May 11, 2003 Austin TX,

Hindustani Classical Music Concert with Pandit Shivkumar Sharma on Santoor

and Ustad Zakir Hussain on the Tabla

Pandit Shiv Kumar Sharma & Zakir Hussain backstage with the A.I.D. concert volunteers

    Pandit Shivkumar Sharma and Ustad Zakir Hussain performed at Westlake High School Auditorium on Sunday to an audience of over 1000 people in Austin’s biggest Indian music concert event of the year. They were accompanied by Ty Burhoe, one of Zakir's dedicated students on the tanpura. Austin was in the Southwestern leg of their North America tour, they had performed the night before in Dallas and Monday they flew to New Mexico. They have over 12 performances in this tour in places including New York, British Columbia, Minnesota and Texas. The concert was organized by the Austin chapter of the Association for India’s Development, a nonprofit group that undertakes developmental work in India. The concert was a fund raiser for AID and the Capital Area Food Bank.

Pandit Shivkumar Sharma began his Hindustani classical music training at a young age, taught by his father and guru Pandit Uma Dutt Sharma. His studies included vocal music and playing the tabla. As a Kashmiri he was deeply imbued with the folk music of the region and particularly enjoyed the folk instrument, Santoor. The Santoor is a hollow wooden 100 stringed instrument that resembles a western hammered dulcimer and is played with two tapered wooden sticks. Shiv Kumar worked with the Santoor for several years adapting the instrument to the point where it could be used for performing Hindustani classical music. Although there are now several artist performing classical music with the Santoor, Shivkumar is credited as the artist who developed the Santoor into a classical instrument, he was recognized as the first classical master of the instrument and is now accredited as one of India’s leading exponents of Hindustani music.

Ustad Zakir Hussain is one of the most recognized Indian musical artist in the world today. His status as one of the greatest percussionist in the world and the most sought after tabla accompanist stands without challenge. He is the son of the legendary tabla maestro Ustad Allah Rakha who was best known for his masterful musical partnership with sitarist Pandit Ravi Shankar. Allah Rakha began Zakir’s tabla training almost at birth, reciting rhythmic compositions to him as a baby. At the age of 12 Zakir performed alongside his father in a well received concert with the famous sarod maestro Ustad Ali Akbar Khan and his extraordinarily successful concert career has continued to this day. Through Zakir Hussain’s intense study of world percussion instruments he has brought some new and astounding innovations to the tabla. His precise tuning and modulation of the baya, (the larger round metal left hand drum) allows him to actually play along in key with the instrumentalist providing what sounds to western ears like a bass guitar. He has added several new sounds and increased the use of the palm of the left hand as well as the small finger of the right.

The concert started with an afternoon raaga known as Bhim Palasi, Shivkumar played a hypnotic introductory solo (Alap) which was then followed by the gat in the 10 beat rhythm cycle Jhaptal. It is important to note that one of the key signatures of Hindustani music is the intense focus on the Tala (the rhythm) and no matter what Tala is chosen, the improvisations must accent or end on the first beat of the Tala. Shivkumar and Zakir truly showed their mastery as they effortlessly glided through improvised passages of 6 beats over 10, 12, and 14, etc. They regaled the audience with their interchanges, especially when they played in perfect unison each trying to catch the other unawares by playing increasingly complex passages. The next phase of the raaga was the fast gat which was performed in the 12 beat cycle of Ektal. At certain intervals the tempo increased dramatically, building up speed until finally reaching an intense mind boggling plateau that ended with a dramatic fixed rhythmic composition (the Chakradhar).

After the intermission the artists presented a mixture of several compositions based on Mishra Pahadi which featured several interesting folk based melodies of Kashmir and many catchy rhythms including Adital and Teental; both of which are 16 beat Talas.

Several times during the performance the audience reacted with spontaneous applause as well as standing ovations at the end of each raaga. After the concert the artistes obliged the fans with autographs, photos and brief conversations. This opportunity is unique considering that these artists are usually protected by security in India where throngs of adoring fans would easily overwhelm the situation.

There is a heartfelt satisfaction knowing that this incredible musical heritage and artists like these are revered and supported in a world where pop music and fast food dominate the senses. There is also satisfaction in knowing that these artists can include our community as one of there concerts stops. This is something that is made possible by organizations like AID that depend on the support of all members of the community.

About the reviewer: Austinite Warren Ashford has studied the tabla for the last 20 years from the late master Pandit Jnan Prakesh Ghosh and later with Zakir Hussain and the late Ustad Allah Rakha. He conducts Tabla classes in Austin for both beginners and advanced students.

He can be reached at ashford2@hotmail.com.