18. Zakir

I’m still reeling with the pleasure of the gift of the light kit from the kind folks at Northeastern University. I’m also reeling from the devastating news from the world of music. So this week I will celebrate the life and musical output of the amazing Ustad Zakir Hussain, who passed on this past weekend. Hussain was a master tabla player and musical innovator who has appeared on albums by artists as diverse as George Harrision, Mickey Hart (of the Grateful Dead), Bela Fleck and Pharoah Sanders along with a plethora of his Indian contemporaries. He was also, by all reports, a lovely man. My listening this week will attempt to document his amazingly diverse musical universe. Starting with:

Tabla Beat Science - Tala Matrix (2000)

One of the things I love most in my auditory journeys is listening to a musician explore different styles while keeping their own musical context intact. Hussain has played with such a vast array of people. I saw him first with John McLaughlin sometime in the 70’s. I’ll get to that stuff soon! For now, I’m listening to Tabla Beat Science, which is the brainchild of Bill Laswell (again) and Hussain along with electronic musician and drummer, Karsh Kale. It puts the Tabla in the forefront of a mix of Hindustani music, Asian Underground, ambient music, drum and bass and electronica. It’s really invigorating stuff! I’m not going to lie here - the live albums by this group that followed this one are better though. If you’re going to seek anything out by this band, go with either Stern Groove or Talamanam Sound Clash, both of which are richer overall musical experiences. However there is nothing uncaptivating about Tala Matrix, especially considering how novel it was for the time. For what it’s worth, the album Hear No Evil that I wrote about in post 16 also features Hussain throughout. So you can add that review to my tribute here with impunity!

Dhafer Youssef - Sounds Of Mirrors (2018)

I’m trying something new again today because Wendy suggested it. Since my short term memory is pretty shot, I often lose the narrative by the time I start to write. My long term is still sound (no pun intended) and this musical process I’m on - of diving into and focusing fully on albums from my past is causing me great joy. Let’s not forget (also a no pun intended moment) the research being done on the positive effects of music on Alzheimer’s patients, and others with memory loss and dementia. So, I’m going to write while the music and lights are on - I’ll go back and clean it up afterwards. Here goes.

This morning’s choice brings together the musical worlds of India (Hussain) and North Africa (Tunesian Oud player Dhafer Youssef). Youssef is one of my favorite musicians - whom I discovered through his work with a group of Norwegian jazz and electronica musicians, one of whom (EIvind Aarset) performs on this album as well. There is also a Clarinet featured, performed by Husnu Senlendirici from Türkiye. Another small world moment in the musical journey. I’ve edited the Sounds of Mirrors album a bit and am only listening to the tracks with Hussain on them, so about half the album.

First thoughts are on how close the musical worlds of India and North Africa are. The Tabla sounds right in line with the instrumentation of Youssef’s Middle Eastern tinged music. This is a slow and contemplative album - Youssef is a Sufi, and his work generally has a spiritual bent to it. The clarinet winds its way ethereally through the music, anchored by the Oud and the electric guitar soundscapes. This album, while in no means pop or commercial, seems to have a bit more of a mainstream (whatever that means) bent to it. Contrasting to one of my all time favorite albums by Youssef (or anyone) Divine Shadows which transports you immediately into your own personal space - Sounds of Mirrors could play (at least parts of it) on the radio in an enlightened country. Part of that is because I’m four tracks into my edit and Youssef hasn’t yet sung - and his voice is so incredible. The track Nasikabhushani (To Zakir) is a showpiece for oud and tabla and both artists are at their evocative best. It’s far too short. I could listen to this jam for much longer. Two master musicians at their peaks. Overall impressions is that while the interplay over the course of this album is outstanding, it does not rise to the immersive level that some of the other Youssef albums do. Because my shortened mix is only half an hour, I’m going to end this note by listening to one of my favorite tracks, off of the Divine Shadows album Odd Poetry, which is an absolutely spectacular and mesmerizing piece of music. Find yourself a dark room and a good set of cans and engage in this journey.

Overall impact of the writing process today: Clearly I’m writing more (and better?), but I really missed the immersion of the dark room with the synchronized lights and a total focus. I need to play around with this process some. I don’t want to gain one thing while losing another. There’s got to be a way to have both! I think tomorrow I’m going to double up - do my dark room lights focused listening, and then listen again, with the lights on while I write.

I’m also doubling down by buying the passive Beacon40 light set. Wendy and I will see how this works - for both of us! Wendy’s friend also recommended using a 40hz click tone for an hour a day. This is another passive way to stimulate the brain. I’ll try that out too. There’s a free one on Youtube. No experiment is too much to try! I’m feeling good and powerful. Kicking amyloid butt!

*EDIT* to say that I’ve been listening to the 40 hz noise for nearly an hour now, while writing a story. I can literally feel it swirling around in my brain. It’s really weird. At the moment, I’m not sure if I like it, but I’ll keep it up to see if I can note any positive effects.

John McLaughlin - Shakti (1975)

While this album was the first I heard that brought the music of the Indian Subcontinent to my attention, it was listened to in the context of “Speed Is All That Matters”. That’s where my head was at when I was 14 years old. Today, as a grizzled old man, I’m able to appreciate the technical virtuosity displayed here, without being able to enjoy any of it. Shakti is John Mclaughlin (Guitar), L. Shankar (Violin) and Zakir Hussain (Tabla) accompanied by two other percussion players. This is a live album. The first track, Joy, is an intellectual assault. Notes fly off of the fret (and fretless) board, fingers skitter across the skins of the drums, the audience's mouths drop open in amazement, and ultimately, nothing happens. The second track, which unfortunately is faded out at the end, has more promise. It’s a slower, more contemplative piece called Lotus Feet which has appeared in many forms within the McLaughlin canon. There is almost no tabla on this track, but it is much more pleasing to these old ears. The final track, the tersley named 30 minute long What Need Have I for This–What Need Have I for That–I Am Dancing at the Feet of My Lord–All Is Bliss–All Is Bliss has the most nuance. While certainly there are moments of the expected (because, frankly, that’s what we were looking for in those days) speed, there are also moments of serenity and peace. This is a much more melodic set than Joy and ultimately a far more rewarding listen with some outstanding playing from Zakir, Shankar and McLaughlin. Had I remembered the album better - It’s probably been 40 years since I’ve spun it - I would have started here for this writing. As it stands, I listened to the first and second tracks in the dark with nothing illuminating the room but the flickering lights, and have written this piece during the third track, looking through the lights at the computer screen with the music on headphones. There is some call and response between the audience and Hussain, and an extended tabla solo, which is an excellent example of Hussain’s skills at work. It’s hard to imagine the strength of his hands and fingers, and the intensity of the training that he must have done.

I suppose if I’m only looking for an exercise in musical wizardry, Shakti delivers. If one is looking for a more contemplative and sustainable listen, it’s not going to be the go-to. It fits solidly in the realm of the jazz-rock fusion of the era, while bringing the tonality and intonation of India into the mix. For that, it’s an innovative set, but won’t be getting many more spins from me.

Sacred System - Nagual Site (1998)

One of the biggest problems with owning as much music as I do, is that far too often a great album gets lost in the shuffle. Naugal Site is one such album. I’ve had it since its release, but for some reason it has escaped repeated listens. That drought is over now. This is a great set of music, and is a fitting testament to the skills of Ustad Zakir Hussain, who features across nearly the entire disc.

Another entry (in what surely will promise to be a lot of entries) from the extremely fertile mind of Bill Laswell, Nagual Site is firmly rooted in the music of the Indian subcontinent. Track one, Raag Sohni, is an exercise for tabla and voice, with singer Gulam Mohamed Khan trading time with Hussain and fellow percussionist Bill Buchen (a sonic architect from Brooklyn). From there we leap headlong into the wonder of intertwining vocals from Khan and the wonderful Iranian singer Sussan Deyhim on the track Black Lotus. These two wonderful voices wordlessly debate, backed by deep dub bass from Laswell and drums in the pocket from jazz luminary Hamid Drake. The organ, played by P-Funk’s grand maestro Bernie Worrell, brings the melody in. All of this is fully anchored by the steady, unrelenting tabla of Ustad Zakir Hussain. Top this off with a blazing saxophone solo from (I think) Bayard Lancaster and more vocals from Deyhim and Khan, and you have an extremely potent mix of innovative music.

And then we get to X-Zibit-I, a tour-de-force for Hussain, showcasing his skills across a range of meters. Sometimes sounding like a rock band, other times venturing off into ambient jazz explorations. This is deep music, and was a wonder to hear in the dark with the lights beating in time. This is followed by the weakest track on the disc, Derive, which is not a weak track at all! On most albums this might be a standout, but here, in the mix of all this formidable musical alchemy, it feels out of place. While there is a harmonium drone throughout the track, it is not otherwise rooted so much in the music of India - and Zakir does not feature at all. Thankfully, Khan is back with his wordless vocals on Saiya Nikasegaye, which brings us right back into the trance inducing music that Derive had launched us out of. For the most part, Saiya Nikasegaye is another duel between the singer and tabla, in this case played by Bill Buchen. However, this duel is nothing compared to the battle on Driftwork. Hussain and Drake lay down some ferocious beats, anchored by throbbing bass and supported keyboards. We end with Aab Yaad Kar Tu again featuring the voice of Khan weaving around the tabla, bass and harmonium. This album is such a fitting way to end my tribute to Husain. I couldn’t have done it better if I tried!

I’m well aware of a few things here:

I could have gotten the players wrong on Nagual site. They are not listed by track, and some of the tabla attributed to Hussain might have been Buchen, and reverse. Also, I’m not exactly sure if it’s Lancaster playing sax or David Liebman, also credited on the album. In the end it doesn't matter. The music speaks.

I’ve included no traditional Indian classical music in this list. That’s just my choice of listening and has no reflection on its merits. Hussain has been playing traditional music for many years - but for me, his genius is his willingness to explore outside the boundaries of tradition.

Finally, Hussain was a Hindu - so I know his spirit will be seen and heard from again. For now, however, the world will miss his singular and beautiful presence. Namaste, Ustad!

Thanks for listening along,

Dy

On an unrelated note, it's a bittersweet moment when you find a doctor that you really like - that really helps you - and you discover you can no longer see them. This is the case with my Endocrinologist. The reason, however, is that because of my hard work, I’ve gotten my A1C down to 5.1. It was 10 at its highest. This means I’ve, at least temporarily, conquered diabetes. So, while I will miss the care of this doctor, I won’t miss the need to have her. Hard work really does pay off, and I’m hoping that all the effort I’m putting into my brain care will do the same.