Bhai Baldeep Singh is credited with reviving the term "Jori" for a traditional musical instrument, which had almost disappeared and was commonly referred to as "aattey wala tabla." He recovered this term from his studies with two main masters and introduced hyphenated versions like Jori-pakhāwaj and Jori-Mridañg in the early 90s to distinguish it from the tabla. References, including those from Baba Sham Singh, validate the accuracy and significance of Bhai Baldeep Singh's fieldwork. The dimensions, wheat dough application, and playing techniques he learned from Ustad Bhāī Arjan Singh Tarangar have left a lasting impact on those associated with the instrument. Today, Bhai Baldeep Singh's revived Jori is widely copied and played by enthusiasts, amateurs, and professionals worldwide.


Jori, Jori Pakhawaj or Jori Mridang

In the journey of a Kirtaniya, musical excellence is not the sole focus. It's essential to work on spiritual growth in parallel. Many old ragis maintained a strict nitnem (daily Sikh prayers) regimen alongside their musical practice and Kirtan duties.

For instance, Bhai Sahib Jwala Singh emphasized that the jatha members should perform Panj Baniyan Nitnem before singing Asa Di Vaar to make it true Kirtan. Bhai Hira Singh and Bhai Bhaag Singh made it a practice for their jatha to recite Sukhmani Sahib before Asa Di Vaar Kirtan. Bhai Kalu, as recounted by Bhai Baldeep Singh, woke up early for ishnaan, recited Sukhmani Sahib, and walked to Kesgarh Sahib to sing Asa Di Vaar.

Sant Sujan Singh Ji's recordings continue to draw many due to the years of Sadh Sangat and blessings from Baba Nand Singh Ji. As learners of Gurbani Sangeet, we should take inspiration from these puratan ragis and focus on spiritual growth alongside musical learning. Ultimately, it is Guru's Kirpa (blessings) that enables such achievements.


Kirtan Bandagi

Kirtan often serves as a duty or a source of solace for the mind and soul. However, there's a higher level of Kirtan, where it's performed solely for Guru, completely detached from the world. This principle, taught by Baba Nand Singh Ji, emphasizes that Kirtan should be dedicated to Guru, with Guru being the sole audience. Baba Nand Singh Ji, along with Baba Jawand Singh, practiced this by combining extensive Jap Tap Sewa with Kirtan to attain Guru Nanak Dev Ji's Darshan.

Baba Ji likened Kirtan to the "Khurak" or food of Guru Nanak, encouraging Kirtaniya to perform in a way that directly serves Guru Nanak and not for anyone else or worldly values. This prompts the question for Kirtaniya: Who is the audience you are singing for? This principle was also conveyed to Sant Sujan Singh Ji before his departure to Delhi.


Kirtan Appetite

The text introduces the Gurbani Sangeet Parampara and discusses the potential for misleading classifications in contemporary times. It also recommends three documentaries for newcomers and current students of Gurbani Sangeet, covering essential topics such as Sikh Kīrtana Maryādā, musical instruments in Gurbāṇī Saṅgīta, and more.


Intro to Gurbani Sangeet

In recent years, Gurmat Sangeet has replaced the term Gurbani Sangeet to describe a musical tradition linked to Guru's wisdom. Gurbani does not provide musical notation and detailed rāgas but mentions their names. Bhai Baldeep Singh underscores the importance of oral traditions in preserving this art. However, recent changes like raag standardization and rebranding as Gurmat Sangeet are seen as disingenuous.


Gurmat or Gurbani Sangeet ?

In an effort to gather data from reliable sources and share historical compositions, KirtanAnmolRatan.com and @kirtananmolratan on Instagram host discussions on Gurbani Sangeet subjects.


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