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Washington Performing Arts alternative to in-person programming series is premiering this Friday, April 30 at 8 p.m. ET, streaming through Thursday, May 6, with the indisputable tabla maestro, Zakir Hussain.
Longtime Washington Performing Arts audience favorite Zakir Hussain is the “indisputable tabla maestro”: an artist who has not only taken his instrument to its limits within its original discipline, Indian classical music, but who has vastly expanded the presence of both his instrument and musical heritage within other genres—including jazz, rock, and Irish and American folk music.
Leading the newest edition of his long-running, biannual “Masters of Percussion” ensemble, Hussain is joined by fellow drum virtuosos representing multiple cultures, traditions, and instruments: Iranian-born percussionist Pezhham Akhavass, performing on tombak and daf; Multi-Grammy-winning American jazz drummer Marcus Gilmore; and Anantha Krishnan, a percussionist raised in America and residing in India, on mridangam. In a pre-recorded, offsite guest appearance, the percussionists are also joined by Indian musician Sabir Khan, a master of the sarangi, a traditional stringed instrument. You can watch this incredible performance from the comfort of your home for $25.
In an exclusive chat with India Currents magazine, the legend, Zakir Hussain tells us more:
How different is your experience as a percussion artist in a virtual Livestream show without the live audience?
ZH: I do miss plugging into the audience’s reaction as an inspiration source. It would be true for all musicians. However, not having the audience in person challenges me to focus more on detail and on the musical statement I want to make. The responsibility is squarely on my shoulders and the message is mine alone. This requires a different mindset which, of course, is the most challenging hurdle to get over.
Your performance was originally titled “The Story of the Tabla” and has now evolved to “Masters of Percussion”. Can you tell us more about the origin story of your production?
ZH: Originally, “The story of Tabla” was a much bigger production involving many more artists. What we are presenting here is only one aspect of Tabla’s story. Tabla is one of the youngest classical Indian instruments, but it has already made significant strides as a world instrument. This particular show focuses on how the Tabla repertoire influenced other drumming traditions and how certain drumming countries appear to have similar techniques on their drums. For example, the mridangam is adopting Tabla compositions and transposing the hand technique effortlessly. The Jazz drum and the Iranian Tombak or Daf do something similar as well. It is an interesting coincidence when the Indian bowed instrument sarangi enters the fray and how all the drums on stage easily lock in with the folk melodies of Rajsthan. Honestly, there are no borders.
Tabla is an instrument going through an evolution. What do you think is the most significant trend in the upcoming decade for Tabla?
ZH: As time marches on, Tabla still being a young entrant has the flexibility to expand its panorama. The technique applied on Tabla allows for it to be a part of any musical conversation: Jazz, Rap, Hip hop, Folk, Electronica, Classical, or any other form of music expression yet to be discovered. There are miles to go…
Piyali Biswas De is an accomplished Bharatnatyam and Non-classical dance exponent, guru, and well-known choreographer in the Greater Seattle region. When she is not dancing, Piyali works as an IT professional in Seattle and spends time with two beautiful daughters who seem eager to follow in her footsteps.