First published on outlookindia.com
Picking up the newspapers, I noted the lovely rosebud in my garden had withered to pieces. Put off, I turned to the newspaper and was even more saddened by the headlines that stated classical singer Rashid Khan was no more. Though he was afflicted with cancer, the irrepressible artist was expected to bounce back, but alas, it was not to be. And like the rosebud, the endearing voice of Hindustani music had faded before blossoming!
Maybe the ordeal was nature’s way to point out the impermanence of life but surely, fifty-five was no age to depart for the innovative genius especially when the world was all ears to his fluid renditions. At a time when Artificial Intelligence (AI) and gadgets are playing havoc with fine arts, Rashid’s talent was needed to help youngsters climb newer “scales” as most practitioners are never as gifted or resolute as Rashid was. Remember, in an era dominated by maestros like Bhimsen Joshi, Pandit Jasraj, Kishori Amonkar, Girija Devi and others, Rashid carved a niche for himself with his mastery over the three octaves. This proficiency allowed him to cruise through the exquisite yet difficult metres of Khayaals, Thumris and Taranas with ease, earning kudos from ordinary listeners to maestros alike. His singing was a treat and it is not surprising that after listening to Rashid for the first time, Pandit Bhimsen Joshi reportedly said, “I didn’t know what the future held for Indian classical music until I heard this boy singing. But now I’m assured it is in safe hands.”
Along with Kaushiki Chakraborty, Ashwini Bhide Deshpande and Shubha Mudgal, Rashid was the finest Indian classical vocalist of our time who admirably filled the void created by deaths of Bhimsen Joshi and Pandit Jasraj. Many young artists have performed creditably in the last few decades, yet we need to introspect as to why Rashid Khan became such a cult figure in his lifetime and what made masses enjoy his compositions in private as well as trek miles to see him perform on stage?
Probably, it was the manner in which he executed a composition that enchanted the aural senses. Rashid did not have a gifted voice but he chiseled his robust vocals to a high degree of perfection whereby his “Sur” never seemed overbearing and instead, perfectly complemented the elements of the Raga. Unlike many who wrestle with complicated notations, Rashid glided through intricate patterns of ragas with effortless ease. Of course, the stress, strain and pull on his vocal cords was the same as others but his genius made singing look easy because he understood that proficiency over musical notations (Alaaps and Taans) served no end if the expression was devoid of the “Bhaav Paksh” (emotional quotient). Watch his videos and you’ll find four constants in all his performances: a twinkle in his eyes, a smile on his lips and a fluid expression with minimal contortion of face and body.
There is a thin, invisible line between an honest rendition and a pompous execution but audiences can gauge the difference instinctively. Simply put, great singers enjoy the gamut of singing without trying to overawe listeners with gimmicks and they love singing for its own sake. This leads to expressions that are so inspirational, moving and cathartic that they automatically bring “Sukoon” (serene contentment) to audiences. Legendary playback singer Mohammed Rafi is the best example of this pristine joy of singing and it is evident that Rashid Khan too earned laurels because listeners found his explorations of ragas truthful, mellifluous and emotionally gratifying.
I believe a true artist, like a rare saint, is a timeless therapist of the soul. Hence, it is strange that most observers only recount Rashid Khan’s musical journey and accomplishments in terms of the numerous honours bestowed on him, the list of his songs or his exorbitant fees for stage and television shows. But what they overlook is that Rashid Khan was a bridge between puritanical singing of the past and the modern experimentations of this era. For a man disinclined to learning music during early stages of tutelage as it required arduous practice, it is astounding that Rashid was adroitly striding over the two worlds.
What critics also overlook is that an accomplished artist loves challenges. So, once Rashid had grasped the solemnity of the “seven notes” and honed his craft, fusion (experimentation) was his way of breaking free from the constrictions of the various gharanas (styles). It was like he had found his voice and was unafraid to break the boundaries of convention! And rightly so as all great singers understand the strength of their vocals, the essence of lyrics, the technique of projection to create newer and more intricate patterns of music and then connect with listeners with the right emotion. This skill is not easy to achieve but a brilliant vocalist unifies all these essentials to produce exceptional melodies.
Since Rashid had an intuitive understanding of the above niceties, he was able to enthrall with his brilliant “expositions”. His vocal precision in traversing from the deepest lows to the highest crests and adorning the melodic utterances with an enchanting finesse was an asset. Like all great vocalists, Rashid used “Swar” (Musical Notes) to paint a musical canvas as well as create a lasting bond with the listener. In fact, greater the dexterity of a singer, greater is the simplicity of rendition, leading to a meaningful experience for the listeners!
So be it film or non-film, Rashid’s creations haunt since they reside deep. That is why Khayaal singing which is based on a few words but depends immensely on imaginative improvisations comes alive in Rashid’s voice! If his Guru and maternal grandfather Nissar Hussain Khan had been alive, he would have been proud of his protégé’s ability to embellish various ragas with brilliant flashes of Gamaks, Bol-taans and Sargams. And like us, he too would have relished his repertoire of Bandishs and Thumris with gratitude as well as his Taranas that he endowed with his sensitivity and humanism.
Though music is unique to human civilisation, yet it is difficult to pinpoint what captivates a listener. But it is indisputable that Rashid connected with the young just as he related to elders since he articulated emotions through his “Sur”. That is why his death is a shocker for music lovers, many of whom feel ragas like Jog, Sohini or Vilaskhani Todi would never sound so intoxicating in future.
Numerous tributes have been paid but it is the accolades by his contemporaries during his lifetime that reflect Rashid’s persona and stature. An ambassador of India’s secular heritage, Rashid was loved by most colleagues (many referred above) while others from Usha Utthup to Shujaat Hussain and Sajan Mishra to Haimanti Shukla hailed him as a “consummate singer” and “a great human being who worked for welfare of others”. On more occasions than one, Kaushiki, Mudgal and Bhide too have stated being mesmerised by Rashid’s vocal prowess!
Indeed, it is sad that Rashid Khan is no more. Yet a greater tragedy is that something has died within us too forever!