Kanai Lal Sur-Bahar 1960's.
This is a full size instrument. The neck and sound board are made from extremely fine old teak wood. It's very heavy weight and size make it a bit difficult to hold and play. Newer Sur-Bahars are generally made a bit smaller to allow easier playing. The sound produced from this instrument, however makes a little discomfort well worth the effort.
Kanai Lal Sur-Bahar 1960's. Neck Detail.
Featured here, besides the magnificent carving, is the back of the neck. It has a very very flat shape to it. I've not seen another quite like it. Fret access while playing is not affected and is very comfortable.
Kanai Lal Sur-Bahar 1960's. Tumba Carving.
How about that ! ? ! Deep, clear and luscious! Note also the vintage five lobe design in comparison to the contemporary six lobe version.
Kanai Lal Sur-Bahar 1960's. Tumba Side View.
There is no mistaking this side view as that of a Sur-Bahar. The gourd is cut horizontally producing a very shallow profile.
Kanai Lal Sur-Bahar 1960's. Tabli Back Profile.
This view shows the taraf strings feeding into the sound hole just forward of the main bridge. Just inside the sound board are two posts for all the taraf strings to connect to. The main strings all connect to the deer horn tail piece on the very back.
Kanai Lal Sur-Bahar Tabli Profile.
WOW ! ! !
Kanai Lal Sur-Bahar 1960's. Head Stock.
The stem for the pegs has been cut narrow and well rounded at the string bracket. This allows a shallower main string angle from the string bracket to it's peg shaft. Good design!
Kanai Lal Sur-Bahar 1960's. Head Stock Profile.
The very end of this head stock has an opened end. This is the only example of this feature I've seen. I suspect it was carved this way in an attempt to reduce the weight here.
Kanai Lal Sur-Bahar 1960's. Head Stock Side Profile.
Great design !
Kanai Lal Sur-Bahar 1960's. Head Stock Back Profile.
Seen here are the rail type frets. Instead of a round rod bent to shape for frets, this Sur-Bahar has a flat vertical beam with tabs on each end to set on the neck. I think weight reduction may have been a factor in this fret choice. These frets are very stable and with the reduced weight, they may also affect the sound. Note also the peculiar string / peg layout. The last taraf string is by itself and is very long. I think it would be best suited as an additional drone string voiced like a tanpura.
Kanai Lal Sur-Bahar 1960's. Badge.
I love this badge ! It's hand etched and simply gorgeous! The "Upper Chitpur Road" address confirms its vintage. Newer instruments with the "Howrah" address are entirely different and must not be taken as the same class as these originals.
Kanai Lal Sur-Bahar 1960's. Tabli.
Magnificent ! Here is an extremely fine piece of old teak wood with excellent grain and well centered. A rather unique feature in the design is the etched trim. Nearly all instruments have the white border trim go all the way around the sound board. This example tapers off barely a third of the way up from the tail piece. Wonderful inspiration! It shows off the wood better as well. As with most Sur-Bahar designs, a channel has been carved in to allow clearance for the taraf string bridge. To the right is an extension brace to help support the instrument in a suitable playing position.
Kanai Lal Sur-Bahar 1960's. Tabli Carving.
The design, depth and clarity of carving from Kanai Lal during this time period is unsurpassed. Another signature element of their work is the carved detail lines set in after the varnish has been applied. This brings out the line work as bare wood and is very effective.
Kanai Lal Sur-Bahar 1960's. Support Detail.
It is delightful how Kanai Lal's shop could take a utility piece such as this support brace and turn it into a beautiful ornament. This beautiful bird nestled in a leafy branch helps distinguish the instrument as a supreme piece of workmanship.