As I was stepping in his house, the fragrance from the dhoop and Agarbathi was so distinct, filling with senses of  entering into a Mandir, and visually the view compelled to glance from one wall to the other, truly reflecting his saying “ Music includes all the religions”. The room was empty except for his harmonium, sitar and couple of other instruments but the distinct display of universality of religions,  filled up the space and heart. I am referring to none other than Pandit Habib Khan. He doesn’t need any introduction, especially here in Bay Area, CA, as he has been involved immensely in reviving and propagating Hindustani Music, through his participations, distinct concerts, Cd’s, Gurukul and teachings. You may learn more about him by visiting his Website at http://www.habibkhan.com/ Please read his interview, which I hope you would enjoy as much as I did.

Q You started playing sitar at the tender age of 5 years, with your father being your guru. And like any field of art, young musicians are influenced by the work of other musicians, instrumentalists or vocalists. Who influenced you during your formative years; or would you say that your father was the main influence and guiding force?

My Guru and my father Ustaad Hammed Jaffer Khan was a great force in my life and was my teacher. I was hugely influenced by him. With him I listened to many greats in music. My father taught me to listen and to appreciate the music of many but to inculcate my own style at the end.

Q Most artists and prodigies do start really young. Could you shed some light on some memories, episodes or events that remind you of your parents dedication or involvement towards your riyaz/ practice? Give us a general idea on the environment of how your regular day was like?

Growing up our days was all about riyaz. We were given meals only after a good riyaz. My father expected perfection and wanted us to grow up as musicians, for which we made music our life. I had to earn everything I got. My father made me play tabla with the students; he taught sitar too.

Q What differences do you see between classical music of India and western music ? In which areas do you find the differences?

Music is music in any part of the world. What we call Sa re ga ma in the west is do re me fa. Music is a universal language and a universal religion. Indian Classical Music to me is a like an ocean it can allow a hundred different rivers to flow into it and yet maintain its uniqueness. That is why you see the use of Indian music in fusion music these days yet its sounds are so distinct that it stands apart while blending in.

The biggest difference in the music of India and the West is that, for us all music flows from Goddess Saraswati so we take music to be a part of our purity and sacredness. If you watch composers in Bollywood or any classical musician their reverence to Saraswati is the same. Our tradition does not allow us to use music just to make money. There is sacredness in the process that if tainted the musician loses their luster.

I listen to the music of the west as I like to listen the speed with which they play yet perfecting each note. I like to collect what ever I can from music be that of the east or the west.

Q Usually Dhrupad has four parts(asthai, antara, sanchari and abhog) however in Mathura-Brindaban(home of dhrupad), I leant that they have seven parts. Is it true? And is it sung only there or anywhere else?.

Yes it is true that Brindaban Dhrupad is sung in seven parts vs the traditional four parts as you have mentioned. After evening worship people sit in a group and sing the seven part dhrupad in praise of the idols. This style is popular there, but can be heard in other parts of India too as there were many wandering saints that carried music from Mathura.

Q You certainly are carving a unique style by amalgamation of many western and eastern instruments. Your performances are having a flair of presentation and a distinct style as you incorporate numerous western and eastern instruments, men and women dressed in distinct color and style and above all your presence and movements. Could you comment on your performances and what you want the audience to take away from it.

I want only one thing for my audience and that is to enjoy classical music. There is no rule that states that classical music needs to be sung with hands by your side. Just as Sufis taught the world to express their love for the Almighty by dancing and expressing that love in their music similarly, I teach my students to feel the music, the words and to express their feelings with actions. They feel the beat and show the beat to the audience. I want my audience to know that music can be blended into all forms of art both eastern and western and just as the blood pumps in our veins so does the music. We just need to feel it.

Q As I pointed out earlier, your blending of various instrumental tones, sitar and vocal is creating a unique style. You are becoming an important influence and contributor in the Indo- American Classical music world especially in Bayarea and you certainly are extending beyond the traditional generas of Hindustani music to embrace eastern and western modes of music. Now lots of purists may raise eyebrows to your innovative musical performances, as the majesty and the delicate nuances of classical solo performance is lost and the demand on skill level, talent and depth gets cut down and lost in chorus performances. Could you comment on it.

Everything has a time and a place. The world of music is large enough to encompass in its bosom all kinds of music. I like to experiment with rhythms and sounds. The students I have are engineers, doctors and professionals. I compose and they enjoy the music. They are my best and worst critics and the ones for whom I create. I am a musician and my Indian Classical training enables me to be both a purist and

a traditionalist and yet I enjoy playing jazz and fusion as well.

Q Traditionally in the gurukul system, gurus taught orally to their disciples. With changing lifestyles the number of devoted disciples is dwindling. How do you view the future of Indian music in general. Do you think we are at the cross roads of its survival ?

No, we are not at a cross road. It is up to the Guru to set up a discipline of a guru shishya parampara. I have my Gurukul in San Jose California and the parampara flourishes there. In India the joint family system may not be there but that does not mean we lost the value of family and respect of elders. Similarly students may not be living with their Guru in the Guru’s home but the guru shishya parampara is still very much alive. There is no other way to learn Indian music which is a system with no written form.

Q You are popularizing Hindustani music in the BayArea especially with numerous concerts that you present. Additionally you initiated Saraswati temple and gurukul school devoted to the music. What are the different classes that are taught and how is it different from other schools.

My school is a temple to Saraswati and to the purity of music. My home is open to all music lovers. I teach vocal and sitar in my school. Tabla is also taught at my school. I have trained students in various instruments including sarod, saxophone, clarinet and flute. My students are given rigorous training in Indian music. I teach them to appreciate music of all genres. I teach them to respect the music that is unique to each one of them. The Gurukul I have created is really home away from home for many of my students. I have entire families learning music. Husbands, wives and children involved in many different kinds of music.

Q You have great compositions and have numerous CD’s released. Can you tell us something about your experiments as a composer?

Composing is creating on a musical canvas. I usually have a scene and a tune in my mind and then the words come to me. My students tell me that my compositions bring the whole scene in front of their eyes. In most of my compositions I like to play with the beats.

Q Could you can single out amongst your numerous performances, which one gave you the highest satisfaction?

I have a couple that I can say were memorable. One was playing at the Gateway of India in Mumbai. It was an outdoor concert and one of the best I can remember. The other is one a smaller scale when I play in Santa Cruz at the SAT temple. The place just has such a good and pure vibe that one cannot but help play well. Music is an “aamadh” or a gift from heaven and in the concerts I feel the blessings and “dua” of my Guru and father.

Q What is your next big event that we could all look out for?

My next big event is in the making. It will take place in October with myself on the sitar and Pt. Swapan Chaudhuri on tabla.

Thank you so very much, Pandit Habib Khan ji,  for giving time to do this interview.