Ustad Tari Khan creates amazing world beats
Two musical geniuses complement each other in an entrancing performance, reports GEORGE THAKUR
The Asia Institute and the Australia India Institute recently held an evening of tabla recital performed by world renowned Ustad Tari Khan of India, at the Garillo Gantner Theatre, University of Melbourne. Entry to the event was free for lovers of classical Indian music, with seats required to be reserved in advance. The hall was nearly full when we entered it some thirty minute before the time stipulated, and found both, Ustad Tari Khan and his companion Khalil Gudaz on sitar, already on the stage busily synchronising their instruments to achieve the optimal sur. The hall buzzing with anticipation and excitement, while both maestros briefly absented themselves before returning to the stage.
The Director of the Institute then took to the stage, spoke a few words about the Institutes and introduced the artists to the audience. Prof. John Webb’s greetings of Namaste, Sat Sri Akal and Salaam-Alekam, were followed by a brief introduction on the performers and a recommendation that if one needs to learn the art of percussion, one needs to start very, very early in life. “Ustad Tari Khan started when he was six,” he stated, and with that the event commenced.
To initiate the evening, Khalil Gudaz saheb presented a brief introduction of various aspects of ishq or love; aashiq, the lover; and maashooq, the beloved, etc. As is commonly accepted in the subcontinent, ghazals and ghazal-gaeki: both ultra-tender portrayals of love unconditional are necessarily addressed by the aashiqs for their maashooqas. Khalil saheb, wearing a contagious and possibly habitual smile that implied amused-friendliness, stated that the sitar was an India/Afghan instrument with nineteen wires, and then played a prominent, sweet-sounding Raag Jodh. Along with playing his sitar, he sang a song in the Persian language that sounded like a Rubai, while peppering the presentation with many explanations that were all ishq-based. A compliant Ustad Tari Khan complemented Khalil saheb’s endeavour with unassuming tabla-beats so not to overpower his companion’s art and also to maintain the mutually professional respect that generally exists between artists. Sweet-sounding Raag Keherwa was played on the sitar, and as it ended Khalil saheb bowed with hands folded to acknowledge the audience’s discernment of his expertise. The applause he received was deafening.
Now came the moment we were all waiting for. To accompanying soft recapitulation of Khalil saheb’s sitar, Ustad Tari Khan, dressed in a jari-wali shimmering sherwani and Aligarhi pyjama, his hair done in 21st century style, began with his instrument of choice: the tabla. Presenting Taal Rupak; an unusual combination of three beats and four beats, which he recited audibly while his fingers emulated rhythmically on the tabla. Aah, what a treat! Requests emanated that he played Raag Keherwa in Taal Keherwa, he elaborated, was like travelling without a ticket. Reciting the Chakr Dhara in triplicate, his fingers worked magic in disciplining the tabla, while his moods alternated from deep contemplation to chuckles of true amusement.
Having worked up a sweat, Ustad Tari Khan undid his sherwani to reveal an equally jhil-mil turquoise kurta, which was as lighthearted as his mood. Deservedly enjoying his performance, he played Raag Keherwa in styles peculiar to world regions, beginning with Punjabi, then the Middle East, Europe, and Africa: close your eyes – and Zulus danced to the tune of unsophisticated drums, sounds created by a tabla of fine pedigree. He even presented an Australian version, to the loud amusement of all, and termed it ‘fast’. Each classification was entirely separate from the regional other. Delightful and magnificent!
Briefly, Ustad Tari Khan explained that he played ten beats amalgamated in seven beats I knew little about, recited Gat Ka Tukra and elaborated on it for us on the tabla. Could eight fingers achieve such magic Ustad Tari Khan offered, we wondered! Creating swift and soft sequences of sounds in time, the Ustad pleased the souls of the tabla lovers in the hall. Perhaps the evening shouldn’t have ended so early.
