During the 13th century, the Delhi Sultanate was at its apex in Hindustan. Historians regard this as a period of enormous change. While conquerors raged with aggression, a poetic soul emerged, selecting pearls of wisdom from the deep seas of languages and civilizations for human culture. This man was Amir Khusro, a poet, singer, musician, and patron of artists in the Khilji court.
Amir Khusro Created the Tabla
It is said that during this time, Khusro conducted fascinating experiments in the music world. He delved deeply into India's ancient ragas and instruments, breathing new life into them, enhancing their ancient classical form, making them appear as if they had been an integral part of the era. Amir Khusro split the great rhythmic instrument Pakhawaj into two, transforming it into the tabla.
Tabla Originated from the Pakhawaj Family
The Pakhawaj was a percussion instrument with a broad circular part on one side and a narrow circular part on the other. The broader section produced a booming sound while the thinner part furnished the basic rhythm. Pakhawaj holds a place of prominence in ancient Indian musicology. Mridangam is its modified form, which remains pivotal in South Indian music, especially in Carnatic music. You can witness it in several temple ceremonies in South India.
Now, back to the tabla. While Khusro gave it form, it remained neglected for years. Yet, between the 16th and 18th centuries, it found acceptance in North Indian music. The stalwarts of gharana music found it fit for accompanying dance forms like Kathak, and thus tabla was ceremonially inducted into classical music. Today, its rhythm system is akin to the Pakhawaj; only the playing style has altered slightly.
In tabla playing, the hands moved parallel to the chest allowing rhythms like Tirkit, Tit, Gadigan, Krda, Kitdha Dha, Taktit, to emerge freely. In an ensemble, when the voice, lute, flute, and tabla converge indistinguishably, it demonstrates the spellbinding magic of the tabla.
Ustad Zakir Hussain Mastered this Magic of Tabla.
The modern era's beauty is that we have witnessed Ustad Hussain generate an enchanting marvel with his live tabla playing. His tabla was akin to a flintstone; the rub and rhythm of his palms, the flurry of his fingers, and the stroke of his left hand radiated a light revealing humanity's past, present, and future all at once. Whether it was thunder, lightning or rain, it could seem as if these were aired directly from his tabla. Experience it on YouTube in a session with acclaimed flautist Hariprasad Chaurasia, and you'll be lost in the wonder, regardless of your affinity for classical music.
Source: aajtak
The Science of Tabla
Though traditionally not deemed deeply classical, with time and musicians' dedication, tabla has become essential in classical music. Besides accompanying singers, tabla also gained fame as a solo instrument. For example, in Raga Tintal with its 16 beats, when accompanying a vocalist, the tabla player must loop within these beats. Yet, during a solo, the tabla player is granted full freedom and displays concepts such as Kaayda, Palta, Paran, Tihaai, Chakradhar Tihaai, Duguun, Chaugaun, Ashtagun.
Tintal is just one of many rhythms in tabla's extensive repertoire, including Ektaal, Deeptandee Taal, Jhaptal, Kaharwa Taal, Dadra, Dhammar, and Rudrataal. Each has distinct traits, different counts, beats, and magic. Consider the tabla's depth a vast ocean, and each plunge in reveals a precious treasure, a pearl. Ustad Zakir Hussain was indeed a deep-sea diver in this tabla ocean.
As the Maharathi who mounted the chariot of rhythm, he embarked upon a conquest across the realm of music and collaboration, sharing the stage with luminaries such as Hari Prasad Chaurasia on flute, Pandit Ravi Shankar on sitar, Shivkumar Sharma on santoor, Birju Maharaj in dance, vocal maestro Bade Ghulam Ali Khan. He absorbed their art, grace, and nuances. Now, you might pause to remember an adept in classical music, but recalling a living soul might be futile, leaving Ustad Zakir Hussain's passing as an irreplacable void in music.
The Tabla: Voice of the Universe
Referring to voids recalls a Grammy anecdote. While working on tabla fusion, American jazz, with its electronic and modern instruments, possessed a void after each beat, a palpable zero. Ustad Hussain filled that void with the tabla's Tirkit and the blend became phenomenal.
At a similar event, foreign artists termed the tabla as 'nothing'. They believed no instrument could match a drum's power. Ustad Hussain's tabla, played with immense thunder, penetrated the drum, astonishing them. They said, "Drums we thought were the strongest, but tabla carries the universe's voice spreading into space." His brief reply was, "Like zero... nothing."
Source: aajtak
When Pandit Ravi Shankar Said- Your Tabla Sings
Pandit Ravi Shankar, an admirer of his nimble fingers, once performed alongside Ustad Sahib's tabla. While Pandit Ji adorned Raga Hansadhwani on sitar, Ustad Sahib's fingers danced on the tabla. The Raga Hansadhwani was confined to Tintal: a quick glance showed Pandit Ji weaving the melody, during which Ustad Sahib’s tabla echoed in perfect harmony.
Look at the detailing The melody intertwined, Nireg Nireg Niregsa... Pag Pag Pagsa... Repgani Pag Reg Reg Resa... Nip Nire Pinisa...Nire, Pinisa...Nire, Pinisa
Pandit Ji brought it into a cycle and arriving at the lock, Ustad Sahib mirrored the sitar's voice on his tabla
Dhati _Dha Tee Dhati Dhatirekit Tak Ta Tirikta Tak Tirikta Tak Ta Tirikit Dhati _Dha, Tirikta Tak Tatikita Dhati _Dha Tirikta Tak Tatik Dhati _Dha...
Dhati _Dha Tee Dhati Dhatirekit Tak Ta Tirikta Tak Tirikta Tak Tatikita Dhati _Dha, Tirikta Tak Tatikita Dhati _Dha Tirikta Tak Tatik Dhati _Dha...
Dhati _Dha Tee Dhati Dhatirekit Tak Ta Tirikta Tak Tirikta Tak Tatikita Dhati _Dha, Tirikta Tak Tatikita Dhati _Dha Tirikta Tak Tatik Dhati _Dha...
It felt as though the tabla was the main instrument complemented by Pandit Ravi Shankar's sitar. Smiling, Pandit Ji noticed Ustad Sahib's tabla's symphony softened. Observe humility entwined with artistic magic; Zakir Hussain reminded us that tabla could mirror any accompanying instrument. From making the sounds of conch, flute, clap, water ripple, bell; his masterful tabla may leave you awestruck. Pandit Ravi Shankar once mused, "Your tabla sings alongside the sitar." Flute maestro Hariprasad Chaurasia humorously remarked, "Ustad's tabla even plays flute."
Tabla Exits Gharana and Conquers the World
Ustad Zakir Hussain's mastery led tabla out of the domains of Delhi, Ajarana, Banaras, or Punjab Gharana, to world stages, sharing its dimensions universally. He formed the 'Shakti' band, pivotal for both his life and tabla's resonance. This band epitomized the confluence of Indian and Western music. John McLaughlin, also known as Mahavishnu, was there, enthralled by the tabla amidst other rock bands’ performance. Post-show at McLaughlin's request, Ustad Sahib exhibited some tabla magic; sparking the remark, "You are the music ambassador of the world." This event marked a significant moment in his tabla-fusion journey and opened paths for Grammy Awards.
Source: aajtak
Ustad Zakir Hussain's Grammy Journey
Honored with Padma Shri in 1988, Padma Bhushan in 2002, and Padma Vibhushan in 2023, Zakir Hussain won three Grammy Awards. At the Grammy Awards-2024, fusion band 'Shakti' received the 'Best Global Music Album' award. The band included stalwarts like Shankar Mahadevan, John McLaughlin, Zakir Hussain, V Selvaganesh, and Ganesh Rajagopalan. 'Shakti' won the Grammy for their album 'This Moment' at the 66th Grammy Awards, marking their first release in 45 years that attained Grammy success on its debut.
In 1973, English guitarist John McLaughlin initiated the fusion band 'Shakti' with Indian violinist L Shankar, tabla player Zakir Hussain, and TH 'Vikku' Vinayakram. Post-1977, the band became less active. However, in 1997, McLaughlin revisited 'Remember Shakti', incorporating V Selvaganesh, U Srinivas on mandolin, and Shankar Mahadevan. In 2020, the ensemble reunited as 'Shakti', releasing 'This Moment', their first album in 46 years.
In the rhythm of the tabla, three key elements exist - Sam, Taal, and Khali... Sam begins the rhythmic beat, Taal is the beat’s giving point, and Khali is the void where there is no rhythm. The maestro's departure left this emptiness in the world of tabla. No rhythm remains, no harmony, and perhaps for centuries it will be so. Farewell, Maestro...
