subscribeSwapan Chaudhuri, Aashish Khan and the CalArts Tabla Ensemble, REDCAT April 3, 2010
By Marla Apt
My first exposure to classical Indian music was an unforgettable Ravi Shankar concert. The meditative focus of the musicians to which the presence of the audience contributed required throughout the mostly improvisational intricacies of raga struck me as spiritually uplifting and physically revitalizing. I found myself soon thereafter in India hunting for a set of tablas.
It is said that each note on the Indian scale corresponds to the human subtle anatomy (chakras and nadis that govern the flow of prana or energy in the body). With roots in ancient vedic religion, Indian classical raga music is viewed by many as a spiritual discipline that can lead the individual to the direct perception of the true nature of reality. However, after a couple of years of less than intensive study of the tabla, I discovered that the joy of pure artistic transmission only comes from a lifelong single-pointed dedication to the subject, As Ravi Shankar says “It is only after many long and extensive years of ‘sadhana’ (dedicated practice and discipline) under the guidance of one’s guru and his blessings, that the artist is empowered to put ‘prana’ (the breath of life) into a raga. This is accomplished by employing the secrets imparted by one’s teacher…. The result is that each note pulsates with life and the raga becomes vibrant and incandescent.”
Content with not being able to experience bliss in front of my own tablas, I’m happy for an opportunity to listen to the practiced masters of Indian music, most of whom became initiated into the art before the age of ten. Last week, one of India’s most recognized tabla players, Swapan Chauduri accompanied Aashish Khan at REDCAT. The evening began with the Cal Arts Tabla Ensemble, seven tabla players (all men) playing a composition written by Swapan Chauduri. Hearing what is normally an accompanying instrument in a largely improvisational form performed in a rehearsed mini orchestra subtracted much of the potential beauty and subtlety from the tabla. While all of the musicians were technically proficient, (certainly more fluent than my two years of tabla studies ever delivered), their playing, most of the time in unison with only a brief solo allotted to each individual, lacked the artistry and expression that I think a half hour tabla spotlight demanded.
However the depth of sound elicited from Swapan Chauduri’s hand, even during the tuning reminded us of the richness possible when a lifetime of disciplined mastery meets with a hand drum.
My last classical Indian music listening experience was a 3-day music festival in India. The audience of thousands wandered under the music tent, sprawled in the sun or picnicked on the ground from morning to late night listening to extended sets by vocal artists and masters of various instruments from all over India. The stark contrast to the short set performed by Khan and Chauduri in the clean black box of REDCAT was apparently a difficult transition for Khan’s instrument. Adapting to having just returned from the humid climes of India, the sarod refused to remain in tune and required continual and extended adjustments.
The introspective and weighty sound of the sarod extracts a soulful depth evocative of the blues guitar. A lute-like instrument, the sarod can have anywhere from 17-25 strings. Only 4 or 5 main strings are used to play the melody while the other strings are used for drone and resonance.
Aashish Kan, practically a member of classical Indian music royalty was trained by his father, the great Sarod master, Ali Akbar Khan and was initiated into the study of music by his Grandfather, the famous Sarod guru and innovator, Allaudin Khan, one of the twentieth centuries most influential classical Indian music artists, His Aunt, Annapurna Devi, also a teacher to a long list of India’s most recognized classical musicians was married to Sitar maestro Ravi Shankar.
The concert followed the traditional Indian recital that begins with an emotional and introspective unaccompanied exploration and coaxing of the chosen raga that leads into a rhythmic section followed by drum accompaniment in the melodic raga composition that becomes the point of departure and return for innumerable improvisations. When he did finally harness the cooperation of his instrument, Khan delivered a lovely, slow tempo raga composed specifically for the time of day. Chauduri whose instrument required very little tuning honored the mood of the raga while expertly following (with technical, artistic and mathematical skill) Khan’s extemporization.
Being a largely improvisational melodic form based on a prescribed number of beats that holds the musicians together, a raga takes time to build and unfold. After the opening act, intermission and extended tunings, the short two ragas beginning late in the evening whet my appetite and left me tired but wanting for more.
