Zakir Hussain (born March 9, 1951), son of tabla maestro Ustad Allarakha, is the most famous classical tabla player in India today. He is appreciated both in the field of percussion and in the music world at large as an international phenomenon. Zakir has won many awards and recognitions for his contribution to the world of music. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure in his own country, but gained him worldwide fame 

Zakir Hussain is today appreciated both in the field of percussion and in the music world at large as an international phenomenon. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure in his own country, India, but gained him worldwide fame. The favorite accompanist for many of India's greatest classical musicians and dancers, from Ali Akbar Khan and Ravi Shankar to Birju Maharaj and Shivkumar Sharma, he has not let his genius rest there. His playing is marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowledge and study.

Zakir Hussain & The Rhythm Experience

Widely considered a chief architect of the contemporary world music movement, Zakir's contribution to world music has been unique, with many historic collaborations including Shakti, which he founded with John McLaughlin and L. Shankar, the Diga Rhythm Band, Making Music, Planet Drum with Mickey Hart, and recordings and performances with artists as diverse as George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Sanders, Billy Cobham, the Hong Kong Symphony and the New Orleans Symphony.

A child prodigy, Zakir was touring by the age of twelve, the gifted son of his great father, tabla legend Ustad Alla Rakha. Zakir came to the United States in 1970, embarking on an international career which includes no fewer than 150 concert dates a year. He has composed and recorded many albums and soundtracks, and has received widespread recognition as a composer for his many ensembles and historic collaborations. Most recently, he has composed soundtracks for the films In Custody, Ismail Merchant's directorial debut, Little Buddha by Bernardo Bertolucci, for which Zakir composed, performed and acted as Indian music advisor and Vanaprastham, chosen to be screened at the Cannes Film Festival in May, 1999.

Zakir received the distinct honor of co-composing the opening music for the Summer Olympics in Atlanta, 1996, and was commissioned to compose music for San Francisco's premiere contemporary ballet company, Lines, and to compose an original work for the San Francisco Jazz Festival, both in 1998. He has received numerous grants and awards, including participation in the Meet the Composer programs funded by the Pew Memorial Trust.

In 1987, his first solo release, "Making Music," was acclaimed as "one of the most inspired East-West fusion albums ever recorded." In 1988, he became the youngest percussionist to ever be awarded the title of "Padma Shri" by the Indian government, a title given to civilians of merit. In 1990, he was awarded the Indo-American Award in recognition for his outstanding cultural contribution to relations between the United States and India. In April, 1991, he was presented with the Sangeet Natak Akademi Award by the President of India, making him one of the youngest musicians to receive this recognition from India's governing cultural institute. Zakir is the recipient of the 1999 National Heritage Fellowship, the United States' most prestigious honor for a master in the traditional arts.

In 1992, Planet Drum, an album co-created and produced by Zakir and Mickey Hart, was awarded a Grammy for Best World Music Album, the Downbeat Critics Poll for Best World Beat Album and the NARM Indie Best Seller Award for World Music Recording. Planet Drum, with Zakir as music director, toured nationally in 1996 and 1997. Zakir continues also to tour with the musicians from Shakti — John McLaughlin, Shankar and T.H. Vinayakram — in different collaborations and ensembles as well as lead various percussion ensembles of his own design. In Summer'99, Shakti re-grouped for an international tour.

In 1992, Zakir founded Moment! Records which features original collaborations in the field of contemporary world music, as well as live concert performances by great masters of the classical music of India. The label presents Zakir's own world percussion ensemble, The Rhythm Experience, both North and South Indian classical recordings, Best of Shakti, and a Masters of Percussion series.

The exponent who got tabla to the centre stage was born on 9 March 1951. Trained by his father, Ustad Alah Rakha, who traces his lineage to the Punjab Gharana, Zakir Hussain accompanied Pandit Ravi Shankar at a very young age.

Zakir Hussain has performed throughout the world as a solosit. He has completed courses in Chinese, African and Indonesian music at the University of Washington in Seattle and since has been active in fusion of music from several countries, particularlydrums and percussion.

Zakir Hussain has performed at a variety of concerts, embracing both Eastern and Western classical music together with jazz,rock and fusion. He has composed music for films like Apocalypse Now, Heat and Dust, Vietnam and A Television History. He has 145 albums to his credit and is teaching tabla at Washington, California, Long Beach, Los Angeles, Port and other Universities. He has been honoured with a Padma Shree in 1988.

Zakir Hussain has performed throughout the world as a solosit. He has completed courses in Chinese, African and Indonesian music at the University of Washington in Seattle and since has been active in fusion of music from several countries, particularly drums and percussion.

Zakir Hussain has performed at a variety of concerts, embracing both Eastern and Western classical music together with jazz, rock and fusion. He has composed music for films like Apocalypse Now, Heat and Dust, Vietnam and A Television History. He has 145 albums to his credit and is teaching tabla at Washington, California, Long Beach, Los Angeles, Port and other Universities. He has been honoured with a Padma Shree in 1988

A Chat Transcript From Rediff

'The ring from Lata was like a blessing from Saraswati'

Bombay, January 11, 2001, 1 pm: Zakir Hussain got a bit delayed, having some difficulty in locating the rediff.com office at Mahim. But once on, his replies were music to the viewers!

Mr Zakir Hussain : Hello Friends! I am here.

Tabala : When is your new album is expected to release?
Mr Zakir Hussain : The new album is that of Shakti, which has already been released in Europe and America, and will hopefully make its debut in Indiain the summer. Look out for it.

Mr Zakir Hussain : Everyone: This is my first Chat show and I am very nervous. So bear with me, I might be a little slow in reacting to your questions. A very Happy New Year to everybody, and Welcome!

Tabala : Sir, how did you celebrate your new year?
Mr Zakir Hussain : I stayed home with my mother and brothers and their wives and kids -- meaning my nieces and nephews -- sort of a quiet evening. But I had a great time watching Asha Bhosle on TV.

friendrtna : Namaskar Ustadji from Ratnakar Limbkar
Mr Zakir Hussain : Namaste Sanjay and Ratnakar. Nice to talk to you.

bal : WHO IS U FAVOURITE MUSICAN ALL OVER THE WORLD I KNOW IT SHOULD BE INDIAN BUT TELL ME SOMTHING DIFFERENT
Mr Zakir Hussain : I really like the singing of Aretha Franklin, the queen of soul!

sunilp : HOW DO YOU PREPARE FOR JUGALBANDI/ SATH , HOW IS IT DIFFERENT FROM PLAYING SOLO
Mr Zakir Hussain : I usually do field work before I sit down to play with somebody; in other wordsI go listen to them play in a concert, listen to their music, tapes, whatever, sothat when I sit down with them, I have a vague idea what their temperament is about and what kind of musical patternsthey enjoy playing. Solo, I am the captain of the ship, and I decide what I will play and dictate the pace of the show.

Ron : Do you think people like percussionist shivamani are on the right track by playing for hindi films? Would you compose music for a hindi film?
Mr Zakir Hussain : Yes. I think that Shivamani is doing great work for Indian films. I learnt a lot about the tonal expression that I needed to put into my tabla by playing for film music. I think that by playing in films, one can learn a lot about saying alot in very little time. And as simply as possible.

bal : hi ther i want to ASK YOU SIMPLE QUESTION WHAT DO U FEEL ABOUT WESTERN ROCK BANDS LIKE METALICA BRYAN ADAMS WHO USE TO SEAT WITH BIG ORCHESTRA R THEY REALY GEART AND COMPARING TO OUY MUSIC
Mr Zakir Hussain : I am a fan of Bryan Adams and also of Metallica. These are different types of music, and in their own genres, theyare great! There is no question of Indian music being better than anyone else's.It is just different and equally great.

aakashk : zakir sahaab, with the massive commercialisation today, do you think that musical integrity is being compromised in favour of popular public tastes?
Mr Zakir Hussain : I think that commercialisation in the long run will not affect the integrity of the music. In every venture, musical or otherwise, you will always have good and bad. The same applies here.

Taj : Sir, are you still a Bachelor? If yes, when do you plan to marry?
Mr Zakir Hussain : Sorry, I am taken!

guruji : 70TH TIME - WHO AND WHOT IS YOUR SOUCE OF INSPIRATION
Mr Zakir Hussain : My father is my source of inspiration.He was, is and will always be.

abhiramia : Sir, There is a widespread belief that musicians (at least carnatic) who play in fusion concerts are not taken seriously in the pure classical circles. What is your opinion?
Mr Zakir Hussain : I have a feeling that it may be true in a more conservative Carnatic traditon to accept Carnatic musicians to be fusionists. But in north India, people seem to have a more of a panoramic view of the creative journeys of an artiste. I firmly believe that we need to educate the world about our traditions and culture. It is throughthe understanding of this paramparawill the world develop a reverent respect for India. And to do that, we must learn the languages of the people we need to teach about us! So we need to try our hand at fusion, ifonly as a tool of interaction and communication.

babbbba : Don't your fingers ache after chatting with the TABLA?
Mr Zakir Hussain : No way!

gyptian : zakir ... what do u think of Begum Akthar ??
Mr Zakir Hussain : The greatest practitioner of that art form in the last century.

Taj : Sir, Do you have any plans to enter into Politics?
Mr Zakir Hussain : NO.

sj : what u prefer to play for Mass or class
Mr Zakir Hussain : I prefer to play for a class mass!

bhartiya : ZAKIR SAHAB IS SLEEPING AND WILL RESPONSE ONLY RELATED ANSWERS.
Mr Zakir Hussain : I am awake and will respond to related answers!

MJ : pay lagu, ustad ji. Is there a web site on tabla (learning/audios) that you would recommend.
Mr Zakir Hussain : There is something called tabla.com that may have info on tabla.

aakashk : , zakir sahaab,how do look at young musicians entering public stage much before they are ready?
Mr Zakir Hussain : As far as I can remember, Indian classical music history is full ofchild prodigies and in recent times,people like Pandit Ravi Shankar, Ustad Ali Akbar Khan, Amjad Ali Khan,U Srinivas, Baby Gayatri, and many others were performing on stage while stillin their teens. It is only after being consistently good in performancefor many years were they recognised as bona fide geniuses. So lets give the young musicians of today a few yearsyears to prove themselves before criticising them. They need our support and understanding to be a success.

SunilPhade : Ustadji, Please can you tell us where to contact for tickets for 3rd FEB's anniversary homage
Mr Zakir Hussain : The passes for 3 Feb will be available at the Kala Ghoda venue. We will letyou know when, through the ads.

zakirrsadd : answer my question please
Mr Zakir Hussain : What is your question?

laxmikanth : IAM FROM DUBAI AND I WANT TO ASK U WHEN DO U HAVE PLANS FOR DUBAI
Mr Zakir Hussain : I am playing a concert in Dubai on January 16, 2001. Hope to see youthere!

galeej : Sir: do you think the World will see anothe rZakir Hussian ever?
Mr Zakir Hussain : I think the world will see many others much better than Zakir Hussain. The idea is to use the knowledge that has been accumulated till nowand go further with it. And if you do that, you can only make it better.

wazeer : Hello, here is someone from australia
Mr Zakir Hussain : Good on ya, Australia!

dreamr : we wud appreciate replies.., even short ones
Mr Zakir Hussain : Hi dreamr

Bonner : Hello, ZaKir Hussain
Mr Zakir Hussain : Hi bonner!

sachin.k : SIR, HAVE YOU ANY PLANS OF A TABLA SCHOOL ON "GURUKUL" CONCEPT?
Mr Zakir Hussain : In this day and age, it is economically next to impossible to set up a Gurukul system. However, my father and many other masters of Indian music have taken it upon themselves to host their deserving students in their own house for a limited time every year. The students come from all over the world, and spend time on a crash course type basis with their masters. None of these masters charge their students, and in fact, feed them and take care of them and also teach them. Just like in the old Gurukul system. So it is up to us artistes to create this sort of system whereby we can take some time off from our busy concert travels to make ourselves available to the students in the above mentioned manner. That is about as close as we will get to the old Gurukul system.

kglunatic : Ustad ji namaskar.... don't u get bored of being in limelight all the time.... i mean don't u wish u can a some time for urself??
Mr Zakir Hussain : I do have time for myself, you see, when summer comes, I don't take on concerts, I just retire either to my backyard garden or in some nice beautiful remote area with my family and roast marshmellows on the fire, take hikes into the mountains, and just chill!!

Mr Zakir Hussain : samiullah, pls ask your question again.

kolsun : Zakirji! what will be the right age to start learning ?
Mr Zakir Hussain : Right age of learning is about five years old, but sometimes, that is not true! Simply because we also rely on the shape and size of the hand, and if the child is 6 or 7 or 8 and the hand is not the proper size, we still have to wait.

sangeeet : ustadji..what feelings you had when lataji gave u diamone ring after listening to you in Goa..how was it?
Mr Zakir Hussain : When I played that evening for her, I was in such awe of her presence that I could not even lift my eyes to look at her. It was like in being in the presence of a goddess. Getting this ring from her was like getting the blessings and 'vardan' from Saraswati herself. I have still not come down to Cloud Eight!

friendrtna : I wanted to know more about to join your tutions, Can i have your personal email address so as to communicate more indetail? Please confirm
Mr Zakir Hussain : Right now, the school building is under renovation. And we will not begin the classes until March 2001. What you have to do is call 022-3697493 for info.

anamika : why donna u take out a new album with ashaji
Mr Zakir Hussain : I am hoping that I will be lucky enough to get a chance to work with Ashaji. You'll be the first to know.

kukie : CAN V WATCH U LIVE ONUstad Allarakhaji's tribute
Mr Zakir Hussain : We are planning to have a webcast of my father's first death anniversary homage. So far we have tied up for the audio webcast but are looking for the video webcast of the late night jam session at Kala Ghoda, Mumbai. Colgate Total, my sponsors, are helping me organise that. You will of course get info about it on the web. Just for your info, the anniversary homage is set for Feb 3, starting at 6 am and will culminate at about midnight the same day.

suparna : ZAKIR BHAI ITS MEE...SUPARNA FROM DELHI...DID U RECV. THE RAKHI?
Mr Zakir Hussain : Yes I did receive the rakhi, and God Bless You.

Ghanashyam : Do you think with new additions of fusion people tend to forget tabla?
Mr Zakir Hussain : I think people have rediscovered tablabecause of its popularity. As aninstrument, which is not only classical,but can fit with any kind of music, it is truly a fusion instrument of today. And that is why when you hear fusion musicall over the world, 80 per cent of the time you will find at least one littlehit of tabla in a song. That is one of the reasons why I am paying tribute tomy father at Kala Ghoda along with manyfamous fusion artistes from all over the world, including John McLaughlin,Giovanni Hidalgo, Sikiru Adepojo, George Brooks, L Shankar, Shivamani, Trilok Gurtu, Ranjit Barot, and many others.They have all been touched and influencedby my father's music and therefore bytabla! So along with Kala Ghoda association, and Colgate, I invite you to come on the evening of Feb 3, and see how tablahas influenced world music.

sangram : adios amigo..........................
Mr Zakir Hussain : Adios muchachos. It's been great conversingwith you all. Hope to Chat with youagain. Love, Peace, and Happiness.

Charles Lloyd, Zakir Hussain & Erik Harland at the Dakota Jazz Club
Posted: 2004-12-09

By Derek Taylor

Charles Lloyd, Zakir Hussain & Erik Harland
Dakota Jazz Club
Minneapolis, MN
November 18, 2004

A switch in digs from St. Paul to Minneapolis did the venerable Dakota jazz club a great deal of good. With a roomier and more acoustically friendly space on Nicollet Mall smack center in the larger city's downtown district foot traffic has improved right along with sight lines to the stage. National and international talent regularly stacks the roster and while the cover charges are steep (anywhere from $25-$45 dollars per set), the cuisine, drink and ambiance are in line with sister venues in larger locales like New York and San Francisco.

Saxophonist Charles Lloyd touched down in the Twin Cities for a one night stand at the Dakota earlier this month. Billing the gig as a tribute to his dearly departed friend and colleague, drum doyen Billy Higgins, Lloyd enlisted the talent of tabla virtuoso Zakir Hussain and drummer Erik Harland. I arrived in time for the trio's second set and was pleasantly surprised by the large crowd queued up to witness the show. To my chagrin the “press table” was designated to the distant stage right, directly adjacent to the kitchen entrance, in effect the “nosebleed” section of the club. The clatter of plate and glassware along with the chatter of chefs' conversations regularly competed with the music.

The set opened with an unexpected screening of Home , a film short shot by Lloyd's wife during the recording of the sessions and resulting concerts that presaged the release of Which Way is East on ECM . From my neck craning vantage point the screen was a bit difficult to see, but it seemed an odd way to start things off, especially considering the palpable anticipation amongst the audience for live music. Various meditative montages of rippling lake surfaces and wind blown lake grasses alternated with rehearsal, concert and interview footage of both Lloyd and Higgins. While mildly engaging, the film still struck me as peripheral to why everyone was assembled. In addition copies were for sale on DVD in the lobby for $10, purchased by more than a few patrons prior to entry. Fortunately it didn't last long and the three musicians soon strode on stage.

Setting up in a natural triangle formation on the Dakota's modest proscenium, the trio carried its spiritual trappings on its sleeves. Lloyd, dressed in fur-rimmed sherpa hat and coarse-woven prayer robe seated himself a the piano with tenor slung around his neck sounding plaintive one-handed notes at the ivories and weaving similar note chains between on feathery sax. Hussain and Harland joined the action soon after crafting a joint cadence as Lloyd blew melodious tones, stepping away from the piano and gaining intensity. Swinging his horn in a seesaw pattern up and down his solo surged forward as Hussain played the part of a walking bass with fast-palmed ringing harmonics. The piece concluded with a stunningly fast pattern of interlocking beats.

Hussain's polyrhythms set the second piece in motion, his hands, palms and fingers exhibiting an agility that was blindingly fast and intricately hypnotic. Quoting the melody of “St Thomas” and backed by Harland on marimba his solo was the first of several that had me marveling at his skill. Lloyd entered on alto, blowing what sounded like Eastern scalar patterns with a mellow piquancy. Together with the drums his solo was oddly reminiscent of Sonny Rollins “Jungoso.” Later the drummers engaged in the first of what would be several duets, building to a crescendo that had the audience giggling, cheering and clapping with rampant enthusiasm.

Lloyd hoisted tarogato for the third piece, handling the European reed like a kinder, gentler Br?ann and shaping what sounded like an Arabic-tinged dirge of twirling lines. Soon after another drum duet Hussain broke ranks for another solo this time pulling out the stops with a range of melodic pop music quotes including “Sunshine of Your Love” and “Mission Impossible.” The improvisation reached it's culmination in a mouth-percussion duet between the two drummers with Hussain sounding off teental beats and Harland answering with some human beat box tricks. Lloyd joined in the fun on shakers.

Back to tenor for the fourth outing, Lloyd sounded a solemn legato progression over a bed of malleted toms and droning voices. Suddenly the solemn clouds broke with tenor cycling playfully through registers and landing in the upper reaches as the drums patterned a driving current of rhythms. Seemingly uncertain as to how to end the music eventually dispersed into silence. The fifth and final number found Lloyd on flute, riffing over a skeletal dual drum rhythm to the point of redundancy. Dropping out he left the floor to his partners. Hussain took the lead first in riveting display that had his fingers racing across the tautly stretched tabla skins. Harland followed, crafting another cascading display behind the kit. Both solos presaged the two together in another momentum-ratcheting finish that had them mimicking the tonal diversity of a full steel drum ensemble. Responding to the exuberant applause brought about by their wild finish Lloyd led the band back on stage for a single encore. A solo alto extemporization on what sounded like the melodic kernel of “Tenderly” segued into another ensemble improv with Harland turning to piano, tapping out dark pedal-dampened Jarrett-like chords and Hussain mixing another tabla pattern with impassioned rhythmic vocals. Lloyd joined on flute to take the piece out once again to resounding approval from the crowd.

Based on attendance and overall inspiration by the performers the concert could easily be considered a success. Still, I left the Dakota feeling as if I'd been privy to something merely good that could've been great. Lloyd seemed to rest a bit on his reputation and the skill of his partners, hanging back when he could've engaged them with a comparable level of veracity and passion. With his lifetime of accomplishments and a career that continues to bear creative blossoms he owes no one anything. I just expected a bit more given what's come before.

World-renowned tabla player Zakir Hussain has both revolutionized Indian percussion and extended its audience all over the globe. Over the course of a career that has spanned more than four decades, Hussain has fused Indian classical music with Western jazz, rock, and Latin styles, collaborating with Pharoah Sanders, Tito Puente, Joe Henderson, and Van Morrison, among others. Spark checks in on the longtime Bay Area resident as he works with some of the region's most respected performers.

By the time he was twelve, Hussain was performing professionally, touring with the royalty of Indian classical music, including Ali Akbar Kahn and later, with his father's longtime collaborator Ravi Shankar. At the age of nineteen, Hussain moved to the Bay Area and formed lasting musical relationships with the Grateful Dead's Jerry Garcia and Mickey Hart. In 1975, he teamed up with jazz guitarist John McLaughlin and violinist Lakshminarayana Shankar to form Shakti, an ensemble dedicated to fusing jazz with Indian music. He has also been the leader of a number of bands, including the Tal Vadya Rhythm Band, which later became the Diga Rhythm Band, and The Rhythm Experience.

Hussain maintains a grueling touring schedule that has taken him to places around the globe. Spark catches Hussain's performance at the San Jose Performing Arts Center, where he and sarode player Alam Khan are accompanied by Indian violinist Kala Ramnath. The event, which has attracted an audience of nearly a thousand, reverses the usual instrumental roles as the violin forms a backdrop for Hussain's percussion.

Ever the innovator, Hussain is relentless in his pursuit of artistic challenges. He has composed film scores, sang, and even acted in a number of films. Spark trails Hussain to the studio of choreographer Alonzo King, who has commissioned him to create and perform a piece for his upcoming tour with the LINES Ballet Company. This will be the first time that an Indian percussionist will perform with a dance ballet -- a daunting prospect for Hussain, who will have to fuse Indian music's improvisational mode with the precise choreography that King has designed for the performance. But Hussain is up to the task -- it is an opportunity to explore new territory after decades of experimentation.

Zakir Hussain: About Tabla

Abb. Zakir Hussain, 2001

" The tabla is the principal percusssion instrument accompanying North Indian classical music. It`s also heard in  music from Pakistan, Nepal, Bangladesh and has migrated to South Indian music ( ....) Its most famous exponent worldwide is Zakir Hussain: " Tabla is a versatile instrument. It can fit with any type of music and because it has both notes and rhythm, you can use it as a melodic and a percussive instrument at te same time." (...) As well as accompanying the very best performers of Indian classical music, Zakir Hussain has taken the tabla to a wider international audience with the Diga Rhythm Band, Shakti, and Mickey Hart`s Planet Drum. zur Bildvergrößerung klicken

(...) As well as accompanying the very best performers of Indian classical music, Zakir Hussain has taken the tabla to a wider international audience with the Diga Rhythm Band, Shakti, and Mickey Hart`s  Planet Drum.

TWO IN ONE: Althogh it`s described as a single instrument, the tabla is, of course, a pair of drums. The dayan (lit. right hand) drum is the higher of the two and is usually tuned to the tonic of the raga in which the musicians are playing. The bayan (left hand) drum is not fixed to a particular note, but its pitch is varied in vocal-like inflections and glides by gentle pressure and the position of the wrist resting on the head. Anyone who has been to a Indian classical recital will have seen that the tabla is more than just a rhythmic accompaniment, but that it can virtually imitate the melodic phrases of the solo instrument. Most recitals memorably involve a sort of imitative duelling passage with the soloist. It was the personality and musicianship of certain tabla masters, notably Alla Rakha, that elevated the instrument from its role as mere accompaniment. While even Zakir admits that solo tabla is still only for percussion aficionados, the accompanist is now always named (and often wasn`t in the past) and is of first-class stature. 

(TABLA)  (...) The tuning process at the beginning of an Indian recital is famously confused as being part of the music and indeed on the tabla the tuning is often rhythmically integrated into the performance (when the tabla becomes de-tuned mid-piece). If the dayan is characteristically around the D flat just above middle C (the tonic of most sitars), then the bayan swoops around within the two octaves below that. Finally the talc (formerly powdered limestone), although Zakir favours a brand of sweet-smelling baby powder. This is for keeping the fingers and hands dry (...) At Zakir`s rate this is one small container every 6 months.

TABLA STORY: In India terms the tabla is a fairly young instrument. "It has been invented within the last 400 years," says Zakir. "The way they started approaching music 600 - 700 hundred years ago required a different set of instruments to be developed. So sitar was developed, sarod was developed, sarangi was invented - all these instruments came into existance. People developed them so that this particular way of raga development could be imitated on these instruments and these instruments could accompany the vocal system. The tabla`s development followed from this." 

Previously the pakhavaj (double-headed thin barrel drum) was the accompanying rhythm instrument playing in a style that was more stately and spacious with less rhythmic ornamention to distract from the melodic focus. 

On the pakhavaj both heads (one high, one low) are fixed in pitch and inaceptable of the bayan`s vocal-like inflections. The tabla therefore brought significant advances and advantages. "First of all, it can be subtle, a little more melodic, it can express moods and emotions a little bit more, "explains Zakir. "Also it could be played fast, it could be played slow, it could be played loud, it could be played soft, and was very pleasing to the ear . All these things were possible with tabla that I don`t think were possible with older instruments which was developed 2000-odd years ago with much simpler ideas." 

But the jump to tabla was probably not the oft-quoted accident of someone breaking a pakhavaj in two. "Definitely it was a little more thought about than that" says Zakir, "The normal understanding is that there was an instrument called nagara which comes from the family of war drums, like kettle drums." This was thougt to be the model for having a pair of drums.There was a smaller instrument known as dukkar (about two times the size of the tabla) that may have been the next step from the kettle drums." From there it went down even further because in the presence of the king you could not sit, therefore the musicians had to stand and play, and you needed to have instruments you could hold up. Then,  I guess dukkar was miniaturised and tabla appeared. There are paintings perhaps 300 years old where you see tabla players with a platform which is tied to them upon which the tabla sits." 

The fourteenth century poet and musician Amir Khusrau (c. 1275 - 1325) is populary credited with introducing the vocal forms of qawwali and khayal as well as the sitar. There`s a story, first documented in the 1850s, of him also inventing the tabla, but this is probaply not the case. "Our history in Indian classical music is a little fogged because the music fraternity was illiterate and there was really no one documenting what was going on in the olden days. In the time of the Moghul Emperor Aurangzeb ( 1618 - 1707 ) instruments were broken and musicians were banished, as he was a very conservative Muslim who did not believe in music entertainment. Books and whatever documentation was there, were all destroyed." So though Amir Khusrau was responsible for many things, including the now dominant khayal vocal style, his dates place him some 400 years before the real tabla developments are likely to have taken place. Some fingers currently point at another musician, Khusrau Khan in the 1700s, suggesting the rumor was more of a misprint, but that`s another story. 

SOUNDS OF THE TABLA - A LOAD OF BOLS: The different rhythmic sounds in Indian music are described with vocal syllables called bols, but the sheer variety of traditions makes a standardised description near impossible (...)

TRAINING: Studies in the Indian classical traditions are known for their lengthy time-span, dedication and continuity of repertoires, all passed on orally in a guru-disciple relationsship. It is probably worth knowing that it does take a few months for your teacher to set your essentials: posture, hand position and sounds, playing only the simplest exercises and compositions as your competence builds. Regular practice in the initial period cements these important technical fundamentals, and the possible discomfort of sitting cross-legged for long periods of time is soon forgotten. While learning, the tabla player must speak rhythmic patterns and compositions much in the same way as a sitar player is expected to sing what will be played. 

In India, gharanas, localised stylistic schools of playing, differ in sound, repertoire, technique and so on. With the availability of recordings and increased possibilities of travel, the gharana system has been changing in the last century, but this is not necessarily a cause of regret. Having studied all styles as well as the Carnatic (South India) musical system, Zakir advocates breadth: "This has been of  great advantage to me, I feel that more and more tabla players these days are expanding their repertoire in this way, because it`s impossible to be a tabla player specialising in one particular style only. Though that is good for doing a solo perfomance, itŽs not good for accompaniment as you might play with other musicians from all parts of India and you need to be able to interact with them." 

Not only is the tabla path now more open and varied in India, its international succes has gone some way in breaking down were once seen as prerequisites. As Zakir explains: "Because people have taken our  instrument and experimented and played it the way they felt, it has become a more accessible instrument. The myth that you can only play tabla if you learn this age-old repertoire has now been proven to be not necessarlily true." 

TABLA ROLES: In a Indian classical recital the tabla is silent for the initial (and often lenghy) un-metered exploration of the raga and only joins in later, when the music is played in  tempo and in a fixed metre. Though most percussionists would relish extensive space for solos, intricate speedy fireworks are not the only job for a player and sensitivity is prized. As sitar star Nishat Khan has said: " Virtuosity has a place in every recital, about 3 - 5 minutes worth of place." The tabla player`s first responsibility is as an accompanist  - playing the framework of the tala (time-cycle), like a drummer laying down a beat. This is known as playing the theka. The accompanist rarely plays the theka in its unadulterated form, but is varying and embellishing it, also engaging in and responding to the soloist`s improvisations (...).

(...)  Following the accompanying tabla is the quickest and easiest way into understanding  the rhythmic world of tala, and thinking  of time a poetic structure also prepares you for the world of rhythmic development that is the tabla solo. In solos, rhythmic are developed by a multitude of fascinating techniques whilst the melodic players define the tala by repeating a fixed loop (usually one cycle in lenght) as a reference.

As Zakir explains, there are differences between playing for a vocalist, an instrumentalist, a dancer and playing solo: " A vocalist sometimes requires more subtle playing, often (but not always) slower, whereas instrumentalists can play faster and stronger for a longer period of time. There are tabla players who specialise in playing in each of these situations. Old masters were a little wary of playing for dance, becuase of the demands of force and speed that it needs. It would change the balanceof their technique, even resulting in calluses."

He is about 70 years old now and slowing down a little, so I have my main pair from him and have to supplement from other makers." While the shell  last, the skin heads wear out and have to be replaced. "How long they last varies: if they come from Benares or Culcutta, maybe 6 months, from Delhi a little longer, from Bombay a little longer still. I think Bombay makers go for durability, not just the tone. I have had heads from Sadanand that have lasted two years." And when you consider how much beating Zakir`s fingers will have done in that time, it`s surprising his fingers aren`t the first to give. 

The tabla`s flexibility and expressive range have made it the king of percussion instruments and the players are no longer just the "drummer of the band". " It was the great maestros (including Zakir himself, of course) who elevated it by increased interaction with the melodic soloists. Tabla players are now more complete, their repertoires and influences are greater and more varied and tabla is now influencing the melodic players too, due to this." Zakir`s list of tabla masters was extensive: "Ahmedjan Thirakwa Khan, Kanthe Maharaj, Alla Rakha (his father and guru), Kishan Maharaj, Anindo Chatterjee, Swapan Choudhury, Sabir Khan, Kumar Bose ... " and it went on (considering the population of India, not a surprise). " I am very optimistic about the future of tabla, I am constantly loocking over my shoulders." There are some really good players and you listen to them and say " how did they do that ? " It`s like you`ve got so far with it, and they have what you`ve done plus what they`re doing now. A mile can now be run in three minutes or something."

Ustad Zakir Hussain

He is an international phenomenon and India's national treasure. He can mesmerise you with the magic of his fingers when he plays the tabla. For he is Ustad Zakir Hussain, one of the most famous percussionists of the modern era.

The foremost disciple of his father, Ustad Alla Rakha, Hussain was a child prodigy who began his professional career at the age of 12. By 18, he was touring abroad with great success. He is the recipient of several awards and honors, including the Padma Shri and Sangeet Natak Akademi Award.

Planet Drum, which he co-created and co-produced with Mickey Hart, won the Grammy for Best World Music in 1992. He has recorded and performed with such artistes as George Harrison, Van Morrison and Joe Henderson. In San Anselmo, California, in 1992, he launched Moment! Records, featuring original works and collaborations in contemporary world music.

Hussain has composed music for many films, including Saaz and Ismail Merchant's In Custody, and was the Indian music director for Bernardo Bertolucci's Little Buddha.

Recently, Nitish S Rele caught up with the tabla whiz before a concert with sarod maestro Amjad Ali Khan in Tampa, Florida.

You spend half a year in the United States and the other half in India. Tell us about a typical day in your life in both these countries.
In India, I start the day with riyaaz with my father. Then, I am off to whichever city I've to perform. From November through March, I am based in India, though I do travel for my concerts. Usually, though, I am busy doing film music. The entire day goes quickly. In the US, I go to the office at Moment! Records for work, then rehearse. Presently, I have been commissioned by the San Francisco Jazz Festival to write a piece of jazz.

You do about 150 concerts a year. Isn't that exhausting?
Actually, I was doing 180 earlier but am now down to 150. It's not exhausting because, if you think about it, people go to work on an average of 280 days a year. Well, it's the same for me. I spend eight hours flying and settling down in a new place before giving a three-hour concert.

How do you prepare for a concert? For example, this Amjad Ali Khan-Zakir Hussain tour?
I focus on what that musician is all about by listening to his recordings and getting a feel of him. I rehearse by myself and by the time I arrive for a concert, I am into the mindset. Now, Amjad will act as the initiator and I will find a rhythm and then we explore. We start with a blind canvas and if there are connoisseurs audience, they will respond. So we paint this canvas along with the audience.

What do you look forward to from an audience at a concert?
Focus, attention. If the audience is not focused, it is a waste. If kids are screaming or there is a commotion, we would request that they try to settle down.

Are you doing any acting assignments like your role in Sai Paranjpe's Saaz?
My first love is music. I have not hired anyone to get me acting roles. I am not at an age where I can run around trees. So, if the role is something that will not embarrass me, I will do it.

What is music to you? How would you define it?
Music is the highest form of yoga. It's the only form of communication, which is universal and, therefore, the most positive element that a human being can control.

Do you think most westerners know a lot about Indian percussion instruments?
In this age, the First World has become very deeply aware of Third World culture. There is a recognition of the necessity to recognise what Third World culture is all about. Percussion is one element in the world that is most known. All music is percussion nowadays. Every popular form of music is rhythm-based. People are trying to latch onto music that comes from our part of the world.

What do you think of music director A R Rahman's work?
Very intelligent, smart and creative. He started as a young boy working with great composers like R Mahadevan, for example. He knows the public pulse and has given the public a very intelligent combination package. This reminds me of R D Burman. These guys made it possible to bring together all elements of world music.

What do you think of film music in general?
It is going through a transition. As I said, the western mind is looking to the Third World. Some of the film music is good, some is bad.

What are your current projects?
I am doing a film Vardhanayakam for Kamal Hassan. Then there is a Merchant-Ivory film, Cotton Mary. Also, a solo album for Kavita Krishnamurthy, for which lyrics have been written by Javed Akhtar. I am also doing two Hollywood films -- The Bowl and Memories Of The Future. And there is Moment! Records, which I formed to promote Indian artistes and music.

If you hadn't become a tabla player, who would you be?
I can't imagine what I would be doing. I have been happy and content all my life. No regrets for me.

Ustad Zakir Hussain

Zakir Hussain and Masters of Percussion
 
Presented by UCLA Live. Reviewed May 4, 2006.
 
Performers: Zakir Hussain, Ustad Sultan Khan, Niladri Kumar, Fazal Qureshi, Taufiq Qureshi, Bhavani Shankar, Khete Khan and the Manipuri Jagoi Marup.
 
By PHIL GALLO

Every time the expert Indian tabla player Zakir Hussain takes to the stage, he dazzles, regardless of the context. He has appeared at UCLA in numerous bands over the past several years -- in Shakti, with a sitarist, as a member of fine jazz ensemble led by saxophonist Charles Lloyd that just released the invigorating live album "Sangam." Thursday night was a celebration of the drum. And once again, he dazzled.

Following an homage by Bhavani Shankar to the rhythm god, Hussain set to work with a trio of Ustad Sultan Khan on the sarangi (a bowed instrument that produces a sound somewhere between the viola and an adult wail) and fellow tablaist Fazal Qureshi. The first of two lengthy ragas began with a mournful melody from the sarangi; on the second piece, Khan worked a six-note phrase, alternating accents and note durations while keeping it purposeful as the composition's backbone.

While the improvisations varied, Hussain and Qureshi approached each piece in a similar fashion. They soloed around the sarangi, creating a dialogue that's neither melodic nor rhythmic until they found a meeting ground; from there the two operated as a singular voice by playing together or by jugalbandhi -- feeding lines to each other in a seamless, rapid-fire call-and-response. They concluded at a super-human speed, blurring hands and making the listener's heart race.

Hussain, at times, seems to be producing four distinct notes at a time, notes that, in Western notation, would be written on the bass and treble staffs. And he takes time to clue in the audience, stating "train" at one point and adding the sound of a whistle to his already chugging rhythm. Later he says "rain," and as the drops fall on the roof he adds wind and booming thunder to the sonic palette.

First half of the evening closed with the three dancing drummers of Manipur, who employed the movements of martial artists and the Temptations. Their presence turned the music folky and communicative, less interested in flash than communal grounding. Even before sitarist Niladri Kumar entered for the second half, Hussain had effectively communicated via two different vocabularies -- Hindustani classical and folk music -- with astounding clarity.

Zakir Hussain and the Masters of Rhythm and Movement at the Auckland Town Hall   08.03.05 by Graham Reid   These are busy times for local inhabitants of the global village - Womad this weekend, last Sunday the annual cultural smorgasbord (literally) at the Auckland International Cultural Festival in Potters Park, and the ongoing AK05, a highlight of which was this thoroughly entertaining concert hosted by tabla master Hussain. His broad credentials - from Indian classical traditions to Indo-jazz fusion with the group Shakti and into rock-crossover with Bill Laswell - ensured a full house for a concert which drew a standing ovation when it ended with a barrage of percussion from a stellar cast. From the muscular opening by Manipuri Jagoi Marup - a trio from eastern India who combined disciplined percussion with extraordinary athleticism - it was clear this was going to be a special event. And that was confirmed when Hussain, violinist Ganesh, percussionist V. Selvaganesh (playing hand drums no larger than dessert bowls out of which he drew an astonishing array of sound) and local tamboura player Alison Booth embarked on a set of magisterial depth and sometimes great humour. The second raga was a revelation: Ganesh’s sinuous violin lines explored the melody at great leisure to find nuances to develop or drop. Then he embarked on a conversation with himself as he echoed his own phrases in other octaves and added subtle microtones. The energy levels rose in alternating dialogues with Hussain and Selvaganesh before an incendiary finale which had the audience erupting with approval and astonishment. It was only one of many highlights in a concert which entertained (especially drummer Taufiq Qureshi’s beat-box-style mouth percussion) and enlightened (dancer Antonia Minnecola’s interpretive pieces were from the Mogul period). They pulled out all the stops at the end when Hussain called on Te Vaka, one of this country’s finest musical exports and ambassadors but who we see so little of here. The contrast between the two musical traditions - not to mention the joyous eroticism of the women dancers and imposing physical presences of the men in Te Vaka - seem like an unlikely marriage. But in the lengthy piece arranged specifically for this event there was a happy duelling of styles, a thrilling vibrancy to the Indo-Polynesian melange, and some crowd-pleasing gymnastics again from Manipuri Jagoi Marup. Then that spontaneous standing ovation from the beaming crowd. The concert started a little after 4pm and after a longer-than-expected interval - the organisers hadn’t provided backstage refreshments for the hard-working musicians apparently - it ended after 7.30pm. A long concert for sure but - other than those seated above Te Vaka in the balcony and therefore unable to see them - you’d struggle to find anyone who would complain. Exceptional.

Ustaad Zakir Hussain unplugged in Singapore

Zafar Anjum | Feb 6, 06 10:19am

Ustaad Zakir Hussain is one of the most charismatic musicians of India. Once a musical prodigy, he started his musical journey at an early age with his father - the late Ustad Alla Rakha who, with Ravi Shankar, introduced Indian classical music to the West.

I had seen Ustaad Zakir Hussian acting in movies, or playing the tabla on TV, or promoting Taj Mahal tea in commercials. But nothing beats the experience of meeting the man in person.

January 8. Sunday. Noon. I reach the New Age Indigo Bar in Boat Quay braving the incessant rain. Singapore’s trademark view of the central business district, with fabulous skyscrappers by the side of the Singapore River, looks like a cut-out from Roberto Rodriguez’s Sin City. The touristy bum-boats are licking the riverfront, the river’s huge belly unusually shorn of anything afloat. It’s lunch time on a Sunday but the often-busy promenade, chock-a-block with restaurants offering all kinds of international cuisine, is empty like the mood-evoking scene of the wilderness from a Western. On his way to the Princeton University, where he is going to teach a survey course on music in the fall semester to the students of fine arts, Ustaad Zakir Hussain has stopped by at Singapore to talk to the media about his forthcoming concert.

Busy man

The setting for the meeting is quite Indian - a bar with low-lying drum-shaped seetees, stools and wooden benches, overlooking the Singapore River. Dressed in a safari suit, Zakir walks into the room and fills it with his charm. “Thank you for coming here on a rainy day,” he says, thanking everyone personally and shaking their hands warmly. Soon we are all seated and the Ustaad starts talking - it all looks like a scene from a gurukul, the sagacious teacher sharing his wisdom with his disciples, who are huddled around him with keen eyes and ears. As he speaks, questions come up which he answers eagerly. With his teaching assignments, does he get time to do 180 concerts a year? “That used to be in my younger days, when I was carefree and rash,” says the maestro with a smile. “Now I manage to do about 120 a year.”

Still impressive. But apart from teaching and holding concerts, what does he do? He composes music for films and other international projects. Currently, he is composing music for a film, The Goddess, starring Tina Turner. He has also been commissioned to do the opening score for the National Symphony Orchestra. In the past, Zakir scored the soundtrack for Little Buddha (Bernardo Bertolucci) and The Fifth Element (Luc Besson) and co-created and produced his 1992 Grammy winning album Planet Drum with Mickey Hart from the veteran rock band, The Grateful Dead. He also co-composed the opening music for the 1996 Atlanta Olympic Games.

But what about Bollywood? Doesn’t he compose music for Indian films too? He does but his involvement is limited. He takes small projects such as the one he did for the actor-director Rahul Bose for his film Everybody Says I'm Fine. In the recent years, he also composed music (and acted opposite the veteran actor Shabana Azmi) for the film, Saaz (Harmony) and Aparna Sen’s acclaimed film, Mr. and Mrs. Iyer.

Someone asks him why a great musician like him should restrict himself to small productions at home? “Because they are planned,” he says with a straightforward look. “When you have a small production, it is all planned from day one. So I am told six months ahead, then I can make the time.” On the contrary, big banner films are too taxing for him. “When you have big productions such as a Yash Raj film or a (Karan) Johar film, you are at their beck and call all the time.” Naturally, he doesn’t have that kind of time on his hands.

Indian Music is at the limit of its popularity

From Hollywood and Bollywood, his talk moves on to the next theme: has the world been exposed to all the great music that India has?

“The whole world is interested in Indian music today,” says Zakir. “It is a sound source for a lot of music.” 

“There is a lot going on in Hollywood; they are looking at other musical sounds to embellish whatever exists now, which I think has become very monotonous and dull,” he opines. “There is this need for the Western world to tap into sounds which are mythical, mystical, magical and mysterious.” 

He thinks that all musical sources should co-exist. And his group, Table Beat Society brings people to the source.

So, what does he think about the popularity of Indian music today? Where do we go from here? Popularity and recognition, yes, they are there but, he says, Indian music has reached the limit of its popularity.

A few journalists, who are still not done with Bollywood, succumb to its charm again. Questions pop out.

“Bollywood music is a creative area with no boundaries,” Zakir replies. He praises talented musicians such as AR Rahman and Salim Merchant (of the Salim-Sulaiman combo), who have successfully fused Indian classical music with Western styles.

“You can hear a classical Indian song with a rock beat to it. A classical Indian musician would never think - on pain of death - of doing that,” he says, to the amusement of his admirers.

But knowing the basics was important, he emphasizes. “All musicians need to know the basics of music.” Rahman and Salim are able to do it because they are aware of the fundamentals of Indian classical music, he says.

On the other hand, what are the classical musicians doing? “We are preserving the basics.”

That is also important. While others experiment and play with the boundaries of the music, some need to preserve the basics.

So, what else is happening with the classical musicians? Is there a change in the classical musicians of the old and new generation?

Yes. There is. For example, he says, today’s drummers are complete musicians. They know about other musical instruments too, and that’s why, they are able to successfully collaborate with other musicians. Then, if the job of the Indian classical musicians is to preserve the basics, how does he see his contribution to Indian classical music, especially in the context of his fusion music?

“I have taken Indian music as far as possible,” he says, with an incredible humility.

In fact, he has done more than that. He has been discovering new talent and showcasing them to the world. For example, he discovered a group of fabulous Manipuri drummers about two years ago. These drummers combine drumming and acrobatics in a unique fashion, hitherto unseen. He has presented this group of musicians to the world to great applause.

Another of his discoveries is the dholki-player Vijay Chauhan. He found him playing nautanki music in a village fair in Maharashtra. When he presented him to the musicians in Bombay, they were bowled over by his talent. Vijay, since then, has become a part and parcel of Bollywood music. One of his famous songs is the “choli ke peechhe kya hai” number in Subhash Ghai’s film, Khalnayak.

Evolution of the Indian classical music

We come back to the topic of Indian music’s worldwide popularity. And he patiently explains the nuances of Indian classical music as we know it and how it has evolved over the decades.

Indian classical music is not stadium music—it is chamber music. Yet today, it has become very popular. In fact, it is at the height of its popularity, he says. Earlier, music was only for connoisseurs. The rich patrons knew all the ragas and were musically educated, and they demanded the musicians to play a certain raga at certain times, depending on the vagaries of their mood. After the nawabs and rajas disappeared in India, musicians took the music to the masses who were not aware of the finer points of music. “That’s why it took time for Indian musicians to develop the stagecraft to work with the audience,” he says. “Indian classical music is very young as a stagecraft,” Zakir expounds. The stagecraft developed in the 1940s and 1950s.

Today, there is greater awareness about music and musicians. And this true about all kinds of music, not just Indian classical music. “There is a sort of renaissance of arts,” he says. “Indian music, along with other things Indian, is getting recognition. The same is true about the art and culture of other countries such as Japan, China, and Indonesia, among others.”

“Media is also increasing the understanding of art and culture in society. Also, because of internet, the audience knows about our performance, our style, our achievements, and therefore, we don’t have to bend too far (to communicate with them).”

He points out an interesting characteristic of Indian music. “Compared to Western music, where everything is written down, Indian music is fresh,” he says. “It allows every generation to inject its own two bits.”

Zakir’s Inspiration

Starting out at the age of two or three, and touring by the time he was 12, Zakir has come a long way. Today he is regarded as an international icon of world music. He has wowed the audiences the world over with his mastery over both the traditional and innovative forms of music. His innovative offerings like Shakti, Diga Rhythm band, Tabla beat science have helped him carve a unique niche for himself in the world music scene.

So, what has been his source of inspiration for the kind of music he has developed?

“Every instrument has a spirit,” he says. The genius of music comes from the ability to discover that spirit hidden inside the instrument and commune with it. “Though my father taught me how to play the tabla and I learnt all the ragas from him, one day, I asked the tabla—what do want to say? From there my tonal odyssey began.”

Personally, he admits being inspired by other musicians. For fusion music, “inspiration came from Giovanni Hidalgo,” one of the greatest Latin percussionists of our time. Today, Hidalgo is part of his ensemble.

One of us is curious to know about the term “fusion music.” How did he coin that term, if he did it at all? After all, his album, Shakti, was the world’s first fusion music album.

“World music or Fusion music or New Age—these labels are created by record companies so they can put a label on the shelves,” he says with his characteristic ease. “We as musicians are not to be blamed for these terms.” We all break into laughter.

“I think I have spoken enough,” he says and gets up from his seat. Meanwhile, he has finished a cup of coffee and a plateful of his favorite gol-gappas are waiting for his attention. We let go of him for a quick TV interview. I wish him farewell and come out singing in the rain.

Endnote

Ustaad Zakir Hussain held a major show, "Kaleidoscope of Rhythms" (World Fusion Music), on Feb. 5, 2006 at the Espalanade Concert Hall, Singapore. The show also featured percussionists and musicians such as Terry Bozzio, Giovanni Hidalgo, U Shrinivas (Mandolin), Fazal Qureshi (Tabla), Salim Merchant (Keyboard), Vijay Chauhan (Dholki), and Kala Ramnath (Violin). Those who missed the Singapore show can still catch the ensemble at Bombay and Dubai around the same time.

Zakir Hussain has composed soundtracks for the films In Custody which was Ismail Merchant's directorial debut, and Little Buddha by the Italian maestro Bernardo Bertolucci, for which Zakir not just composed, but performed as well. He was also the Indian music advisor for the film

Zakir Hussain also arranged the opening music for the 1996 Summer Olympics in Atlanta.