Ustad Hashmat Ali Khan, of the well-respected Ajjrara gharana of Tabla, which has had doyens such as Ustad Habibuddin Khan and Ustad Niazu Khan, passed away earlier this year. In his memory, his son and musical heir Ustad Akram Khan organised a glittering evening of percussion to enable fellow percussionists to pay their tributes to the maestro. Akram Khan said he was touched by the spontaneous confirmations of participation at the memorial; the artists invited just said they were happy to come and honour a much loved senior.

Pt Yogesh Samsi, who also played a few pieces of Ajjrara origin in his concert, said “Ustad Hashmat Ali Khan was a very well-respected Ustad, also a learned and generous teacher.”

Before commencing the concerts, doyens in the field of percussion were honoured ~ Pt Sushil Jain, who is scarcely known beyond the world of Tabla, is a quiet unassuming person with a wealth of rare compositions of bygone masters of the Punjab gharana. Such is his stature that even Pt Yogesh Samsi himself, universally acknowledged as being a huge custodian of rare compositions, acknowledges Pt Sushil Jain’s immense knowledge, and said, “I am amazed at his erudition. He has so many treasures, I love spending time with him and discussing pieces of music. I have also taken compositions from him.”

Padma Bhushan Vidwan Vikku Vinayakram, who was also honoured, needs no introduction; he has an unrivalled stature among Carnatic percussionists and still plays with as much verve, even though he is now entering his 76th year. Also honoured were Kathak veteran Vidushi Shobha Koser and Pt Mridang Raj of the Ajjrara gharana, who, sadly, could not be present.

The first concert was a Taal vadya, featuring Khanjira expert Vidwan Selva Ganesh, (son of Vidwan Vikku Vinayakram), Vidwan Giridhar Udapa on Ghatam, Vidwan Anantha R Krishnan (grandson of legendary Vidwan Palghat R Raghu) on Mridangam and Ustad Akram Khan on Tabla. They played teen taal or, as it is known in the Carnatic tradition, Adi Tala. It was indeed an exciting concert, with each participant a master in his own field, beautifully showcasing the speciality of his instrument.

While the one handed Khanjira is the only one of its kind in the Indian tradition, the Ghatam has a unique tradition of its own. The rich booming tones of the Mridangam, with the intricate laya patterns played by the young master, won the audience’s heart, who forgot the rising cold in the open air venue. Indeed, the rhythmic patterns Anantha Krishnan played, with his wonderfully strong, crystal clear strokes created a magical ambience. As he said after the concert, “These percussion ensembles establish two things ~ one, you see the distinguishing feature of each type of instrument, and also you see how each player takes from the tradition of the other. (Incidentally, he has also learnt Hindustani percussion techniques from Ustad Zakir Hussain Khan). Ultimately rhythm is a feeling (a Rasa). Most times you lock into each other, into a common energy, and then the music flows. There are two sides to listening to music ~ the analytical side and the intuitive side; as a performer, one needs to appeal to both.”

On the Tabla, the newest percussion instrument of them all, with the fewest limitations, and the greatest variety of “bols”, light-fingered Ustad Akram Khan created magic. He also played a composition using “mishra jati”, which was very common in the Carnatic tradition. As he said, “Unki cheez unke saamne bajane mein acha laga. (Playing their (Carnatic) piece to them felt nice).”

The next item was a solo Tabla recital by Punjab gharana exponent Pt Yogesh Samsi, accompanied by two masters of their own instruments ~ Ustad Murad Ali Khan on Sarangi and Pune-based Tanmay Deochake on Harmonium. Pt Yogesh Samsi today has a unique stature as a percussionist due to his immense knowledge, not limited only to his own Gharana, undoubted dexterity as an instrumentalist, and musicality that extends way beyond just the rhythmic.

He is truly a wizard on the tabla, giving one not just a sensory but also intellectually stimulating experience.  The concerts were a fitting tribute to a master of percussion, by today’s masters of percussion.

(The writer specialises in music, musicians and matters musical)