A shishya’s tribute to Ustad Zakir Hussain

My guru, Ustad Zakir Hussain or Zakir bhai as I fondly addressed him, is considered one of the world’s greatest tabla maestros and is celebrated for his groundbreaking contributions to Indian classical music and beyond. His virtuosity, innovation and ability to fuse Indian rhythms with global genres made him a pioneer in the field of percussion.

Renowned for his sheer virtuosity and unparalleled technical mastery of the tabla, marked by a deep understanding of the complexities of Indian rhythm and his ability to execute intricate patterns with remarkable speed, Zakir bhai was an institution in himself. He was a true genius who easily straddled diverse musical genres, be it Hindustani, Carnatic, jazz, western music, even Latin, African and pop music.

Zakir bhai’s virtuosity shone through in his ability to play extremely complex rhythmic patterns in a way that was both fluid and dynamic. One of his most remarkable skills was his ability to perform intricate tihais (rhythmic repetitions), layakari (rhythmic variations) and complex taals (rhythmic cycles), all while maintaining perfect timing and control. He could also perform complex polyrhythmic structures (multiple rhythms layered on top of each other) and jaatis with flawless clarity, a feat that requires an extraordinary level of concentration and dexterity. This was evident in his many collaborations with Carnatic musicians.

Zakir bhai could play at blistering speeds without losing the clarity of sound or rhythm. The dexterity of his fingers, beautiful balance and precision in producing distinct tonal qualities from the tabla’s two heads — dayan (the higher-pitched right drum) and bayan (the lower-pitched left drum) — are unmatched.

In addition to his percussive virtuosity, Zakir bhai’s exceptional improvisational skills to spontaneously craft intricate compositions on the tabla and baya showcased his deep musical knowledge, creativity and unmatched ability to ensure that every performance was unique and captivating and a testament to his fluidity and technical brilliance.

Ustad Zakir Hussain’s influence extends far beyond traditional Indian classical music. He has played a key role in the fusion of Indian rhythms with global music genres, introducing the tabla to new audiences worldwide. The formation of Shakti in the 1970s with legendary musicians like John McLaughlin (guitar), L Shankar (violin) and Vidwan Vikku Vinayakram (ghatam) was a turning point in music collaboration, as many consider this group to be the very first world music group.

Zakir bhai’s collaborations with George Harrison, Mickey Hart, Béla Fleck and Edgar Meyer further cemented his role in global fusion. His work in this domain not only highlights his technical mastery but also his ability to adapt complex Indian rhythmic systems into diverse musical frameworks.

His fusion work demonstrates his exceptional ability to synthesise and experiment while retaining the essence of Indian rhythmic tradition. Whether in jazz improvisations or world music jams, Zakir bhai has shown that the tabla is not confined to its classical roots but can evolve in response to a variety of musical contexts. His impact as a cultural ambassador has been profound.

Zakir bhai’s unfortunate demise is a huge loss to the music world. There can never be another Ustad Zakir Hussain. He was truly ‘Bharat ratna’ and I request the government to acknowledge his immeasurable contribution by awarding him the Bharat Ratna.

The writer, a well-known tabla player, is a disciple of Ustad Zakir Hussain