Kushal Das is a master of the surbahar, a kind of bass sitar, with long sustain, ideally suited to this profound and elevated, tricky and subtle, darkest-night raga, recorded in concert at the Radio France Auditorium in Paris.

The eighteenth-century poetry of Shah Abdul Latif Bhittai as celebrated nightly by waee faqirs, whose penetrating lutes and high whirling voices bridge musical and mystical experience.

Nusrat Fateh Ali Khan.

‘Barely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. Tracked in Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, Disco Jazz is a perfect fusion of East and West; sarod and synthesizer intricately weaving around one another for thirty-seven transcendent minutes, culminating in the viral hit Aaj Shanibar.’

Ritual music from Tamil country performed by nagasvaram oboes, tavil drums, talam castanets, and droning harmonium, or sruti petti (without a keyboard, powered by bellows).

Deeply moving violin-playing, unfolding and illuminating the emotional twists and turns of a single, hour-long raga.

Based on the raga and pan, these short hymns to Shiva, performed by the oduvar cantors, are sung at daily rituals and for calendar feasts in temples of Tamil Nadu.

Ragas with intensely controlled and expressive singing from South India, in the uncommon, neglected Carnatic tradition.

The last living master of surti singing, a precursor of the ancient Islamic devotional music of qawwali. Wonderful.

Andaleeb Wasif was a self-taught singer and harmonium player, born in Hyderabad, India, in 1928.
Here are six ravishing ghazals, setting some of the greatest Urdu poetry of the twentieth century, about love and longing.
Enigmatic, filled with pathos, timeless.

Precious witness to the dying musical traditions of Ladakh, high in the Western Himalayas, for centuries a hub of the Silk Road to India, Tibet, and Kashmir.