Rashid Khan speaks of his life in music, his icons

Ustad Rashid Khan, 10th generation face of the Rampur Sahaswan gharana, is undoubtedly one of the finest singers of our times. Blessed with a beautiful full-throated baritone, Rashid had the signal honour of being singled out by Bharat Ratna awardee Pandit Bhimsen Joshi to sing a jugalbandi with him. This was a few years before his death. Today, having lived up to the promise he showed, Rashid recalled with fondness how Panditji used to send special “paan” leaves for him from Satara.

It was a pleasure to catch the Ustad in a mellow expansive mood, the informal chat was accompanied by the consumption of several handmade “paans” folded expertly by the Ustad. The words flowed as his music does; moving smoothly from subject to subject.

Ustad Rashid Khan is to sing in the capital at the Spic Macay annual convention at JNU, on June 5th.

On singing for a new breed of listeners:
How long can one keep singing the same old traditional compositions — it is equally important to reach out to a newer generation, with newer things. I have never compromised on what I was trained in, but do feel singing more Thumris, or the odd film song will only expand my listener base. If an artiste is popular, I think he should try to reach out to a new younger generation. How long will the white-haired audience remain! “Khaana khane ke baad meetha bhi bahut zaroori hai, ye baat buzurgon ne kaha hai (After the main course, something sweet is necessary too; even the elders have said this). So after the Khayal, Thumris or lighter pieces are alright.

On the duration of concerts:
I recall a connoisseur in Bombay who used to want to hear five-hour concerts — I have catered to such listeners too. But nowadays no one has the time so one has to compress the recital, and learn how to present succinctly. Jaise mera ek bahut barra plot hai, usme mera ghar ussi andaaz se banega. Chota sa plot hai, so ghar vaisa hee banega. Khubsoorti dono mein hai (If you have a large plot you will build a large house; if it’s a smaller space you will adjust accordingly. Both are beautiful).

On bringing in new dimensions to the music:
I feel the beauty of nature, the inspiration one derives from it has to be brought into one’s music too. I am in Goa, it’s raining softly, I am inspired, my Malhar will reflect that. I feel there is no point in being rigid in music — lakeer ka fakeer nahi bano. Har disha ko dekho, ek hee nazareeye se na gaao (Don’t be rigid in music; bring in all dimensions and moods into your music).

Many artistes compromise on their accompanyists; they will perform with sub-standard artistes to do them a favour, or to support a struggling relative. I believe in the best; I also feel audience expectations are much higher now. Seedha theka se baat nahi banti (you can’t make-do with a simple playing of “laya”); the tabla player must have the repertoire I have.

To perform well, one needs good vibrations from the audience. Though sometimes when that is missing, even genuine appreciation from good accompanyists help.

On his musical icons:
Ustad Amir Khan sahib, Bade Ghulam Ali Khan, foremost, of course, my Guru. Amongst instrumentalists, Ustad Vilayat Khan, who I really adored, and Ustad Ali Akbar Khan.

On government patronage:
Governments are very stingy with their support to artistes and our heritage. Awards given 40 years ago had a certain cache — they have no real relevance today. Being given too late, jab kabar mein latke ho, fayda kya hua? (when you have a foot in the grave, what’s the use of an award?) Earlier state governments used to give pensions to all Padma awardees — this was a good thing. Sad to say some artistes who are in an advisory capacity to the government too don’t give good advice. It should be preset every year how many Padma Shris, Padma Bhushans, and Padma Vibhushans will be given to artistes.

On lifestyle and what anxieties it brings:
I am proud to say I am a shaukeen. I love the good things of life; I am a total shopaholic! I travel so much, so there are endless opportunities. I love good food too, and cook quite well myself — at least all my friends say so! Sometimes I worry that I should continue to be able to have the lifestyle I enjoy today. I am scared of debts. I would like to have property in Mumbai, but the prices are prohibitive. The concept of paying interest is completely abhorrent to me; one must have money sense.

On memories:
I have my ancestral home in Badayun. There is such nor (light) in that house, so much music has happened there, the atmosphere is seeped in it. You can literally feel it! Badayun is a very sacred place, ghar ghar mein mazaar hai (Every house has a shrine). Nizamuddin Auliya was born there. I went back after a gap of 10 years. I hear they will have an airport in Bareilly — then I will be able to visit more. My pir (spiritual master) is there too.

Police commissioner Kaul had my first concert when I was around eight years old, I remember I sang “ae li aayi”, and my pir said then that I would make a big name for myself.

I was sent to Mumbai to learn music when I was five but was not happy there though my tabla training under Inam Ali Khan sahib flowered. Then I was sent to Kolkata to ITC; I remember for months on end I would just have to hold one note! I used to be so bored. I was initially not happy but slowly settled down. With God’s grace I had the best platforms, and once I started earning good money, at the age of around 15-16 years I realised this was my vocation. It was then that I acknowledged I wanted to become someone. Upaj andar se ubharne lagi, mere pir kee den hai (My creativity welled up from within, it’s the blessings of my master). I must confess I never practiced one taan time after time, the way riyaaz is done nowadays, but it hasn’t mattered.
I sometimes feel I should have studied, but I was very focused on music.

On his son Armaan:
A student of music should have ruhdaari; (soulfulness) without that it’s no use practising. I hope music in my son flowers — I feel he has it in him. But I don’t say that just because he is my son he will be a good singer.

(At 15, Armaan Khan is attractive and soft spoken. Typical of his generation, he is devoted to his iphone. Admitting that time management is an issue given the distractions of his age, Armaan says he takes time whenever he can to sing, before and after school. He is aware that he carries the weight of tradition behind him, but says he wants to sing because he enjoys singing. Apart from his Dada Guru Ustad Nissar Hussain Khan, he loves the music of Ustad Nusrat Ali Khan and Ustad Ghulam Ali Khan. He loves the tabla too, and is learning. He loves swimming, loves travelling, loves learning new things in new places and loves Marvel films. Admitting he is scared of his father when it comes to his music, he says his praise is rare.)
Truly, it was a pleasure to interact with this great maestro who has the ability to transport his audience to another realm.

Shailaja Khanna writes on music, musicians and matters of music