When we revisit a raag which is already known, a new space
emerges with such revisiting. If I am asked to sing Multani now,
I would never sing it the way I sang fifteen years ago because of
the evolution of space. I am finding newer possibilities in the
known framework and new way of looking the existing space.
Another way of exploring a raag is to learn a new one which I am
not familiar with. Jayjawanti was another raag which I learnt
many years ago and performed it at my younger days. Recently,
I sang it in a show in Gwalior and before it, I was literally living
the raag for many months and listening to various artists of the
same raag. Understanding a raag from holistic perspective is
something which I do. I also intentionally try to practice such
raags which my father or Khan Saab haven’t performed. One such
raag was Nand, which I didn’t have any perspective or reference.
Do you prefer singing raag of Full scale or
pentatonic scale raags are your forte?
I don’t think I look at raags at this perspective- the number
of notes in a scale. A raag comes to my mind with a unique
personality. On a given day if I feel to interact with that
personality, I would approach. Before a performance, a lot
of factors come in before I choose a raag- based on the time
of the performance. I have been singing for long years and I
should also make sure the raags are not repeated in regular
festivals. Purely by musical inspiration I go by choosing a
raag. A Bhupali or Kalavati might inspire me one day, but
some other day Yaman or Bagreshree might be interesting. A
raag is a personality to me, like a human. I would not choose
interacting with a person based on the physical attributes
but it is the personality which influences the decision!
Do you think certain raags are emotionally classified
– like sad, devotional or happy?
I feel every raag is quite devotional and it comes from a pure
space. The devotion happens for the mood, pitch, texture
and the bonding which the performer has with the raag. The
inward journey towards a raag is quite spiritual. Happiness
and sadness are personalities. My Dad is a serious person by
nature but that doesn’t mean he never cracks a joke. In the
same way, my son is an upbeat child but that doesn’t mean
he is never sad. Every raag has an own ratio of sadness, and
various graphs or emotions. It also depends on certain sections
of the raag. The komal Ni of Raag Kalawati is quite sad and
presents longing. The pancham part of is quite upbeat in
contrast. If you explore the komal ni, there is deep sadness.
However, this interpretation can be subjective as well.
Who is the contemporary artist who make you think deeply in music?
There are many new artists of that sort. By musicians I
don’t mean just the voice but also the combination of mind
and voice. Mind is where music originates and execution
depends on the voice and technical brilliance. Shankar
Mahadevan ji is one of such singers whom I am in awe
with. His compositions, execution, ease and spontaneity are
something I greatly admire. The way he approaches music in
an unbound manner is something amazing. He can sing any
genre and embraces every genre with equal surrender. As a
person , he is a blessed soul and a great personality as well.
What do you think of modern technology and its
influence on the sanctity of classical music?
I feel the sanctity is mind-centric but not in the piece of music.
The cabaret songs of Asha Bhosle ji are no less pure compared
to a classical song. Her devotion towards the genre is something
I define as purity. The belief of an artist to a genre itself is pure.
Whether you are singing a khayal, fun song, dhrupad, thumri or
any composition- the degree of purity and commitment which
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the singer gives to the composition is what I think makes the
music pure. I don’t think technology has the power to take
away the power of Indian Classical Music that easily. Using
an electronic Tabla will definitely not take away the purity
of music. For a student with no tabla or tanpura access can
conveniently use an electronic assistant like iTabla or Tanpura
droid. When I was learning from my Father in earlier days, we
were not allowed to use a recording device but we used to write
the notation. Then we used to Riyaz. But when somebody wants
to record a class and keep it like a reference, it can greatly help
to correct the way of singing. The sanctity goes only when the
faith in music goes and technology is not the reason for it.
What do you think Hindustani classical musicians can do so that more
youngsters venture into it? How do you think the gap can be filled?
I personally don’t think there is a gap as such. If one is following
the trajectory of youngsters coming to Hindustani concerts ,
I have seen a great improvement in the past few years. I have
been in the live concert scene since 35 years and saw my father
perform as well. The numbers have gone up tremendously
now. Coming the ones who are performing, I don’t think fusion
or collaboration is required to attract younger audiences. If
you do classical concerts along with some collaborations with
different streams of music , it makes the performer’s journey
more interesting. You tend to respond to different kinds of music.
It also tests your own skill and spontaneity and presence of
mind. The youngsters are anyway showing interests in classical
music. Witnessing younger performers might inspire more
youngsters to pursue and appreciate the Classical music.
What is your daily Riyaz routine?
My son goes to school at 7AM and comes back by 2:30PM
and hence my morning time is the Riyaz time. I am more at
peace and focused when he is at school. With him at home, I
spend more time with him. I personally love to Riyaz during
the mornings and late nights. When I am traveling, things
go haywire and I try to practice whenever I find the time.
When I don’t have the ample time, I listen to lot of music
and I have two phones. While one phone is only for calls,
but the other one has the personal archive of music.
How importance do you think is sound for a performing artist?
It is quite important and fair amount of knowledge and
controlling of it is necessary. I am kind of halfway in
understanding and I carry my own microphone of
the purpose and I recently changed it for the tone
I looked for. It takes time to understand sound
because each auditorium is different in terms
of acoustics, feel, and construction. There
are many challenges which audience do
not understand but with the monitoring
person and sound guy is quite crucial.
In Indian Music, women are expected to sing
quite in high pitch. Your take on it?
I don’t think it is in classical music but
in playback singing this is happening. It
particularly happens when the female
singer is singing a duet with a male singer
and the male singer has a natural higher
octave singing. I think even in playback
singing many singers are coming forward
to sing in their own pitch- which is
necessarily not high pitch. They are
being admired quite equally. If somebody
doesn’t have a natural high pitch, one
shouldn’t judge the musical caliber