Q40

Namaste Guruji. You have had the privilege to listen to greats like U Bade Ghulam Ali, U Amir Khan, U Faiyaz Khan, Begum Akhtar & others in live concerts. Could you please describe aspect of each one of these Maestro's music that you were most impressed with? Which aspect in your view is relevant to our style of sitar? Thanks and regards.

Guruji
Suvarna, your query with regard to my musical experience of listening to music
greats in the past, requires a longish response – as follows.
I had the opportunity of listening to Ustad Bade Ghulam Ali Khan prior to
listening to Ustad Amir Khan and Begum Akhtar – except Ustad Faiyaz Khan.
1) Ustad Bade Ghulam Ali Khan – He had a open hearted resonant voice,
which had a ‘kasdar’ base without being ‘karkash’. The range was fantastic.
Punjabi style ‘harkats’ was judicially used.
He unfolded the raga very swiftly but discreetly. I used to accompany UVK who
went to visit him often in Mumbai. Once I casually mentioned to Ustad Ghulam
Ali Khan that “in yesterday’s concert, you unfolded raga Kedar very quickly”.
With a mischievous smile, he explained ‘हमारा तूफ़ान मेल है – मालगाड़ी नहीं’
As far as light classical music is concerned – Thumri etc., Khan Sabeh was
superb. We learn that he was responsible for introducing Thumri singing in
Patiala Gharana and made it extremely popular. A fantastic voice coupled with
insightful imagination and Punjab related decorative elements – all of these
made his recitals extremely enjoyable and impressive. Proof of the popularity
of many of his renderings is, that even today several musicians copy the same
in their recitals.
2) Ustad Amir Khan was a ‘धीर – गंभीर’ person having insightful -introspective
musical vision. Everything he did was measured in the vilambit tempo / laya.
His facial expressions while singing were sombre. He very rarely smiled during
his recital. In short everything had a base of serenity and grandeour.
His unfoldment of vilambit khyal was extremely methodical – step by step –
melodic centre to melodic centre, in a high systematic fashion evolved through
several generations of Kirana Gharana musicians.
Whilst the respect that he commanded was indeed great. There were some who
observed that “he seldom sang antra of vilambit khyal”. Thus implying that he
did not receive systematic Talim and hence did not know a bandish in full. There
were also some who observed that after completing alap, he straight went to
execution of longish taans – thus missing the systematic development of the
taan portion.
He was a great thinker and I received valuable guidance from him, from time to
time, as I had the good fortune of receiving him at our residence quite often. For
e.g. he criticised my lack of initiative to take risks. He mentioned that without
taking risk one cannot make progress. He told me, ‘įरˋ लेतेŠए बड़ेबड़ेउˑाद
बेसुरे हो जातेहै – तुमको भी įरˋ लेना चािहए, तुʉी लोग तो कहतेहो “no risk no gain”.
That was a great pointer, as at that stage I was still in the process of establishing
myself as a sitar player. His practical guidance he gave from time to time
relating to sitting posture, decorative element etc. was indeed timely.
3) Ustad Faiyaz Khan – I had the good fortune of listening to him 2 – 3 times
along with UVK. Being a follower of Kirana Gharana music approach, I found
his recitals a little aggressive with sparingly used delicacy. The voice production
was nasal but it had its own character of being impressive and included volume
variations. Frankly I do not have much to say as my exposure to Ustad Faiyaz
Khan’s music was scanty.
4) Begum Akhtar had affectionate feelings for Kishori and hence used to
visit our residence from time to time. Ustad Mohammad Ahmed Khan – the
famous tabla player, also knew her very well as he had accompanied her
recitals on many occasions.
Any words of praise for her would not really convey the stature of Begum Akhar.
She was not only an unbelievably fantastic musician but also a very humble
simple human being, always ready to assist and help – maintaining the entire
burden of her family requirements. There are many instances that I know of her
unusual humility.
It was during return by air from Bhavnagar after a Sangeet sammelan concert,
Begum Akhtar who was sitting next me in the plane, asked me whether I would
teach her sitar. I was completely taken aback and told her that we are only
shagird and cannot teach an Ustad. In response she said that I was fortunate
in having excellent Talim from UVK saheb and hence would like to learn from
me rather than anyone else. This was because she admired with UVK
approach to music after the film Jalsagar where UVK had composed music.
She told me that she, who was considered to be almost a queen of Gazal,
Thumri etc. found that UVK had different approach (she had a session or two
of Talim from Khan saheb).
After obtaining permission from Khan saheb, I started teaching her as and when
she used to visit Mumbai. This lasted for about 2 years. She must have taken
approx. 8 – 10 lessons – Yaman.
Conclusion :
1) With regard to the query as to what aspects / dimensions of the recitals
of all these greats are relevant to the Talim that our students receive today.
It is ascertained that UVK moulded / structured his style based on the musical
sections of these masters that appealed to him.
a) By and large, it is believed that, he was influenced by Usatd Abdul Wahid
Khan / Ustad Amir Khan for his alap.
b) For Jod-Kam, he was partially influenced by the ‘nom-tom’ alap as
conceived by Ustad Faiyaz Khan (Agra Gharana).
c) For taans etc., in addition to our own Gharana’s approach, he was also
influenced by the taan patterns of Uatad Rajab Ali Khan (Dewas).
Thus we have received UVK’s synthesis / amalgam of a unique style which
personified Vilayatkhani baaj.
I think it is sufficient to mention that some of the elements of the music greats
that I have heard are already included in the Talim that we received from Khan
Saheb. Hence no more comments may be required.
2) In conclusion I would mention that being dedicated to Kirana Gharana
approach to music, I respect Ustad Amir Khan saheb as one of the greatest
vocalist in addition to being a great thinker