When sarod virtuoso Ayaan Ali Bangash is performing on stage, he feels supernaturally unreal. Son of sarod legend Amjad Ali Khan, he belongs to the seventh generation of the musical lineage of the Senia Bangash School. With solos ‘Raga Bageshwari’, ‘Footsteps’, ‘Raga Shree’, ‘Sonata’ and ‘Chords of Devotion’ to his credit, Ayaan, along with his brother Amaan and father, has graced stages across the world, including The Carnegie Hall. Significant among these concerts is the 2009 one when he performed at the United Nations to commemorate the Ode to Peace Concert with his father.
In an interview with DH's Anupama Ramakrishnan, Ayaan shares his thoughts on growing up as the son of incredibly talented parents, how the pandemic situation has affected the classical music scenario in India and whether virtual concerts can ever steal the thunder from live concerts.
Q. What is your earliest memory of being on stage? Could you turn the spotlight on that?
A. To be a musician is in itself is a blessing as you are really not answerable to anyone but yourself. For those few hours when you are on stage, you are in a creative frenzy, sometimes supernaturally unreal. There are times when you get off stage only to realise that something special happened up there on stage that day. It’s a blessing to be in a profession of what you love doing. It is also a non-debatable factor that music is indeed the best way to connect to that supreme power that we have never seen. Music has always been the pathway to spirituality. It is therefore part of a larger journey.
Q. Growing up in the shadow of a famous father… was it easy or tough for you and your brother in your musical odyssey?
A. Even though our conditioning was in a musical environment, now it's a passion and a reason for my existence. Being Ustad Amjad Ali Khan Saheb's son is a matter of great honour. I feel highly privileged that God gave me the opportunity to be born to him. My father’s music, of course, no doubt is the real inspiration but so is his humility, simplicity and politeness. Almost unreal for a man of his stature. The relationship was more of a father-son than a teacher-disciple. Of course, the change in role for us and for him -- from a guru to father and back to a guru-- is somewhat effortless; however, it is a relationship with two people! He has been the most patient teacher and the most loving father. His teaching and philosophy are beyond music. It’s a way of life. It was as natural as that. Though there was no pressure, it was understood. Our mother’s role has been immense in our lives. Being an artist herself who learnt from the great Rukmini Devi Arundale, she sacrificed her career for the family. Today what we are, who we are is all her contribution. As our father says, a mother is every child’s first guru.
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Q. Tell us a bit about your collaboration with ‘Eagles’ guitarist Joe Walsh? How did the confluence of Indian and Western music happen?
A. From the time I met Joe Walsh, he was all heart and humility. I’ve been such a fan of the Eagles and to be able to have known him all these years and create music together was indeed a reality I never saw it coming my way. I just feel blessed to have been in an environment of legends at work and just processes all that greatness. The album has a meditative, transcendent spirit. The EP’s tracks are ‘Goddess’, ‘Healing Love’ and ‘Hope (We Shall Overcome)’, which was an organic feeling at both the cellular and cosmic levels of two traditions, which are often held to be radically different. Along with my father and brother, I was very honoured to be joined by several iconic Los Angeles-based musicians; drummers Stewart Copeland (of the 'Police') and Jim Keltner, bassists Nathan East, Leland Sklar and Abe Laboriel Sr, keyboardist Ed Roth, guitarists Davey Johnstone (Elton John’s long-time lead guitarist) and multi-instrumentalist Joe Vitale, with whom Joe Walsh has been a bandmate.
Q. How has the pandemic situation affected the classical music scenario in India? Are classical concerts going to change forever?
A. Like all industries, the music industry also has been hit very badly with the pandemic especially as a congregation is the first step of the field. So many concerts and projects have all been invariably postponed so it has been a big blow however, better to be safe than sorry. Many artistes all over the world are out of jobs too who have been associated with institutions. Our salutations to all the doctors, nurses and frontline workers who are doing such a great job round the clock. I think I have been living life from a different kind of dimension where I have been able to teach both my sons, Zohaan and Abeer, for long intervals which I was unable to achieve with my travel schedules. Therefore, apart from the daily retrospect and introspect, I have been able to commit myself as a teacher to them, so is my father, so they are blessed.
Q. Can virtual concerts ever take the place of live ones especially in the wake of the pandemic?
A. Virtual concerts are something that has come to fruition at a time when humanity will need to consider meditation and contemplation more than ever. A live event can never be replaced, however, digital concerts are a need of the hour for some.
Q. How is the younger generation (your sons) taking to sarod?
A. To be a musician is in itself a blessing as you are really not answerable to anyone but yourself. There isn’t an instant coffee culture that one can follow. I am very happy that there are young dedicated musicians, they are also committed performers. I wish them all a very bright and successful future and I am sure that our classical music and legacy will flourish not only in India but all over the world.
Q. Is fusion music stealing the thunder from classical music in India?
A. Indian music finds resonances and parallels in other music so that the Western musicians concerned can find a way into Indian music without the years of formal training expected of an Indian. Yet, if we focus only on the music, this is a meeting of living musicians across cultures and it is as human beings that we can understand and appreciate each other and thereby heal this divided world, and what better way is there to achieve this ideal than through the joy and spiritual nourishment that music brings.
Q. Is there enough awareness about sarod in our country? What is the biggest challenge for a sarod player at present?
A. The masses have to be free enough to respond openly to what they hear based on the energy created in them by the music. It is this free flow that creates a true and lasting relationship between the music, musician and the people. The media and propaganda are critical to this equation only in relative measure while respecting the innate nature of the melody itself. Thanks to YouTube, there is so much content available out there. We are just a click away from thousands of hours of research.