By R.M. Campbell
Few would argue that Zakir Hussain is one of the most important drummers of the late 20th and early 21st century. A steady presence in the United States since the 1970′s, he has often, well, maybe not often, appeared in Seattle in various venues with various other Indian musicians. On Thursday he returned to Seattle for a concert titled “Masters of Percussion,” presented by the Seattle Theatre Group at the Moore Theatre.
It was a program of his own creation in which he invited leading drummers, as well as the eminent violinists Ganesh & Kumaresh, for a tour of North America. Seattle was the first stop. The house was near capacity and enthusiastic for this show with its multiplicity of talent and offerings.
Seattle historically has not had a large Indian community. But in the past decade or so, more and more Indians have been attracted to the area for its high-tech jobs. In general they are a sophisticated and affluent lot. They also like to hear music of their native country and see dance. Thus, one can now experience a good share of premium musicians and dancers from India. Many of those performances have been on the University of Washington campus. Many still are, with the UW World Series at Meany Theater becoming a major presenter. The Seattle Theatre Group, which runs the Paramount and Moore theaters, has also taken up the charge. Following “Masters of Percussion” this spring is the Nrityagram Dance Ensemble April 17.
For all of the unparalleled richness of Western musical history and life that spans all of Europe and the Americas, its drumming traditions seems paltry when compared with India. Percussion instruments in the West are used primarily in an orchestra, important but subservient to strings and winds, and are required to keep time. In India, there is no orchestra as we know it but chamber music of the highest order in which all sorts of drums play a crucial role and are given a very free rein. Hussain plays the tabla, a pair of small drums with an astonishing variety of timbres, especially when they are played by a virtuoso like Hussain. They are ubiquitous in Indian music. Also on the program were three other drummers. Taufiq Qureshi played the Indian equivalent, or so it looked, of a set of drums arranged the way a jazz drummer might arrange them. Quereshi is Hussain’s brother; both studied with their father, Ustad Allarakha, a celebrated tabla player. Sridhar Parthasarathy played the mridangam and, Navin Sharma, the dholak. Scheduled for the tour was Sabir Khan, whose instrument is the sarangi, but was denied entry to the United States by immigration officials, Hussain said, from the stage, offering his apologies to the Seattle Theatre Group and the audience at the Moore. In the long tradition of Indian music-making, all of these musicians are steeped in Indian music not only by training but by genealogy, some to the ninth generation like Khan.
Like most concerts of Indian music, the program was long. The third hour was approaching when I made my leave. It was well-planned and rehearsed, its musical style derived from both North and South India. Those who came expressly to hear the brilliance of Hussain were rewarded early on with a generous series of solos. They illuminated Hussain’s bravura and musicianship, which are well-known not only in Indian circles but Western music of all genres. One of the attributes of Indian drumming is the extraordinary variety of timbres available on Indian drums. One could be led to believe that there was more than drums on that stage. I might add that everything was heavily miked, which is not necessary in the Moore but is part of the musical ambience on which these musicians now depend.
Then, Qureshi had his star turn with a sensibility and sound that resembled Western drums more than anything else all night He is a highly skilled percussionist. His duos with his brother closed the first half in an electric and compelling fashion.
The second half was devoted to the particularities of the brothers Ganesh & Kumaresh, accompanied by Hussain and Sharma. The European violin was introduced to south Indian classical music about 1800. A century later it was a fixture in programs of Carnatic music. Now, the violin is also part of concerts of Hindustani music in the north. It is used doubly as an accompanying and solo instrument, It is tuned differently than in the West which gives it a different sound. Instead of resting under the chin, it is held against the chest with the scroll anchored at the ankle. That gives the left hand total freedom to move about the fingerboard. Ganesh & Kumaresh are great experts in the instrument, revealing to a Western ear all the miracles of Indian music — its vibrancy and dynamism.
Parthasarathy’s solo turn was not long but potent and spell-binding. Eventually everybody came on stage, including the folk drummers and dancers, the Motilal Dhakis from Bengal, whose procession through the audience opened the performance.
