Selected Recording |
| Vilayat Khan (sitār)
with Zakir Hussain (tablā), Captivating Melodies of Sitar; Rāga: Miān ki Toḍī - Alap and Jod, Gat in Teental (Oriental Records CD 120). |
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Ustad Vilayat Hussain Khan (1924-2004) was one of the two best-known senior sitarists in the Hindustānī saṅgīt paddhati of the twentieth century. His father, Ustad Inayat Khan, was one of the premier musicians of the first half of this century and his brother, Ustad Imrat Khan, was perhaps the best-known performer on the bass version of the sitār, the surbahār. Vilayat Khan was particularly identified in India for his particular way of playing, called the gāyaki aṅg ("singing" style"). His performances drew upon the traditions of princely India, exhibiting elegance and sophistication and disdaining anything flashy and showy. Nevertheless, his technique was peerless. He exceled both in the subtle bending of notes (mīṇḍ) and in seemingly effortless runs that unfold with daunting speed. He was, without a doubt, one of the greatest musicians of the last century. |
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| Zakir Hussain is perhaps the most prolific tablā player today performing regularly with classical musicians such as Ustad Vilayat Khan, Ustad Ali Akbar Khan, and Pandit Ravi Shankar, working with jazz musicians like John McLaughlin, and rock musicians like Mickey Hart. He is the son of another tablā virtuoso, Ustad Allarakha Khan (who has done his own jamming with people like jazz drummer Buddy Rich). Zakir Hussain is also in much demand as an accompanist for kathak (a classical dance form in northern India) and knows enough Karṇatak saṅgīt to have performed in tālavādhyams. He is particularly known for his left-hand technique on the low-pitched bāya and has worked toward perfecting the use of microphones to enhance the sound of the drums. |
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| PERFORMANCE STRUCTURE |
| Time |
Event |
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Alap-Jor |
| 00:00 |
The ālāp section begins. |
| 00:09 |
The ālāp of the ālāp now begins. Gradually, the pitch ambitus
is expanded, punctuated by moharas. |
| |
m#
<> rb |
| 01:50 |
mohara |
| |
m# <> gb |
| 03:00 |
mohara |
| |
m#
<> m# - db |
| 07:40 |
mohara |
| |
db <> n |
| 11:23 |
mohara |
| |
db <> s-rb-gb-m#-p-db-n-s |
| 22:35 |
mohara |
| 22:40 |
The joṛ section begins. Development can proceed much as in the ālāp; however, more commonly the artist concentrates on developing the relationship between pitch and rhythm. Punctuation is still achieved through the device of the mohara. |
| 23:50 |
mohara |
| 25:37 |
mohara |
| 27:32 |
mohara |
| 27:33 |
end |
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Gat |
| 00:00 |
In the gat section, the composition appears and returns repeatedly. In this performance, the gat grows from a rhythmic-melodic pattern established by Ustad Masit Khan. Masitkhani gat is in Tintal (see below). As soon as the gat begins, the drummer starts with a flourish. Here the solo is probably called an uthan. The sitar and tabla alternate solos through much of the rest of the gat section. Also, the tempo is gradually increased by steps. |
| 00:33 |
sitar solo |
| 01:50 |
tabla solo |
| 02:10 |
sitar solo |
| 03:18 |
tabla solo followed by a tempo increase. (etc.) |
| 27:12 |
end |
