"If you practice for ten years, you may begin to please yourself, after 20 years you may become a performer and please the audience, after 30 years you may please even your guru, but you must practice for many more years before you finally become a true artist - then you may please even God." - Ustad Ali Akbar Khan
It’s difficult to imagine George Harrison never discovering classical Indian music. There would never have been sitar on The Beatles' “Norwegian Wood” or his songs “All Things Must Pass” and “My Sweet Lord” and as well as others. There might never have been A Concert for Bangladesh in 1971 which ushered in the era of the relief concert. All this and so much more might never have been if not for the presence of Ustad Ali Akbar Khan who passed on June 18 at the age of 87. It was Ali Akbar Khan’s many firsts as a Master Musician that paved the way for the introduction of Indian music to the rest of the world.
He was the first to record an LP of Indian classical music in the States in 1955 as well to give a recital on American network TV. The late American violinist Yehudi Menuhin, who became one of his earliest champions in the West, said he considered Mr. Khan "an absolute genius, the greatest musician in the world." Khan was also the first Indian musician to receive the MacArthur Foundation Fellowship in 1991. In 1997 Khan was chosen to receive the prestigious National Heritage Fellowship from the National Endowment for the Arts. It was presented by Mrs. Hillary Clinton at a ceremony in the White House.
Ustad Khan was a virtuoso of the sarod, a 25-string instrument in the lute family. His chosen musical genre is based in part on the concept of the raga, which consists of improvised music based on a variety of scales. From these scales, or permutations of them, Indian musicians follow traditional forms but add their own inflections and feeling.
The son of a revered musician and teacher, Mr. Khan began intensive training as a child and partnered with sitar player Ravi Shankar - his future brother-in-law - performing duets throughout India. Khan and Shankar were the opening act at A Concert for Bangladesh.
Ali Akbar College of Music is the name of three schools founded by Ustad Khan to teach Indian classical music. The first was founded in 1956 in Calcutta, India. The second was founded in 1967 in Berkeley, California, but moved to its current location in San Rafael, California the next year. The third was founded in 1985 in Basel, Switzerland and is run by Khan's disciple Ken Zuckerman.
Derek Trucks was a student of the Ali Akbar College of Music and Trucks’ playing is heavily influenced by Ali Akbar Khan. Many revered musicians such as Ustad Zakir Hussain were heavily influenced under the direction of Ustad Khan. Khan was nominated for Grammy Awards five times between 1970 to 1998.
Survivors include his wife, Mary, and 11 children from several previous wives.
Music has magical powers. Each 'raga' of classical music has unique abilities --- to soothe the mind, to invigorate us and to bring rain, fire or storm. Music is divine, transcending boundaries it takes us to completely different world.
On the day of the performance of Tansen, the hall was packed with courtiers and royal guests. People had come from far and near to hear the concert.
Tansen was waiting with his tampura in hand and as soon as the Emperor entered and sat on the throne, the great musician began alap - the first portion of a raga. As he sang on, the surrounding air got warmer and warmer. The audience started perspiring. Leaves and flowers in the garden dried and fell to the ground. Water in the fountains began to boil. Birds flew away in fright. The unlit lamps on the walls lighted up mysteriously and flames appeared in the air. People fled the court in terror while the fire generated by the raga raged on, burning the curtains to cinder. As the emperor got up and stood listening with awe, the rose that he often held in his hand drooped and died.
Now Tansen's body was hot and feverish but, absorbed in Rag Deepak, he continued to sing vigorously. Such was the power of Rag Deepak, rightly named after 'flame' … the raga that brought fire on rendition.
Music is truly magical, every tune, every tone, every note… all sending across the right vibes to soothe the nerves. It emerges as the most powerful medicine of all, as well as the best form of entertainment.
There once existed ragas that could do miracles like Rag Deepak. History has it that the flames of the raga were supposedly doused by yet another raga, Megh Malhar. As the name suggests, Megh Malhar gathered up the clouds and it rained! While up north it is known so, in South Indian style of classical music, it is known as Amrithavarshini.
This rare talent to do magic with ragas is called 'nada siddhi' in Sanskrit. “It’s almost lost… dead with the first generation of Tansen’s disciples,” says Radhe, an ardent patriarch of music, who also owns plenty of blogs and websites of classical music downloads. “It has lost its fervour but one cannot say that it is a lost art, for it does exist in various other forms, sung in different styles,” she concludes.
Ragas can be really mysterious. There are different ragas in Indian music and each raga creates a different mood. A raga can make you so happy that you may want to dance or it can make you so sad that it brings tears to your eyes. Besides performing in the court, Tansen is believed to have often sung alone for Emperor Akbar. At night he sang ragas that would soothe and help Akbar fall asleep and in the morning Tansen sang special ragas that would gently awaken the Emperor.
“Only traces of those melodies exist in the present world of remixed and mirch-masala music. Carnatic music itself has very few followers these days,” complains S Padmavathy, a renowned musician from Chennai. Rakesh, a young singer, also feels the same. “Music is so powerful,” he says; “Unfortunately, only a few realise its potential.” Music can be such a good healer. “No intake of medicines, no side effects, no expenses… Just a leisurely day and a good old tape recorder. That’s what music therapy is all about,” says Ragini, who runs a music therapy centre. “There is a raga for every situation, every condition,” she says.
“Ragas really are therapeutic. Call them magical if you wish to, but they do have the powers to bring rain and fire. However, it is all in the singing that they manifest their true powers. All the musical exponents I’ve known believe that if properly sung, these ragas really do work wonders. The musician must really be extraordinarily brilliant and devoted to music for this to happen,” opines Archana, a singer.
The ragas are full of unexplored beauty, mystique and depth --- something utterly magical. Yet another powerful raga is Yaman. It is a veritable ocean - fathomless, horizonless, tranquil, full of dignity and repose. “What we musicians play is only the tip of its musical iceberg. Yaman is a raga for every mood, every ras, every situation. It is unmistakably the one raga that serves as a divine channel for communicating with God,” says Radhe.
Raga Darbari works its magic with the help of minutely flattened intervals recalling the harmonic ambience of the blues. It is a deeply moving, emotionally intense raga with enough detail and nuance to repay repeated listening. Raga Darbari is like, what we say, a dialect of the original raga of Tansen. Many such mystic ragas are ascribed to Tansen. Ragas like Mian ki Malhar, Mian ki Todi and Darbari Kanada are the most famous and are existent today too.
Says Rakesh, a finalist of the Superstar Global, a reality-come-musical talent hunt: “I think there exists a world which truly is unknown for a normal human being here, on earth... some call it the spiritual presence or the omnipresent force. Music promotes positive energy to that force. This is not only done by the singer but also by the listeners.”
“I think it is this positive energy that is reflected as rain or fire. Nowadays, there are not enough aspirants to sing those ragas with 100 per cent efficiency and there are no spirited listeners who appreciate great music. All these account for the absence of miracles.”
“Like fables and folklore, these musical wonders have changed through time. No one knows the ancient real McCoy but it still goes down generations with personal touches and changes. No one can bring rain or create fire anymore… It happens only in stories of the great Tansen,”concludes Shravan, a music composer.
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
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.
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.
"If you practice for ten years, you may begin to please yourself, after 20 years you may become a performer and please the audience, after 30 years you may please even your guru, but you must practice for many more years before you finally become a true artist - then you may please even God." - Ustad Ali Akbar Khan
Introduction by Tom Crenshaw, 
Email Us!
RockOm RSS Feed
RockOm Facebook
RockOm MySpace
RockOm Twitter
RockOm YouTube
RockOm Viddler
