Taufiq Qureshi | Son and disciple of Ustad Allarakha, Qureshi, a percussionist- composer has recently released a music video that celebrates the centenary year of Abbaji. He speaks with Shalini Saksena about life lessons learnt taught by his father

• Why the title of the music video Allah Ne Rakha? How did the concept come up?

The title comes from my father’s name Allarakha. When I was sitting with the lyricist (Rachna Dikshit), I wanted to use his name. But I realised that nobody had ever called him by his name — it was either Ustad Allarakh or Abbaji. Then it struck me that we could go with Allah Ne Rakha. This is when Rachna came up with the most beautiful lines — Jiski Unglion Pe Khud Ko Alla Ne Rakha, Jiske Bolon Se Shankh Nari Ka Swar Chhlaka, Uski Unglion Pe Khud Ko Alla Ne Rakha. That is how the title came. To commemorate Abbaji’s centenary, I came up with this song. This industry has given me so much, I wanted to pay my respects.

• What are the challenges that classical musicans face today?

Many feel that there are many challenges for classic music. But I feel that challenges were always there even 20 years back. Even then people said that the way music is changing classical music will disappear, but classical music is like gold. It will always be in demand. Back then one artist would perform for the entire evening. Today, one doesn’t have that luxury, an artist only gets an hour to perform his repertoire. You don’t have the freedom to explore a raag.

• How do you blend tradition with modern-day world music?

I was always exploratory even as a child. I remember my father was doing an album and I heard a new sound and I was told it was the drums. So I collected a few and played on them with some sticks. I was always looking to explore myself and left classical in 1987-88 and went into film and fusion music. I went out to experiment with Jimbe. I am now doing classical solos with this African instrument. I have always tried to keep the basics of classical intact by blending in world music and creating pieces that have a mixture of two-three genres of music.

• What are some of the pitfalls when you blend?

The definition of fusion is to melt and blend. When you are fusing with another genre you should have proper knowledge of that music. If you don’t do your homework you can fall. You need to understand different genres before you go for fusion. Also, as an artist, you need to melt yourself in your creation.

• What lesson did you learn from your father?

Besides getting music lessons, he gave life lessons. He told me that I should never forget my roots. If one’s roots are strong, then where one went, one would be stable. The foundation has to be strong otherwise the building will fall. Your music is like a building. This means that one must know at least one form of music  whether it is Hindustani classical or Western. So that from here one can jump to anything else. This is one lesson that has stayed with me. He taught me to be a good student all my life as well. This, he told me would help me as an artist. Music is so vast. One can’t master it in one lifetime. At 40, I started learning from Vikku Vinayakram — the ghatam — because I wanted to learn it. He also told me to be a better person and be humble in front of elders.

• What did you get interested in western drums?

Like I said, I was always pulled towards new sounds. I was so taken in with RD Burman songs. He used a lot of vocal percussions that fascinated me. For me, the ‘other rhythm’ attracted me. The tabla was always there. When I was in college I met other musicians and realised that there were so many other instruments and was influenced with so many another percussions and not just western but Indian too.

• What next?

This is Abbaji’s centenary and it will keep me busy.  I want to release different versions of Alla Ne Rakha. Soon, I will be out with another version, may be with other artists.