Music beyond the Strings

The Ustad has also accompanied the likes of Begum Akthar, Rasoolan Bai,Ustad Nissar Hussain Khan, Nazakat Ali Salamat Ali, Begum Parween Sultana,Kishori Amonkar, Ghulam Mustafa Khan and Pandit Shiv Kumar Sharma. In fact,in the company of the charismatic tabla maestro, Ustad Zakir Hussain, he iscredited with popularising the sarangi around the globe. quot;All this talk ofthe sarangi falling into bad days is untrue,quot; he says but adds, quot;yes, I amconcerned that it should not fade out like some of our beautifulinstruments. But, inshallah, the sarangi still has lot to offer and willlive forever.quot;

He is, however, bitter about the way the misconceptions associated with thisinstrument. quot;Despite the fact that it can snugly fit into a bhajan, birha orshringar song, in both classical and folk formats, the popular stereotypehas been that of sarangis at kothas,quot; he laments, adding, quot;all these peoplewho sneer when kothas are mentioned should remember that they kept ourtradition of music alive at a time when the aristocracy was not around topatronise it.quot; Remembering how connoisseurs would frequent such places tohear good music, he continues: quot;these women are the stuff legends are madeof. Even maharajas would rise in respect and bow to them. They areinstitutions and I feel proud of having accompanied them.quot; He cites theinstances of Kesarbai Kerkar, Menakabai Shobha Gurtu8217;s mother, MoghubaiKurdikar and many others have passed into oblivion, unsung.

An internationally acclaimed musician, he has performed with music icons ofthe West, like Beatles, Madonna and Duran Duran. Some of his memorableperformances abroad include one at the White House where he received astanding ovation and another that moved Prince Charles to tears! As asarangi artist, the Ustad is acclaimed for his ability to play theinstrument audibly throughout the concert. In this respect, he has managedto emulate the masters of yore who never needed the help of amplification toperform for even large audiences of about a 1,000 people. He is also wellknown for his dexterity and is unique in his ability to play any sarangi,unlike other musicians who flounder if denied their own personalinstrument.

Born on April 15, 1940 at Sikar in Rajasthan, the Ustad has a rich classicalmusic lineage. His great grandfather, Ustad Hussain Baksh and grandfather,Ustad Azim Khan were court musicians in the princely state of Jodhpur. UstadGulaab Khan, his father, was also an accomplished vocalist and sarangiartist. At the tender age of 11, he rendered his first solo performance. Inthe 60s, the Ustad participated in a conference organised by the MaharashtraGovernment. Hridaynath Mangeshkar, who attended was so impressed by hisrecital that he brought it to the notice of his sister, Lata Mangeshkar.Thus began Ustad Sultan Khan8217;s foray into filmdom.

So pleased was Lataji when she heard him play, that she invited him toreside permanently in Mumbai. It was Lataji who introduced the Ustad toBollywood and helped him during his early years in Mumbai. quot;I can never sayhow obliged I always will be, to her.quot; he says. His work ensured him workwith top music directors like S D Burman, Naushad, Khaiyyam, R D Burman andLaxmikant-Pyarelal. He has given background scores for Pakeezah, UmraaoJaan, Razia Sultan and Ram Teri Ganga Maili. In Piya Basanti, the Ustadtreats music lovers to an unprecedented feast of his vocal mastery, where heis ably assisted by South Indian singing sensation, Chitra. His stylereflects the musical influences of Ustad Abdul Karim Khan, Ustad Bade GhulamAli Khan and Ustad Amir Khan. Interestingly, these three legendary singerswere equally adept at both vocal singing and the sarangi. In fact, it wouldbe apt to say that Piya Basanti is proof that Ustad Sultan Khan hasinherited the musical genius of his mentors.