The sarod, the deeper, silkier-sounding cousin to the sitar, is heard most often in Northern Indian (Hindustani) classical music. According to the disc sleeve, Qizilbash has been the sole practicing sarod player in Pakistan since 1992. Whether this is literally true or not, the fact that he is attempting to keep alive this strain of music in a potentially (even fatally) inhospitable political environment like Peshawar, situated as it is in one of the most conflicted areas of a severely conflicted country, speaks volumes. As impossible as it may be to divorce this concert recording from its context, as Westerners without a deep understanding of what�s occurring in the area, we can only acknowledge the fact and listen to the music. And what glorious music.

Qizilbash, accompanied by Mustafa Khan on tabla, performs three pieces, �Raga Darbari�, �Raga Bihag� and �Raga Piloo�. The first is one of the most popular ragas in the North Indian repertoire and it�s immediately clear why. The dramatic structure, from the ethereal and gorgeous first several minutes of solo sarod to the introduction of the tabla and the heightening of the pace to the inspired and extraordinarily rich playing by Qizilbash in the main body of the piece make a breathtaking and moving performance. Khan, incidentally, seems to tend toward more �regular� (in a Western sense) rhythms than one often hears in this area of music, utilizing heavy, low tones that both create something of a groove and may well serve as a grounding element, making the music slightly more accessible to non-Indian ears. The second raga proceeds at a more relaxed pace, Qizilbash expounding expansively, with gentle flourishes implying a lazy good humor combined with a streak of melancholy. The final piece sports an achingly lovely and longing theme, evoking a hopeful journey, again beautifully played and elaborated upon. If I have a quibble with the disc it�s that each track is subjected to a fadeout, possibly to omit audience applause, though one isn�t sure at all exactly how much of the performance is not therefore represented. A minor qualm, though. This is a superb recording, highly recommended to fans of music from the region as well as those simply looking to dip their toes into the myriad beauties of Northern Indian and Pakistani ragas.