top portion of the Surbahar which adds more resonance and depth to the deep-toned

sound. The instrument is tuned to the raga being played; the main strings are plucked by a

„mizrab‟ wire plectrum worn on the index finger of the right hand.

The Accompanying Instruments

TABLA (DRUM)

The Tabla, is a vital part of Indian Music. It comprises two drums with separate heads, each

covered with skin fastened to leather loops stretched over the body of the drum by leather

braces. A variety of tonal effects can be produced by varying the manner of striking and the

area of the drum head struck by hands. A master player can bring out a variety of subtle and

graceful rhythmic patterns.

TANPOORA (DRONE)

The Tanpoora has a large body; four strings are attached directly to the narrow ledge fixed to

the body. The strings are gently but continuously plucked with the fingers, one after the other, in

the same order. The tanpoora is used for drone accompaniment, with its harmonic and resonant

drone, it forms the tonic reference for the performer.

Discography

Awakenings

Style: World beat/NewAge Label: UAM Country: Canada 1. Gypsy in Red 9:38 2. Power of Grace 11.30 3. Joy of Life 8:57 4. For you my Love 8:57 5. Mystic journey (Rag Bhairvi) 9:53

DESIRES Talking Hearts

Style: New Age Classical Pop Label: EMI/Virgin Country: India 1. Tere In Nigahon Ne Ghayal Kiya (Fleeting Glimpses) 7:26 2. Barsan Lagi (Raining roses) 8:44 3. Nainon Mein Tere Kajra (Moments) 10:49 4. Tere Ghungroo Mora Sitar (Power Of Passion) 7:58 5. Saiyan Pardes Na Jaiyon (parting Tales) 5:11

Fire Grace Passion

Style: Classical Label: New Dawn Productions Country: USA 1.Raag Malkauns (Fire) Alap, Gat , Teental 13:09 2. Raag Malkauns Drut Teental 17:06 3.Raag Nand (Grace) Alap in Japtaal 14:33 4. Raag Nand Drut Teental 10:09 5. Sindhi Bhairvee (Passion) Dadra 10:30

Magic Of Twilight

Style: Classical Label: NaxosWorld Country: Germany/HongKong 1 Twilight Raga (Purya Dhanashri) 43:49 2 Evening Raga (Bhopali) 22:25

Romancing the Sitar

Style: Light Classical-folk Label: UAM Country: Canada 1. Tere Ghungroo pe Mora Sitar 15:24 2. Nadiya Kinare Mora Gaon 16:54 3. Chaap Tilak Man Cheen (Lyrics by Amir Khusro)9:21

Vaibhav Sitar and Surbahar

Style: Classical Label: Legendary Legacy Country: India 1.Rag Jog on Surbahar 32:34 2.Rag Desh on Sitar 22:30

Live in Amsterdam

Style: Classical Label: M A Recordings Country: Holland Surbahar duet with Ustad Imrat Khan

Infatuation Sitar Surbahar

Style: Classical Label: GoldenTunes Country: Canada 1. Alaiya Bilawal on Sitar Gat and Jhala 27:14 2. Bageshri on Surbahar Alap Jorh Jhala

Irshad Khan Sitar & Surbahar

Style: Classical Label: RhythmHouse Country: India 1. Raag Kaunsi Kanada on Surbahar., Alaap, Jorh, Jhala 2. Raag Shankara on Sitar., Vilampit Drut , Jhala

Imdad Khan to Irshad Khan

Style: Classical/folk Label: T-Series Country: India 1. Raag Puriya 26:24 2. Raaga Hameer 25:46 3. Rachna Bhatiyali 14:04

Transcendence

Style: Classical/folk Label: HMV-RPG/SaReGaMa Country: India 1.Raag Marwa 2. Raag Tilak Kamod 3. Raag Piloo dhun

Rich Heritage Malhar

Style: Classical Label: India Country: Legendary Legacy 1.Gat in Madhyalaya & Drut Ektal 21:09 2. Rag Mian Malhar-Alap in Vilambit Teental 33:14 3. Rag Bhairavi-Farsi Dhun 12:53

Compilation “Malkauns”

Imrat Khan and Sons

Style: Classical Label: HMV-RPG Country: India Ustad Amir Khan (Vocal). Ustad Bismillah Khan (Shenai). Ustad Imrat Khan & Irshad Khan (Surbahar duet). Pandit Omkarnath Thakur (Vocal)

Style: Classical Label: Edelweiss Country: Italy 1. Raag Jog Kauns 38:40 2. Raag Durga 33:17 Imrat Khan- Surbahar, Nishat Khan & Irshad Khan - Sitar

Surbahar and Sitar

Style: Classical Label: Nimbus Country: U.K. 1. Raag Bhimpalasi 41:59 2. Raag Tilak Kamod 36: 28 Nishat Khan Sitar Irshad Khan Surbahar

Bilawal

Style: Classical Label: Melodia Country: Russia 1. Vilampit, Drut and Jhala

Basant Bahar

Style: Semi-classical/Folk Label: UAM Country: Canada/India 1.Semi Classica Raag Pahadi 13:18 2. Classical Raag Shudh Bahar 24.20

Jansamohini Surbahar

Style: Classical Label: India Archive Music Country: USA Raaga Jansanmohini Alap 34:04 Jhor & Jhala 33:43

Brilliance of Irshad Khan Sitar Surbahar Style: Classical Label: EMI Country: India 1 Raag Bairagi Bhairon Surbahar. Alaap, Jorh, Jhala 0.07 2. Maru-Behag Sitar. Vilampit, Ektaal, Teentaal, Jhala

Jhinjhoti on Surbahar Style: Classical Label: Still Country: France Alaap, Jorh and Jhala

Great Heritage Great Tradition Style: Classical Label: HMV Country: U.K. 1. Raag Malkauns on Surbahar 2. Raag Jaijawanti Surbahar duet with Ustad Imrat Khan