BY KAVITA CHHIBBER

When you think of melody and meditation Shiv Kumar Sharma’s music should automatically come to mind. When you think of percussion perfection there is no greater icon of tabla than Zakir Hussain. When you bring them together on stage as Emory University’s Department for Asian Studies and India Classical Music Society of Atlanta did on 10th April at the Glenn Memorial Hall, it is sheer magic.

I have said this in my preview that there is a soul connection between Shiv Ji and Zakir and it is evident not just in the way the two play together but also in their affection for each other. Zakir will always carry Shiv ji’s santoor no matter who else may be around.

Shiv ji made the hall smile when he humbly said of emcee Vijay Balakrishnan’s effusive eulogy of his many accomplishments that he requests emcees not to go over board in their praise. “When we come on stage we don’t know what we will end up accomplishing. What I play is not rehearsed. I come on stage and explore possibilities. If you raise the expectations too high and we don’t meet those then it may be disappointing.” The truth is that Vijay didn’t say anything about the maestro that was untrue or undeserved and Shiv ji’s exploration of the beautiful meditative evening raga Madhuwanti in the first half was proof enough.

It is very difficult to describe the magic of an evening of classical perfection. The setting was a beautiful cathedral, the two men before us magicians who have perfected their craft to the most exquisitely fine tuned end. Shiv ji explained that Madhuwanti is a bitter sweet raga depending on how the performer and listener want to interpret its traditional melodic improvisation. The alaap is a very important segment of the raga. Just as petals unfold to reveal the whole flower, the alaap unfolds the notes to reveal the richness of each raga.

When Shiv Kumar Sharma touches the santoor, every note that emanates is poetic melody in motion. From the lightest touch to the most resonant of sounds, every note is crystal clear and picture perfect. The alaap transported the audience to a world that that was filled with meditative exploration and a shower of music precision. There was pin drop silence as the melody permeated the interiors of the church. Soon after Zakir Hussain joined the maestro in two compositions, the first in rupak Taal (7 beats) and the second in ek Taal(12 beats). Zakir is a master at what he does-he also knows the pulse of the people, who come to see his wizardry some of which includes show man ship, and his performances are always a smart blend of the two. The second half featured light compositions created with a mix of two ragas Kafi and Gara. There would be no elaborate alaap in the second half Shiv Ji explained because such compositions do not require the entire process of starting with alaap and then flowing into the composition. Here one went straight to the composition. The second half was even better with both artists totally in sync. The music was lilting and his touch precise. Whether he is using the strikers, or his fingers or his hand on the instrument, it is all a flawless shower of notes. There were times that he went from the lowest notes playing chords on the instrument and then raising the melody to a high crescendo that had the audience gasping in amazement as Zakir matched him note for note, guessing where the maestro was heading as if it was second nature. Three hours flew by and yet it seemed as if no one had had enough. The artists received a well deserved standing ovation several times.

This concert was indeed a feather in the cap of ICMS Atlanta according to President Usha Balakrishnan. She added that it was also a learning experience as ICMS has never hosted anything so huge, but with every one’s support ICMS intends to bring great artists like these in the future.

The next ICMS Concert is on May 8th featuring sitar player par excellence Kushal Das with he equally talented Abhijit Banerjee, on tabla. For more information go to ICMSATLANTA.ORG.