My earliest recollections of the Maestro go as far back as January 1993 when I was fortunate enough to attend his program : it was in fact, a sarod recital by Ustad Amjad Khansahaab ably supported on the percussion (tabla) by Ustad Zakir Hussain in Nazrul Mancha, Kolkata. By then had listened to Ustadji quite a bit and though knew what to expect, the evening that unfolded before me was anything short of magical.

The program began with Ustad Amjad Khansahab snugly wrapped in his designer embroidered shawl. He lilted his way gradually to the hearts of the audience. But somewhere it was all too mellow, all too light for an evening where the expectations hung heavy. And then out of the blue, a different tune distinctly signature but characteristically out of sync with the proceedings of the evening ensued. Ustadji on the tabla started showing glimpses of why from a sangat or support instrument his sheer genius and unmatched originality had taken the tabla to every music lover’s cynosure of attention making it a widely and globally renowned instrument to be played. The same thing repeated a couple of times more and then Ustad Amjad Khansahab broke out of his shackles. He took off his shawl and went deep into his art : what ensured was a connoisseur’s delight in a jugalbandi of matchless artistry and perfection.

That evening I realized, sangat (support play) meant much more than playing along : it meant bringing out the best in the Main Instrument Player. This philosophy of Ustad Zakir Hussainsaab had repeated with amazing regularity across his consorts all over the world : be it in Bharat or abroad and everywhere had been a sell-out from the word go. Mention Ustadji’s name and music lovers would have come to roost: making such concerts a grand success.

Between 1993 till 1996, i have witnessed the Maestro on several occasions at the Doverlane Music Conference in Kolkata where I was an annual member under the aegis of my sister. Two lovers of Bharatiya Classical music, we spent many memorable nights in the Kolkata winter seeping and absorbing the divine renditions some where Ustadji did the sangat to a discerning sell out crowd.

Last him I had the fortune of seeing Ustadji live : not as a performer but as somebody introducing the mainstay of the day : this was in Jan 1997 when Ustadji introduced Pandit Shiv Kumar Sharma in the beautiful auditorium at Ramakrishna Mission Narendrapur. The two shared an amazing bond till the end and this was visible when Ustadji became a pallbearer to Panditji his mortal remains couple of years back.

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Ustadji’s command of his art, his influence globally, his making the tiranga fly high at soo many functions and concerts abroad (some diplomatic high profile and in the highest echelons of power) have their place. What makes Ustadji stand out is his grounding in the Bharatiya parampara: where he says with elan and ease that Ganapati Bappa was his Kuladevata and that while growing up, he would take the blessings of both Ganpati Bappa and Maa Saraswati before performing and how his family ethos was deeply rooted to Sanatani Hindu culture. This syncretic understanding and acknowledgment (not negating) our shared past makes Ustadji unique.

That’s why people may forget the composer or the actor or even Ustadji’s tabla imitating an upcoming train or a fast trotting horse but people will never forget his simulating the ringing of Shivji’s Damaru or His Ganas playing conch and kettle drums – all on two pieces of goat skin topped shisham wood otherwise called tabla.

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Ustadji, growing up would never have been the same without you. As your beats recede into the sunset, here’s wishing you travel well. Wherever you are, you continue to regale and win many hearts. Like you have always done. Aum Shanti 🙏

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