The best tabla players in the world ?
Permjit Bhamra
Can anyone give me a list of the best tabla players in the world?
All I know of that are really good, Zakhir Hussain, and Anindo Chatterji
Any better ...?
__________________________________________________________________________
Permjit Bhamra University of Bergen, Norway
s3...@ii.uib.no http://brems.ii.uib.no/~s312/
__________________________________________________________________________
Kyle Roth
Who is better than who is very subjective, but among the great living
tabla players you must of course include Zakir Husain's father, Ustad
Allah Rakha, and I would suggest that another of the very best is
Swapan Chaudury, regular accompanist to Ustad Ali Akbar Khan and current
table master of the Ali Akbar College of Indian Music in San Rafael,
California, USA. You can hear Swapanji on many recordings with Ali
Akbar Khan as well as many other top Indian Classical musicians.
Kyle Roth
Allentown, PA
A.Pavan
In article <4n7gar$1j...@usenetz1.news.prodigy.com>,
My list of favorites, in order, is :
1. Swapan Chaudhary (Lucknow) - arguably, the most melodic accompaniment of
all - his
two solo CDs just blew my mind - great loads of clean, methodical tabla
playing with the range of compositions spanning the entire gamut - from the
simple beginner's kaydas to the most chaste and supremely difficult gats.
Phenominal stuff. Swapanda's playing has a lyrical quality to it that in my
opinion is quite unmatched.
2. Sabir Khan (Farrukhabad) - great accompaniment skills - hear him with Hariji
on couple
of Nimbus CDs. His solo album though didn't do much for me. Some good stuff
but the development of the compositions fell short of my expectations. Mostly
hurried and speedy stuff. But he is a great Tabaliya all the same having heard
him on two occasions live. He is also a part-time Ghazal singer/composer.
3. Sukhwinder Singh Namadhari (Benares) - perhaps the only true young
representative
of the fabulous Benares gharana. He has accompanied Amjad Ali Khan on
some of the audiorec label recordings and has played some delightful
Banarsi kaydas. I heard him twice live - both times with Vishwa Mohan Bhatt
and boy was he good. Non intrusive playing all the way and when called upon
to do his bit, he delivers chaste Benares kaydas and tukdas. Also being a
lefty, he is a delight to watch.
4. Abdul Sattar Tari Khan (Punjab) - my favorite for light accompaniment. He
used to accompany Ghulam Ali for a long long time until the two parted ways.
Some absolutely great stuff there - no one plays 'laggis' like him. The guy
has some incredible creations in that department. He is the best Ghazal
accompanist I have heard in many years. He plays with Mehdi Hassan often now.
Unfortunately he has remained out of the limelight in mainstream classical
circles. But I'm told there is a solo recording or two of his (and his Guru -
Shaukat Hussain of Pakistan - Guru Bhai of Alla Rakha) out there. Haven't
heard them though and have been trying to get my hands on them. My teacher
Ustad Sheikh Dawood of Hyderabad, used to love listening to Ghulam Ali for
hours on end not just because he was a big Ghulam Ali fan but also because
he used to adore Tari Khan's playing.
5. Zakir Hussain (Punjab) - I like him for reasons other than popular - he is a
great Tabla player when not clowning around. Unfortunately in most concerts
he dishes out your usual run-of-the-mill machine gun sounds at break
neck speed. But he does it with aplomb and character and the public loves it.
However I like him for his weighty solo playing especially when he is in the
company of his great father. I think Zakir has the sharpest mind in the
business. Only if he would stop goofing about ...
6. Anindo Chatterjee (Farrukhabad) - The inside gossip always claims that he
is the one with the most amazing repertoire (his stock of compositions is
rumored to be the best) and the best grasp on speed. I have not heard him
live but have heard him in an accompnist's role on recordings. He
delivers goods with a rare authority. Plays some chaste Farrukhabad stuff
in his accompaniment. His two CD solo album is somewhat grammatical - it is
good, clean stuff played with sharpness and great sound production - but
somehow sounds very mechanical. Didn't quite have the lyrical appeal of
Swapanda. But all the same I enjoy his playing tremendously.
Besides these great ones, there are any number of other very good players -
among those I have heard live - Nayan Ghosh (son of Nikhil Ghosh), Vijay Ghate
(student of Suresh Talwalkar), Kousic Sen (student of Kumar Bose), Bikram
Ghosh (son of Shankar Ghosh).
Oh well, ...
Pavan
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Tablaguy
Here are few Tabla players who you might want to think about adding to the
list:
1. Kumar Bose (Benaras)
2. Rashid Mustafa Thirakawa (nephew of Great Ahmad Jan Thirakawa)
(BTW,Ustad Ahmad Jan Thirakawa also happens to be
the
guru of Zakir Hussain besides Allah Rakha (his
father)).
3. Rafi Uddin Sabri (shagird of Ustad Latif Ahmad Khan-Delhi)
4. Tanmoy Bose (student of Gyan Prakash Ghosh-Farukhabad)
5. Samir Chatterjee (Farukhabad) (student of Shyamal Bose)
6. Sanjay Mukherjee (shagird of Gyan Prakash Ghosh - Farukhabad)
frederic
strange questionŠ
tabla can be music and tabla can be nothing but technique, the two
you've named are technicians who don't play music.
if you want tabla player who plays music listen to :
amedjan tirakwa (late)
or in the same gharana
dayam ali qadri (MAKCD005 or MAKCD011)
best regards
Frederic
din...@charlie.usd.edu
In article <4n7gar$1j...@usenetz1.news.prodigy.com>, CDX...@prodigy.com (Kyle Roth) writes:
>Who is better than who is very subjective, but among the great living
>tabla players you must of course include Zakir Husain's father, Ustad
>Allah Rakha, and I would suggest that another of the very best is
>
>Swapan Chaudury, regular accompanist to Ustad Ali Akbar Khan and current
>table master of the Ali Akbar College of Indian Music in San Rafael,
>California, USA. You can hear Swapanji on many recordings with Ali
>Akbar Khan as well as many other top Indian Classical musicians.
>
>Kyle Roth
>Allentown, PA
>
>
Shafat Ahmed Khan (who is currently touring U.S. with Pandit Shivkumar
Sharma) is THE GREATEST. He is cut-above all of the rest..
- Dinesh.
Andrew Purdam
On 15 May 1996 17:14:36 GMT, frederic <ma...@club-internet.fr> wrote
(and very neatly, too):
An interestingly, some of my friends whom I've played Tirakwa to just
don't understand him.
One of his disciples, Pt Nikhil Ghosh (alas dec. 3 Mar 1995) was also
of beautiful touch. A gorgeous cassette was released in Australia
called Traya (he was touring with his two sons, Nayan (sit/tab/voc)
and Dhruba (sar/voc)). Some really nice playing and a clean
recording!
I'd have to plump for Swapan Choudhery, though I enjoyed wotsisname
Chatterji who played with Mr Krishna-on-the-flute Chaurasia. (What a
sales pitch!)
Sorry, but I find Zakir and Alla Rakha - whilst technically
mind-blowing - musically inaccessible.
A
______________________________________________________________
Andrew Purdam Canberra, Australia apu...@pcug.org.au
"Do I contradict myself? Very well then I contradict myself,
(I am large, I contain multitudes)." Walt Whitman (1819-92),
A.Pavan
In article <319aa...@cheese.pcug.org.au>,
Andrew Purdam <apu...@pcug.org.au> wrote:
>On 15 May 1996 17:14:36 GMT, frederic <ma...@club-internet.fr> wrote
>(and very neatly, too):
>
>>strange questionŠ
>>tabla can be music and tabla can be nothing but technique, the two
>>you've named are technicians who don't play music.
>>if you want tabla player who plays music listen to :
>>amedjan tirakwa (late)
>>or in the same gharana
>>dayam ali qadri (MAKCD005 or MAKCD011)
>
>An interestingly, some of my friends whom I've played Tirakwa to just
>don't understand him.
>One of his disciples, Pt Nikhil Ghosh (alas dec. 3 Mar 1995) was also
>of beautiful touch. A gorgeous cassette was released in Australia
>called Traya (he was touring with his two sons, Nayan (sit/tab/voc)
>and Dhruba (sar/voc)). Some really nice playing and a clean
>recording!
>
Which label was this cassette released on ?
Also, you mention Daim Ali Qadri's recordings ? Which recroding label are
these on ?
>I'd have to plump for Swapan Choudhery, though I enjoyed wotsisname
>Chatterji who played with Mr Krishna-on-the-flute Chaurasia. (What a
>sales pitch!)
Samir Chatterji perhaps ? Shubhanker Banerjee is the one who accompanies
him (Hariji) these days. (He ain`t that good IMHO).
>Sorry, but I find Zakir and Alla Rakha - whilst technically
>mind-blowing - musically inaccessible.
As someone said before, Zakir only appeals to the like of the most
"Jazz-Matazzed Airheads" in the music scene. I wouldn't go that far
to criticize him, but you're right about his playing. Technically
superior with little musical appeal.
Ahmed Jan Thirakwa and Amir Hussain Khan were arguably two of India's best
Tabla players of this Century. One of their recordings from the early
seventies (or the sixties) I have with me is just mind blowing (not in the
Zakir sense of mind blowing - but for their musical development and
execution) Simply uncomparable in its presentation, development and
execution.
Most folks today wouldn't appreciate Ahmed Jan or Amir Hussain. Zakir-Baaj
is all too popular and too pervasive. Most Tabla players on the scene today
try to ape him (some without any degree of success though). The Delhi Baaj
is nearly dead today - no big stalwarts remaining. Latif Ahmed and more
recently Shafaat Ahmed were the only two prospects. Latif is no more and
Shafaat, well, is too busy aping Zakir. He has all but given up the Delhi
Baaj completely.
Oh well ...
Sambarta
This is in response to Pavan's post where he made a list of his best tabla
players and ranked Zakir #5 and Swapan Chowdhuri the best. I would rate
Zakir above Swapan and here are the main reasons.
1) Swapan Chowdhuri is a great tabla player no doubt; it is true that as
an accompanist he is extremely melodic, unobtrusive and at the same time
brilliant. But since he accompanies Ali Akbar most of the time he has not
really proved his versatility , in other words the ability to adapt to
artistes with widely varying styles. On the other hand Zakir if you notice
can forge a chemistry with most great artistes. The way he accompanies
Ravi Shankar (traditional parans and tukdas) is way different from his
treatment of Shivkumar Sharma (softer and more sensitive but improvisational)
to give just one example.
2) Swapan Chowdhuri's playing is pleasing but doesn't have the excitement
of Zakir's. I mean with Zakir you never know what is going to happen next.
For example the sam is only a 3.5 matras away and voila - he squeezes in
a delightful and surprising cameo in just that short space. Not just brilliant
layakari but the spontaneity and ease are breathtaking.
There was never a time when Swapan was more popular than Zakir in India
and I can say this since I have heard them live lots of times since childhood.
And he didn't simulate gun or train sounds to win the hearts of the audience.
In fact that would have meant insulting both the artiste and the audience.
I , for one have been always exhilarated.
Thanks, Sambarta
DevanandM
Ok I think I will humbly add my 2 cents...
Every Gharana has there own unique style of compostions and these
compostions are recited in there own specific way. But when it comes to
performing these various compostions, whether it be Pujabi, Delhi or
Lucknow, it is totally up to the Tablachi to put these compostions in
there respective styles. Sometimes it is more emotional than techinical
when it comes to reciting the poetry of tabla.
Having heard Zakir over the years he is very aggressive accompanist, I
think it is more entertaining the young audience with his dexterity and
magical improvisations and giving the sarod or sitar player some
encouragement. From a technical stand point he is a master but the poetry
of tabla is brought to life according to the emotions of the tabalchi. If
you put Zakir,Swapan,Sabir in the same room and give them the same kaida
you will see each of them will present there own style of that kaida. It
is just like reciting poetry.
Swapan is more lyrical and if you look at him, you will the the way he is
express himself he is so relax and you can see it in his playing. He will
give you A- CLASS support and when it is comes for him to show his stuff,
he will leave you gasping.
Every pefromer wants to be remembered, so they will always try to leave
with you something extra.
Chetan Vinchhi
In article <4nd556$c...@sunbird.usd.edu>, din...@charlie.usd.edu wrote:
>
>Shafat Ahmed Khan (who is currently touring U.S. with Pandit Shivkumar
>Sharma) is THE GREATEST. He is cut-above all of the rest..
>
Just some thoughts on Shafat. Although I do like *some* things he
does, I have a problem with him. He sometimes seems to stray
from the laya. This is especially true in the slower gats. It is
natural that the problem would be less apparent in fast gats.
Did anybody else get this feeling while listening to him ?
These impressions were formed based on maybe three concerts.
If it is consistently true, he would be automatically disqualified
from the Greatest Tabla Player Contest.
While we are on the topic, any thoughts on Mahapurush Mishra ?
I have liked whatever I have heard of his music.
C
A.Pavan
In article <4ng99a$a...@risky.ecs.umass.edu>,
Sambarta <srak...@ecs.umass.edu> wrote:
>This is in response to Pavan's post where he made a list of his best tabla
>players and ranked Zakir #5 and Swapan Chowdhuri the best. I would rate
>Zakir above Swapan and here are the main reasons.
>
>1) Swapan Chowdhuri is a great tabla player no doubt; it is true that as
>an accompanist he is extremely melodic, unobtrusive and at the same time
>brilliant. But since he accompanies Ali Akbar most of the time he has not
>really proved his versatility , in other words the ability to adapt to
>artistes with widely varying styles. On the other hand Zakir if you notice
>can forge a chemistry with most great artistes. The way he accompanies
>Ravi Shankar (traditional parans and tukdas) is way different from his
>treatment of Shivkumar Sharma (softer and more sensitive but improvisational)
>to give just one example.
>
If it is kinesthetic rather than esthetic pleasure you seek in listening
to a tabla player, surely Zakir is the guy for you. His over aggresiveness
(especially with artists of same age or less) and excessive use of the
spontaneity that you speak of mars the enjoyment. Almost each time I have
seen him here in Minneapolis, he wants his mike to drown out everything else.
In 1993 he came here to accompany Pt Birju Maharaj and had his mike at
such a volume none of the other musicians could be heard. and this when
he was still complaining about the sound level for his mike. But of course
he got some real work that night from Pt Birju Maharaj who left him
gasping for breath. To the mostly naive audience, it was Zakir "beating
the shit out of Birju Maharaj", to quote one person. There were ample
moments when Zakir was left clueless that evening by Maharjji. But the
public loved his bang and thump stuff.
I agree he has one of the best minds in Tabla playing (that's why he can
spontaneously churn out interludes). However when I look for methodical,
esthetic and musical developent of a theme-and-variation, or other compositions
I don't find that most of time, in Zakir's playing. Even his recent solo
(rather duet, with his brother Fazal) performance in Minneapolis (along with
other percussionists) was average. Electrifying (to most who cannot otherwise
undestand the compositional beauty of Tabla playing) but hardly esthetically
appealing. And of course he complained more than a half dozen times about the
sound level. Time and again, after starting out on what would have been
a delightful cmoposition, he blurted out into meaningless 'relas'. In the
very beginning though he played a superb Punjabi Peshkar for nearly 10
minutes (I saw most people beginning to yawn since it wasn't electrifying
enough for them). And the train and horse routine was (the less said the
better ...) Public loved it though.
I have heard Swapanda with about as many different artists as Zakir
including a Kathak dance performance and a Ghazal concert. So the "less
versatile" theory is not true. Swapanda also accompanies South Indian artists
(with L. Sub and L. Shankar and the like) besides Jazz and fusion artists.
He is just not the flamboyant person Zakir is. But he can hardly be
called not versatile.
>2) Swapan Chowdhuri's playing is pleasing but doesn't have the excitement
>of Zakir's. I mean with Zakir you never know what is going to happen next.
>For example the sam is only a 3.5 matras away and voila - he squeezes in
>a delightful and surprising cameo in just that short space. Not just brilliant
>layakari but the spontaneity and ease are breathtaking.
Again, if drumming is meant to generate bodily enjoyment more than
appealing the intellect then Zakir is the guy. He is very capable of playing
weighty intellectual stuff. However the position of public adulation he
finds himself in doesn't allow him to do that often.
Zakir's playing is positively intrusive on most occasions. For example
check how he "blasted the heck out of" Hariharan on his Ghazal CD on a
couple of songs. Compare that to Tari Khan's accompaniment of Mehdi
Hassan or Ghulam Ali - it is classy, all the way. Also his tendency to play
these "ending on the Khali" tihaaais or ending on the 13th matara
tihaai all too often is disturbing. Ok perhaps in a
neo-fusion-pseudo-surreal-blues-multi-culti-bohemian-newage performance but I
feel it is too distracting in a serious classical performance. He even does
this with vocalists.
> There was never a time when Swapan was more popular than Zakir in India
>and I can say this since I have heard them live lots of times since childhood.
>And he didn't simulate gun or train sounds to win the hearts of the audience.
>In fact that would have meant insulting both the artiste and the audience.
>I , for one have been always exhilarated.
Well, I met one girl here who came to the Birju Maharaj performance to "see"
Zakir who she only knew as the handsome guy who appears in the Tajmahal Tea
ad. If that is what makes one more popular then so be it. Mass market
popularity is one thing, appealing to the demanding audience is another.
Zakir is a very capable Tabla player who gets applauded for the wrong reasons
I feel. And for people to say things like "the son was so much better than
the father" or "Zakir banged the daylights out of xyz" is unfortunate.
I think in this day and age when speed and stuff catering to short attention
spans are all that matter, he provides the perfect material. 'nuff said about
him. I still admire him for the occasional neat stuff he dishes out.
Pavan
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WARVIJ
>Most folks today wouldn't appreciate Ahmed Jan or Amir Hussain.
>Zakir-Baaj
>is all too popular and too pervasive.
In mild extenuation of Zakir's virtues, however, I would point out
that HE always acknowledges Thirakwa Khansaheb as a great influence
and as one of his teachers. I am told that late in Khansaheb's life
he was giving a recital for a large crowd in Pune which was
impatient with his playing; Zakir came out and addressed the
crowd, saying "this is *real* tabla -- please listen with respect."
That said, I frequently find him just impossible nowadays. The whole
melodic bayan thing, while exciting the first time around, gets very
tedious very quickly -- always at the same point in his concerts with
instrumentalists (haven't heard him do it with vocal, thank God!).
A friend heard Zakir play with Bhimsenji (again in Pune) about 15-16
years ago; with the first cycle of vilambit ektaal he was off bubbling
away with variations and all kinds of verbose finger-talk. Bhimsenji
apparently:
.....Stopped.....
.....Folded his arms......
.....Gave Zakir a long and not entirely loving look.....
and.....
Te..................... Re...........................
Ke..............................Ta................................
Tun.................!
I wouldn't like to be on the receiving end of one such look!
Guess Zakir needs to be given more non-Jasraj vocal slots to get
him back to the heart of the music. When he's off running around
with young instrumental hotshots (or even *old* instrumental
hotshots) it's just impossible to keep him reined in.
My vote for favorite tabla player has NOTHING to do with speed,
execution, or any of that stuff.
Omkar Gulwady of Bombay has the wonderful and highly desirable
gift of making any singer he accompanies sound even better. His
sensitivity, love of vocal music, and variety of subtle colorations
for even the simplest theka make his playing a delight. Thus his
contribution to the total presentation is extraordinarily valuable,
and marked by a modesty and care that are all too rare nowadays.
I know everybody else is talking about finger-stuff. What can I say?
Hearing really good theka is increasingly rare -- and to me that's
really where the greatest power emerges, and the greatest delight
is to be found.
Warren Senders
Original music blending Indian and Western traditions;
Hindustani vocal music -- Khyal & Thumri --
"Beauty in music is too often confused with something
that lets the ears lie back in an easy chair."
-- Charles Ives --
For info (617) 643-0206
Warren Senders
PO Box 39-1634, Harvard Square
Cambridge, MA 02238-1634
Sambarta
>
>Well, I met one girl here who came to the Birju Maharaj performance to "see"
>Zakir who she only knew as the handsome guy who appears in the Tajmahal Tea
>ad. If that is what makes one more popular then so be it. Mass market
>popularity is one thing, appealing to the demanding audience is another.
>
>Zakir is a very capable Tabla player who gets applauded for the wrong reasons
>I feel. And for people to say things like "the son was so much better than
>the father" or "Zakir banged the daylights out of xyz" is unfortunate.
>
>I think in this day and age when speed and stuff catering to short attention
>spans are all that matter, he provides the perfect material. 'nuff said about
>him. I still admire him for the occasional neat stuff he dishes out.
>
>Pavan
You made your point but you missed mine. When I spoke about popularity,
I was speaking not of the mass market but of the demanding audience. Out here
the proportion of connoisseurs is so meager that the priority is perhaps to
give the audience value for its money, not to educate it. No doubt the select
few gets deprived. Even I was hugely disappointed with a Nishat Khan-Zakir
Hussain recital at Umass. But you would be wrong to draw your conclusions from
these slam bang performances.
You have provided examples of Zakir trying to bang the daylights
out of xyz and even stooping to increasing the volume to do so. I don't know
if you have heard Zakir in India playing to a discerning and demanding audience
but let me recount just one memorable instance. This was a duet with his father
in Calcutta. They started with a peshkar and built gradually ,incorporating
more and more complex patterns and cross rhythms but never violating the
original framework of the peshkar. The curious thing was that the audience got
involved and I could hear faint murmurs and wahs each time they would come
back to the basic rhythmic line with pinpoint tihais. In the end the patterns
became incredibly intricate and beautiful, blending artistic refinement and
mathematical precision in a manner i wouldn't have thought possible. They moved
on to gats ,kaidas and relas and concluded with a series of parans and
delightful chakkardars based on drut tintal. Reciting the chakkardars made
them more interesting and accessible. And when I walked away that night I
could see that not merely I but the entire audience had been enthralled.
Great art is not merely what gives you esthetic pleasure. That has to be
combined with creativity and imagination and this is where I feel Zakir wins.
In the end, however much we argue, personal taste is key in determining
our preferences. You prefer Swapan and I respect your taste. But when you
compare two artistes, try to compare the best performances of each and then
draw conclusions.
Thanks, sambarta
A.Pavan
Yes, in the company of the elderly (e.g. his father, Pt. Ravi Shankar, Ustad
Ali Akbar Khan), Zakir is, shall we say, at his best Tabla playing behaviour.
I have heard him with all the three and he did play some beautiful stuff
without resorting to gimmicks. He was very reverential to the key musician on
each occasion. But with almost everyone else he is way too distracting. As I
said before, with any artist who is about his age or younger he just goes
ballistic. Whereas there are many other Tabla players who do not. That in my
opinion is the difference between him and others like Sukhwinder, Sabir, Tari
Khan and Swapan.
All said and done, I do enjoy Zakir's playing and to give him due credit, he
has made Tabla incresingly popular . Just that his musical sense of esthetics
more often than not, doesn't please me.
Rohit
Is Zakir the best tabalchi? Maybe!
He will definitely be remebered as a spoiler of the present genration of
tabla players in India. Doesn't matter what gharana they come from and
whom they learnt from, most of them are out there to copy the king of
jazz-ma-tazz. SPEED is the name of the game today. In one of his
interviews with Doordarshan, Zakir jee said "India is producing more and
more good tabla players...they all have speed."
Exept a few, many of our new comers can be called
FROM THE ZAKIR GHRANA OF SPEED SCHOOL. It is sad but true!
Who is the best tabla player.....You decide. Good luck
DevanandM
I guess the question should not be, "Who is the best Tabla Player in the
world" BUT What are the qualities of good tabla player?..
Devanand
Andrew Purdam
On 21 May 1996 20:18:16 -0400, deva...@aol.com (DevanandM) wrote
(and very neatly, too):
>I guess the question should not be, "Who is the best Tabla Player in the
>world" BUT What are the qualities of good tabla player?..
>Devanand
1) Sensitivity to the music
2) Good solid, rich theka
3) Ability to play screamingly amazing comps for one or two cycles,
and then drop back to theka without wanting to look like you've just
done the most amazing thing on earth (ie restraint). Nothing is more
tantalizing than hearing a great tabalchi just flash their temporal
knickers every now and then.
Andrew
PS:
Others may wish to include a childish grin and shock of hair to throw
back, but I don't think it contributes to the music, just to the show.
Having said that, I guess the show has _some_ importance. :-)
-A
______________________________________________________________
Andrew Purdam Canberra, Australia apu...@pcug.org.au
Perform acts of random kindness and senseless beauty.
kiran naiga
Regards,
Karna
