PANDIT JASRAJ The classical living Legend

Pandit Jasraj, the Indian classical vocalist – talks about the uniqueness of Indian classical music on his 87th birthday

For music lovers today, Jasraj is a reminder of the gold standard of musical performance, attained through years of rigorous riyaz. The living legend of Indian classical music, Pandit Jasraj needs no introduction. In honour of this unparalleled living legend, awards and titles have not only been created and bestowed upon him, but have also been instituted in his name. Endowed with a rich, soulful and sonorous voice, Pandit Jasraj’s singing is characterized by a harmonious blend of classic and opulent elements, projecting traditional music with an intense spiritual expression. This gives his music a very sublime emotional quality; touching the soul of the listener. This sensitivity together with classical approach, has given his singing a lyrical quality which is the quintessence of the Mewati style of singing, writes Puja Banerjee. There are many forms of art today, from theater to rock bands, carrying a politicosecular message from village to village. How involved is Indian Classical Music in adopting this initiative?

Indian classical music is an extremely secular art form. With proponents such as Pandit Ravi Shankar, Ustad Bismillah Khan, and Ustad Zakir Hussain spreading its message of inclusiveness and tolerance through their music, it continues to tran- scend the boundaries of caste, religion and region. But in Indian Classical Music, there have never existed any feelings of differences. Often Pandit Jasraj is accompanied on stage by Ustad Zakir Hussain on the Tabla and sometimes, say, Rashid Miyaan is accompanied by Ramnath. It has to do with the atmosphere on stage – there never is a feeling of distinction or one of suppressing the other artist based on his religion. It just happens naturally that as soon as someone touches a pure

Sa1, everyone present becomes oblivious to their own identity. Has your music changed with respect to changing times?

Yes, it has, as it should. Change is a law of nature; it represents life itself. Anything which is alive will change over time, evolving and growing and becoming better. That which is alive, shows movements and shows change. However, if you contemplate changes needlessly, then you mess things up. It happens itself, as you go on singing. The process is also worth noting. I am walking along some way and I hear someone sing beautifully or something playing melodiously and there is this particular musical phrase that I pick up. Next, when I perform, I might include this improvisation and people might appreciate this new movement or, perhaps, I like it myself. I keep repeating it to myself in different forms – again and again. That is how change should take place. Fusion music gains popularity; respect for classical musicians and adoration for western culture has combined to create a formula that is much in-demand. What is your take on this new brand of music? Does the fusion work well for Hindustani Sangeet and its future?

When done well, fusion takes the best of modern music and classical compositions to create a unique blend of music that stretches across generations and geographies. Given its appeal, there is a possibility that it will work well in the future. They are all different forms of music –

ghazal, fusion etc. They all sum up to define music. Every musician is basically trying to find a new path. Whether he is successful is in his (or her) hands. However, attempting is the main part. There is nothing bad about that. Our Music –

Bharatiya music, is really advanced. Not only is it spiritual but also scientific. If we fuse any two or more forms of music and let me do a “Tauba Tauba” here since music is such a big thing – then Classical music always has to come down. One has to step down many levels unless the capacity or caliber of the western music that is being included is close to ours. Otherwise, our musicians have to climb down from their capacity. This is true for any instrument, whether it be Violin, Sitar or Sarod. The only exception in my eyes is the Symphony Orchestra. That alone is so unique and marvelous that our music hasn’t come up with an equal. Young listeners may not understand diverse gharanas. Your view?

You don’t need to understand how paints are mixed to appreciate a masterpiece on canvas. The same holds true for music. While understanding of the gha

ranas no doubt enriches the experience for the audience, it is not a hard requirement to enjoy the music on offer. Without learning, no one will understand any system. Once they start learning, they will definitely understand the importance of the gharana system. Artists today use the lecture-demonstration format – an academic way of educating the new audience. It’s useful. Given technology and media, do young people have the patience to learn over years?

One thing that differentiates a talented artist from the rest of the crowd is the constant need for learning and improving. Patience comes as a by-product of this quest for self-improvement.