The concert was a display of well preserved Indian traditions of thousands of years, a display of evolution of Indian classical music through political and cultural invasions and a strong reason to connect people beyond cultural, political and linguistic boundaries.
Ann Arbor, MI, April 12 – 
There were so many dimensions to the “Zakir Husain and Master Musicians of India” concert at the Hill Auditorium, Ann Arbor Michigan. The “Drums” – possibly one of the earliest instruments to express human emotions, “Flute” – a very simple instrument which has captured our imagination since millenniums and Sarangi a true blend of Indian and Persian influences. The concert was a display of well preserved Indian traditions of thousands of years, a display of evolution of Indian classical music through political and cultural invasions and a strong reason to connect people beyond cultural, political and linguistic boundaries. Attending a recital by the legendary, the unmatched maestro of rhythm and world’s most influential musician, the Ustad Zakir Husain is nothing but a blessing.
The concert started with a classical Manipuri drum recital followed by Ghattam recital. Every moment of it was a blessing to watch and listen. The Sarangi tune started as a reminder to Islamic/Persian influence on Indian classical music. The first couple of minutes of Sarangi playing virtually transported listeners to popular gazal concerts. The legendary Ustad Zakir Husain and his brother exhibited their excellence in “tabla”, accompanied by Sarangi “lehro” in “teen taal”. As the trio progressed further, the pair of tabla tuned in different soor to display contrast in sound filled the atmosphere with bliss. The experience was simply divine. So was the excellence in their art that even when they tuned their tabla with hammer, it added to the rhythmic mood of the auditorium.
The post interval part of recital was highly interesting, The traditional Indian dholak and the Uzbek doyra recital was very engaging. The duo was very much in tune and only an attentive follower would understand where one left off and the other artist picked up. Raag Bhupali on flute by shri Rakesh Cahurasiya was rendered to create an atmosphere of blissfully calm,dark night, with the maestro Zakir Husain himself in accompaniment.
Listening to the “perfect” sounds produced through Dholak was a very inspiring experience, simply because it was rare. Over the years Dholak has been used over and over as an accompanying instrument and is rare to watch a solo performance.
The grand finale brought 7 artists together, the sounds of Dholak and Ghattam with Tabla, Sarangi and Bansuri ecreated an era influenced by ancient rhythmic patterns yet as folk and earthy as it can be. The Manipuri dance artist quietly entered the stage, and joined the team with his drums. His classical Manipuri dance style of twirling in air in a rhythmic pattern around his drum, while playing his instrument was mesmerizing and a treat to watch.
Esemble:
Zakir Hussain, tabla
Fazal Qureshi, tabla and kanjira
Rakesh Chaurasia, bansuri
Dilshad Khan, sarangi
Navin Sharma, dholak
Abbos Kosimov, doyra
Meitei Pung Cholom Performing Troupe, dancing drummer of Manipur
http://www.ums.org/s_current_season/artist.asp?pageid=688
~ Vaishali Bhatt