Introduction by Tom Crenshaw, tom@rockom.net

For most westerners, the names Ravi and Anoushka Shankar, Ali Akbar Khan, Zakir Hussain and even George Harrison come to mind when popular or classical Indian music is mentioned. Each of these artists are pioneers in introducing and popularizing Indian music in the west.  And for each of these artists I've mentioned there are scores more who are just as popular, just as influential in bringing Hindustani music to the world and who are entirely worthy of note. Vocalist Pandit Jasraj is one such artist.

Born in Hissar, India in 1930 Pandit Jasraj inherited his father’s musical abilities and was initiated into music by his father before he was four years old. Jasraj was celebrated early in his career for his tabla abilities, but it is his vocal mastery which distinguishes him from his peers and for which he is most celebrated. Pandit Jasraj is gifted with a three and a half octave range and his unique style of vocalization called Jugalbandhi (entwined twins), which is a essentially a duet style of vocalization and singing between either another voice or a musical instrument and is styled on the ancient system of moorchanas (between a male and a female vocalist, each singing in their respective scales and different ragas at the same time). Moorchana is derived from the word moorch, referring to a fainted condition, but here relates to harmonies that lie in an unconscious or sleeping state in the subconscious until “awakened and sung, when they begin to radiate spiritual bliss.”

Pandit Jasraj has performed and collaborated with a wide array of noted musicians worldwide, received numerous awards and recognitions and has recorded many critically acclaimed albums in his illustrious career. He has even founded an institution of higher learning, the Pandit Jasraj Institute for Music Research, Artistry and Appreciation with classes in New York, New Jersey and Pennsylvania.

RockOm is pleased to offer our readers a very recent and inspiring interview with Pandit Jasraj conducted by Swati Sharma from The New Indian Express and reposted here at RockOm with express permission for your enjoyment.

“Whenever one sings a note correctly, you automatically feel the spiritual equivalent of a samãdhi. And after several such notes, you are indeed in a Samãdhi, a state of deep meditation.” Pandit Jasraj

Spirituality Is Music

by Swati Sharma, Expressbuzz.com source

It was raining gently outside as I sat sipping a hot cup of tea, when I heard his familiar voice, drawing closer from a distance. Aap ki seva mein haazir hoon (lyrics from "Thanda Thanda Paani," [Ice, Ice, Baby by Vanilla Ice] as recorded by the iconic Indian rapper Baba Sehgal) a smiling Pandit Jasraj, dressed in an understated cream silk dhoti kurta (traditional Indian style of dress), extended his greetings. "Thank you for coming," he said warmly as he settled comfortably in a plastic chair. Even as the smile dissolved in his serene face, the doyen (senior master) of the Mewati Gharana, closed his eyes for a brief while before opening up: “When I close my eyes, I connect with God with or without music.’’ In a voice so soft, almost like a hymn, Pandit Jasraj continued, “there has never been a moment of doubt (in God) in my life. HE plays the most important role in our lives.’’ Withdrawing into himself, he appeared to be speaking to himself: “I always invite HIM to be with me and accept my dedication. It’s not a performance, music is a form of worship. It’s all about surrendering oneself to HIM.’’ Mai swaron se ishwar ko saadhne ki chesta karta hoon (I try to reach God through my music.)

It was obvious I was sitting next to a deeply spiritual man, who believes not only in the transformational power of sound but also in its origins in the all pervading consciousness. “We do not write, do not read and do not plan music,’’ he stressed after a long pause, “we establish a relation to God through it.’’ Going down the memory lane, he correlates his experiences and realizations.

“Some power, some force has guided my whole life and actions. I know HE has blessed me with my art. If God wants to shower HIS blessings upon a person, HE makes him appreciate music. But if God is further happier with a person, HE makes him a musician,’’ he remarked deeply conscious of his own good fortune.

Talking about his inspiration, he pointed out, “there are so many things that can inspire’’ and narrated one: “Some 40 years ago, I was about to perform in Sholapur, at a small godown that passed off as a venue. Among the rather nondescript motley crowd that seemed least interested in my singing, I spotted an old man shabbily dressed coming inside most irreverently. His behaviour annoyed me and I closed my eyes and carried on. As I faltered at one point missing a matra (beat), I immediately gathered myself and made up for it, coming back to the same with such aplomb that I could not help heaving a secret sigh of relief. Just as I did so, I heard a lone voice in the audience praising my feat with a loud 'wah!' As I looked around for that solitary listener who had echoed my thoughts and communed with me so perfectly, I found it was this same old man. Thereafter, he went off leaving me distraught, for my eyes were constantly searching him. Towards the end, however, he reappeared and from then on, it seemed to me I was singing for him alone. As my concert ended, he came to me, placed his hands on my head and said, 'Aaj tumne tumhare pitaji ki yaad dilaa di (your song carries me back in my memory.)'"

Lord Krishna once said to Panditji in a dream: "Jasraj, you must sing. Sing for me. Your prayers reach me faster on the wings of your music!" Krishna can be addressed as a companion, as God, friend or even lover. Maybe that is why He is the muse of artists. He is always present in my mind.’’ A devout Krishna bhakt (devotee), Jasraj revealed that he imagines the form of Krishna while singing. “He symbolizes romanticism as well as bhakti. His name itself inspires peace. Do I need to say more? ’’

"When I was six-years-old, every night I used to get dreams frequently in which I die and my atma (self) climbs up and sits on a zarokha (big wooden frame). In my dream my family cries, but I laugh. I also see my elder brother and my guru, Pandit Maniram crying. I come down and try to tell my elder brother, 'see Bhaiyya, I’m alive.'’’ The maestro talked of his brother and guru with deep love and reverence. "Even in my dreams I can’t hurt my elder brother,’’ he said. Moving from the personal to the professional part of his life, he noted the spiritual underpinnings of Indian Music. “Bharatiya sangeet mein bhagwan ka darshan hota hai. Sangeet (doubt or suspect) and bhakti cannot be separated - one cannot exist without the other.’’ As much is evident in his music. Is he worried that classical music is fast losing support in the country? A pretty common question but one that elicited an amazing answer from Pandit Jasraj. “We are not bothered about numbers. Even one connoisseur is enough!” he shot back.

But pointed out, that youngsters are increasingly taking to classical music.“The young are getting back to the old tradition, listening to real music; be it classical, ghazal (ancient poetic form), and so on. Once they start enjoying the fragrance of music they will get involved. The effect of music is such.’’ he explained with evident optimism. He rejected the perception that the younger generation was not keen on classical music and said a good part of his audience is comprised of young boys and girls.

So, is there hope yet? "Yes," he said emphatically. "Despite the decline of the gharana system (school or house of music) and the pressure to look for better careers, there are a few brilliant young musicians who have proved themselves worthy of inheriting the mantle of the greats, even if many of them do not come from illustrious dynasties," he explained. Star progeny like Mukul Shivputra (Kumar Gandharva’s son), Ashish Khan (Ustad Ali Akbar Khan’s son), Anoushka Shankar, Aman and Ayaan Ali have met more than their match in vocalists like Veena SahasrabuddheSahasrabuddhe and Shruti Shadolikar.  Sitar players Shahid Parvez and Purvayan Chatterjee and sarod player Parthosarathi inspire hope that Hindustani classical music can get back its past glory.

Finally, his take on Hyderabad (capital city of th Indian state of Andhra Pradesh). “This city is my teerth sthaan (holy place) and here I come every year to perform,’’ he said.

The individual is always more important than the medium, and the music of a genius like Panditji will always be new and fresh. So, listen to him while he is here.

Jai Ho! (his way of wishing)

Discuss this article

Guitar maestro Pandit Debashish Bhattacharya is one of the world's phenomena, creator of a unique "Trinity of Slide Guitars." Born to musician parents, Pandit Debashish Bhattacharya, a child prodigy, was initiated into Indian classical singing, but was drawn to the guitar because of the ability to emulate the human voice by using the slide. The highly innovative mind of Debashish has given the Hindustani slide guitar a new dimension.

Debashish studied under Maestro Ustad Ali Akbar Khan (sarod), Pandit Ajoy Chalraborty (khayal, vocal) and the legendary Pandit Brij Bhushan Kabra, the godfather of Indian classical guitar, and has performed world wide with a "who's who" of master musicians, including John McLaughlin, Zakir Hussain, and Selva Ganesh in the Remember Shakti Concert.

His work has earned him the President of India Award in 1984, the Asiatic Society Gold Medal in 2005, and BBC Planet Award for World Music in 2007.

RockOm's Tom Crenshaw had the privilege to interview Debashish in early 2008 and to witness a phenomenal concert in Savannah, Georgia, at the Savannah Music Festival, where Debashish debuted his "Song of Life" composition as performed by master guitarists Derek Trucks, Jerry Douglas, Bob Brozman, and Debashish himself. Tom remarks, "For close to ten minutes these giants of slide guitar held the audience in the palm of their hands trading licks back and forth, and singing dynamically through strings and fingers something entirely unheard-of up until that moment. I've never before witnessed or heard anything like these four masters speaking through their music in such a passionate and moving manner. There was a time when all four guitarists and the tabla percussionist were playing simultaneously and every single note, every beat made perfect sense! When the composition was over the audience erupted in a resounding, almost deafening applause. It was quite a moment- one I'll never forget!"

RockOm: I sometimes say that music is spiritual in nature- in that what flows through us musically seems to come from a higher realm. Do you agree?

Debashish Bhattacharya: No, not at all. Music is man's hard work with extreme passion. When it pleases us, it transports us to a level of the mind where we feel disconnected with all material things momentarily. If you call this spirituality, so be it. Spirituality lies in the philosophy shaping up any music and or true practice of humanity; it is not a package or brand to sell a product.

RockOm: Do you feel that your spirituality is communicated through your music and if so, how?

Debashish Bhattacharya: As I said, spirituality lies in the philosophy shaping up any music. Spirituality is also related to non-fake humanity. Of course, my music is deep-rooted in philosophy, which is why Indian classical or raga music has survived thousands of years. That so many people are learning, practicing, and listening to it all over the world is a percolation of its spirituality. My music is liked by millions around the world, so the aesthetics rooted in philosophy transcribes spiritual feelings in their minds; it is the music itself. In true presentation it shows what it is. This is a natural process of communication, but only possible in the hands of a dedicated and true artist.

RockOm: What do you think it is about music that breaks down barriers and divisions between people?

Debashish Bhattacharya: I call it emotional attachment. Subconscious self-identification with one and all. Only music evokes the realization that we are all human beings, "Brothers and Sisters," as the great Swami Vivekananda addressed audiences at the Chicago World's Religions meeting decades [ago.]

RockOm: Besides your own music, is there any one artist or album that you continually return to (more than others) for inspiration, depth, or spiritual revelation and why?

Debashish Bhattacharya: I always fall back upon Ustad Ali Akbar Khan, Pandit Ravi Shankar, and Ray Charles. Why? I think they shape my thinking, intellect, heart, hands, eyes, and all organs like vitamins.

RockOm: Is there a difference between hearing music and feeling music? How do you explain this?

Debashish Bhattacharya: I think that is a radical issue, which needs to be addressed rather seriously. Do you relate to your feelings phone ringtones, horns, jingles, lounge, titillating promos, and squeaks and squirms? All that comes without philosophy of life is "passing sound."

RockOm: Just as you've invented new musical instruments to express what you hear and feel inside, what do you think future master musicians will come up with?

Debashish Bhattacharya: I have invented sounds deep rooted in Indian tradition and use them to trans-create music that is eternal. I have been able to do something though I did not have any role model in front of me. I can't say for others.

RockOm: How are we limited here in the West with regard to writing and performing music of a spiritual nature?

Debashish Bhattacharya: Try to find an answer to why you think you are limited, if you believe so. I think only then you can get your answer of the question.

RockOm: How important is it for you to "get out of your own way," so to speak, when performing? Do you lose yourself while performing or must you remain fixated and aware of what you are doing at all times?

Debashish Bhattacharya: I do not believe in talking while performing. That's not done. I am deeply absorbed while performing, as I believe that I must deliver my best to my audience.

RockOm: Is playing music similar to praying or meditating?

Debashish Bhattacharya: Yes. If one concentrates while praying will he not do so while playing music?

RockOm: Does music have the power to heal and can you give any example of healing you have witnessed?

Debashish Bhattacharya: Healing varies from person to person. Yes, many of my fans listen to a certain piece of mine, at a certain time, to feel good. That's surely healing. But a general remedy is difficult to formulate in such abstract fine arts.

RockOm: Is everyone inherently musical to some degree?

Debashish Bhattacharya: Well, not really. I know of many who are least musical but make tons of money by selling music!

RockOm: What is the most important thing we should know about you and your music, Pandit?

Debashish Bhattacharya: The most important thing about me to know is my name Debashish Bhattacharya and my music - classical raga, music of India.

http://www.debashishbhattacharya.com/

[Edited by Andrew Hoogheem]