SHIVANGI AMBANI-GANDHI realises a life-long dream of talking with Ustad Zakir Hussain, and discovers, that the tabla maestro is a really cool guyIt all started when I was a teenager watching the Simi Garewal show, and the Ustad was in conversation. With no tabla at hand, upon a sudden request from Garewal, Zakirji picked up the glass bowl on a table next to him, emptied out the sweets, turned it over and played, it seemed to me at the time, a serenade meant for me alone. I had, as have millions others around the world, fallen under his spell.
I have been eternally mesmerized by the magical dexterity of his fingers, his heart-warming smile and the swish of his signature curls—and he really is very, very cool. He epitomises cool, actually. With a really innocent boyish charm, a great sense of humour, an innate ability to create drama on stage and a knack at demystifying Indian classical music makes him ever so popular.
He respects the traditions of Indian classical music, and at the same time appeals to the younger, globalised generation by tapping into the richness of musical possibilities from around the world. Although now over 50 years of age, he really is, to me, a representation of the youth of India—confident in their own culture and history, and yet constantly opening doors to the world outside.
On a recent tour, titled Masters of Percussion, to Perth and at the Sydney Opera House, the Ustad opened the doors for Australian audiences into the myriad musical traditions across the length and breadth of India.
“Masters of Percussion is a bird’s eye view of India—we will hold the hands of the audience and take them on a journey into India,” said the Ustad. He has managed to bring together maestros from among the 80 percussive traditions across the length and breadth of India.
The idea came from the legendary Ustad Alla Rakha—Zakirji’s late father and guru—when he suggested that they showcase the rarely heard percussion artists in India. Though often perceived as very separate traditions—Hindustani and Carnatic, western folk and music from the North-Eastern corners—Zakirji saw the opportunity for a cross-cultural dialogue.
“There is no challenge when musicians of similar thinking come together and cooperate. Many musicians across the world have brought different musical traditions together and it has also been successfully accomplished in Bollywood—they use Middle Eastern rhythms, African, and all sorts of music, with great popularity!”
The Ustad’s global conversations
Zakirji has been initiating and participating in such musical conversations for years. In fact he was at the very helm of the birth of what we now popularly know as world/fusion/new age music. In 1975 Zakirji, the renowned Jazz guitarist, John McLaughlin, the incredible, T.H. “Vikku” Vinayakaram on Ghatam, and violinist L. Shankar, formed the phenomenal group, Shakti.
“At the time, the record company did not know where in the store to place the album—it just did not fit under any existing labels. Shakti was a milestone band which showed that it is possible to interact a global level,” says Zakirji. “The seven notes exist all over the world—that is the common ground. The language of
music creates interactions.” Shakti was also special because of its impromptu jamming—“We created an incredible collage on the stage, right in front of the audience, unlike Ravi Shankar who used to write out the music for Yahoudi to perform,” says Zakirji. Shakti is still going strong—albeit with new members—and will be touring again in 2010.
His early introduction into the music of the world was prompted by his father, who brought back LPs—rock, jazz, Indonesian, African—from his tours for the young Zakir. Yet, Ustad Alla Rakha did not take to Shakti very well initially. “My father was worried about my journeys into fusion.”
Ustad Alla Rakha was concerned that his young son would soon drift away from his own traditions, said Zakirji. “I promised him that my connections with Indian classical music would never be severed,” he says. “I spend four months every year in India. Most of my performances are still traditional—and tradition is an integral part in whatever I do. Even when I play other forms, I create a moment, an oasis of traditional Indian music.”
He has also experimented with Australian didgeridoo players, performing with them for his compositions for a Hollywood film. During his first visit down under with Ali Akbar Khan in 1973 Zakirji recollects, the Sydney Opera House did not even exist. “We performed in Sydney at the Town Hall,” he says.
“I took a train from Perth to Canberra and hopped off at various places. I wanted to see the villages and the country side. I connected with the aborigines. I even met some didgeridoo players and learned how to play one.”
Tabla’s journey from accompanist to soloist
The tabla was traditionally considered an accompanying instrument, in the hierarchy of Indian classical music. “Vinyl records would often not even carry the name of the Tabla player,” recollects Zakirji. “Tabla maestros like my father, Shanta Prasad and Kishan Maharaj, paved the way for tabla players like me. People started to take note of Tabla players. We are only reaping the rewards of their work”
Even in the journey that the Ustad has taken on with the Tabla, he likes to share credit with his contemporaries. “I don’t like this Ravi Shankar Syndrome—there was a time when the Sitar alone was connected to Indian classical music, when there were many other great musicians,” says Zakirji. “Similary, today there are 15-20 fabulous players in the world of tabla. You just need to take the time to listen and appreciate.”
Jumping onto the Information Highway
His early introduction into the music of the world was prompted by his father, who brought back LPs—rock, jazz, Indonesian, African—from his tours for the young Zakir. Yet, Ustad Alla Rakha did not take to Shakti very well initially. “My father was worried about my journeys into fusion.”
Ustad Alla Rakha was concerned that his young son would soon drift away from his own traditions, said Zakirji. “I promised him that my connections with Indian classical music would never be severed,” he says. “I spend four months every year in India. Most of my performances are still traditional—and tradition is an integral part in whatever I do. Even when I play other forms, I create a moment, an oasis of traditional Indian music.”
He has also experimented with Australian didgeridoo players, performing with them for his compositions for a Hollywood film. During his first visit down under with Ali Akbar Khan in 1973 Zakirji recollects, the Sydney Opera House did not even exist. “We performed in Sydney at the Town Hall,” he says.
“I took a train from Perth to Canberra and hopped off at various places. I wanted to see the villages and the country side. I connected with the aborigines. I even met some didgeridoo players and learned how to play one.”
Tabla’s journey from accompanist to soloist
The tabla was traditionally considered an accompanying instrument, in the hierarchy of Indian classical music. “Vinyl records would often not even carry the name of the Tabla player,” recollects Zakirji. “Tabla maestros like my father, Shanta Prasad and Kishan Maharaj, paved the way for tabla players like me. People started to take note of Tabla players. We are only reaping the rewards of their work”
Even in the journey that the Ustad has taken on with the Tabla, he likes to share credit with his contemporaries. “I don’t like this Ravi Shankar Syndrome—there was a time when the Sitar alone was connected to Indian classical music, when there were many other great musicians,” says Zakirji. “Similary, today there are 15-20 fabulous players in the world of tabla. You just need to take the time to listen and appreciate.”
Jumping onto the Information Highway
The Ustad embraces the internet and its many possibilities, just the way he does global musical traditions. Youtube he says is a great place for young students to watch and hear hitherto rarely accessible performances by maestros. He even maintains a page on Facebook, regularly updating his information and allowing personal interaction with fans.
However, he says, this is nothing extraordinary about this—in fact it is in keeping with the tradition. “Indian music is like that. A reaction is expected, unlike western classical music. We are always looking for an encounter with the audience.” And Zakirji’s audience always gets an encounter they will never forget.
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