Ravi Nyayapati
Auckland, December 16, 2024
Standfirst from the Editor: For all the accolades, awards, citations, gold albums and the international attention that he continues to get as the greatest Tabla player in the world, Zakir Hussain considered himself a novice in the field. “I am not a good Tabla artist yet, which is why I am not quitting. I am still in the process of discovering myself,” he told me during an interview with Indian Newslink, after a long and tiring day of a workshop, not to overlook the long overnight journey that he took from the US with his wife Antonia Minnecola. That was on March 14, 2004 in Auckland. I have known Zakir for more than 50 years and was involved with his concerts in New Zealand, Bahrain and Dubai from the 1970s to 2011.
Ravi Nyayapati writes:
Today (December 16, 2024), the world of music mourns the loss of Zakir Bhai, the legendary Ustad Zakir Hussain.
As I write this tribute, I am overwhelmed by sweet memories of my personal encounters with this extraordinary artist, both in Auckland and India.
Each interaction left an indelible mark on me, as Zakir’s humility, sharp intellect, and unmatched talent always stood out. His passing leaves an irreplaceable void, but his legacy will indisputably continue to inspire generations – present and future.
A legendary family
Born on March 9, 1951, Zakir was the son of Ustad Allah Rakha, also known as Abbaji, a towering figure in Indian classical music and an unparalleled Tabla virtuoso. It was Allah Rakha who first exposed Tabla to the Western world, as an accompanying artiste to the legendary late Pandit Ravi Shankar.
Growing up in such a celebrated musical household, Zakir absorbed the traditions and intricacies of the Tabla from an early age, it was evident even in his youth that he was destined for greatness. While his lineage provided a strong foundation, Zakir’s ability to innovate and adapt ensured he carved a unique path, spanning genres, cultures, and continents. He transformed the Tabla from an accompanying instrument to a main instrument.
Contributions to Music
Zakir’s contributions to music are simply unparalleled.
He was not just a virtuoso Tabla player but also a visionary who expanded the boundaries of his own musical instrument as well as Indian classical music.
His collaborations with Western musicians, especially John McLaughlin, Mickey Hart, and Bela Fleck, resulted in ground-breaking fusion projects that introduced the Tabla to new audiences. His work with the band Shakti, blending Indian classical with jazz and rock, remains a cornerstone of world music. The revived Shakti group were to perform in Australia in January 2025.
Zakir has received many tributes both within and outside India. A recipient of the Padma Vibushan honorific, India’s second-highest civilian award, he became the first Indian to perform at the All-Star Global Concert at the White House in 2016 at the invitation of President Barack Obama. Along with John Williams, Zakir also composed the music for the 1996 Summer Olympics in Atlanta.
A career adorned with countless accolades, this year he won three Emmy Awards for his innovative work on a music documentary exploring the global influence of Indian classical music.
Culture and Secularism
Whilst he remained one of India’s greatest cultural exports from an early age, he remained deeply rooted in Indian classical traditions. His versatility and profound understanding of rhythm allowed him to perform seamlessly across both Hindustani and Carnatic styles. Whether accompanying a Hindustani vocalist, a Carnatic violinist, or a Western guitarist, Zakir’s Tabla added unparalleled magic to every performance.
Zakir’s music was deeply intertwined with his respect for Indian culture and heritage. Though a devout Muslim, he held an immense appreciation for Hindu traditions and their connection to classical music. He often spoke about how ragas, talas, and compositions were inspired by ancient Indian scriptures and philosophies. His approach to secularism was heartfelt.
Through his music, Zakir embodied the unity that Indian culture represents, transcending religious and cultural boundaries. His performances often felt spiritual, connecting audiences to something far greater than themselves.
Personal Encounters
What set Zakir Hussain apart from many contemporaries was his extraordinary humility. Despite achieving global fame, he remained a lifelong student of music, always eager to learn and evolve. He was quick to credit his peers, mentors, and collaborators, often downplaying his own role. This humility endeared him to everyone he worked with and made him a role model not just for aspiring musicians but for anyone striving for excellence.
I had the privilege of meeting Zakir several times over the years, both in Auckland and during my travels to India. Despite his global stature, he had an uncanny ability to make everyone around him feel at ease.
Conversations with him were always deeply engaging; his words carried a profound wisdom that was approachable and relatable. He never let his fame overshadow his humanity – a quality I will always admire. Whether we discussed music, philosophy, cricket or life, Zakir’s insights were thoughtful, and his grounded nature was just as inspiring as his music.
During his recent visit to Auckland in 2024, I was once again struck by Zakir’s remarkable memory. Despite meeting thousands of people over the years, he remembered details from past conversations. This attentiveness reflected his genuine interest in others and his extraordinary warmth.
Music and Life on the Tabla
As I reflect on Zakir Hussain’s life and career, I am reminded of the immense impact he had on the world of music. His ability to blend tradition with innovation, his collaborations that brought cultures together, and his deep respect for humanity made him a true global icon. The Tabla, often considered an accompanying instrument, became a lead voice in his hands, telling stories, evoking emotions, and creating magic.
Zakir’s passing is an irreparable loss, but his music will live on.
For those of us who had the privilege of meeting him, his warmth, humility, and wisdom will always remain in our hearts.
Ravi Nyayapati is an IT Professional and a Columnist for Indian Newslink. He lives in Auckland and writes on Current Affairs, Business, Community and Sports.
From our Archives (Indian Newslink, March 15, 2004)
Be it playing for Sarod maestro Ali Akbar Khan, Kathak master Birju Maharaj, Sitar king Ravi Shankar, Santoor wizard Shivkumar Sharma or working on his own album, Zakir displayed the same anxiety to perform well.
Widely considered a chief architect of the contemporary world music movement, Zakir’s contribution to the world of music has been unique, with many historic collaborations including Shakti, which he founded with John McLaughlin and L Shankar, the Diga Rhythm Band, Making Music, Planet Drum with Mickey Hart and recordings and performances with artistes as diverse as George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Sanders, Billy Cobham, the Hong Kong Symphony and the New Orleans Symphony.
His biography is characterised by milestones, achievements and awards. He says he began learning the Tabla under the tutelage of his father, the great, late Ustad Allah Rakha at the age of four and began touring with him eight years later. He was honoured with the ‘Padma Bhushan’ award by the Indian president in 2002.
He composed soundtracks for the films Ismail Merchant’s directorial debut In Custody, Bernardo Bertolucci’s Little Buddha and Shaji Karun’s Vanaprastham, a Malayalam that bagged the Best Film Award at the 19th Istanbul International Film Festival and the Indian National Film Awards in 2000.
Apart from being a composer of the opening music for the Atlanta 1996 Summer Olympics, he composed music for the San Francisco ballet company Lines and the San Francisco Jazz Festival in 1998.
How do modern young men and women react to classical music?
“With great appreciation. Indian youth for instance are highly educated, motivated and proficient in a variety of professions and are in demand worldwide. They are not pawn-chewing, illiterate or socially insensitive people. They understand and appreciate music and express a keen interest in learning its varied forms.”
