Playing with Pandit Rasiklal Andharia
It was 1979 or 1980. I was working as the youngest tabla teacher of the city at the Gandharva Mahavidyalaya Mandal, one of the oldest music institutes in Ahmedabad. Our principal, Mr. Ravjibhai Patel, called me and said, “We are doing a national conference of Mahavidyalaya Mandal at Valsad for three days. I am very happy with your playing now and want you to play one solo and one accompaniment during the conference. We will all go to Valsad the day before the performance in the morning train, so be prepared for this event.”
At that time in my life, I did not understand the value of being able to travel with some of the greatest musicians of Ahmedabad and Gujarat. I picked up Jhalasaheb and Ravjibhai in my student’s car and we arrived at the station at 6am to catch the 7am Gujarat Express. At the station, we met up with Pranlalbhai Shah (one of the best violin teachers of that time), Laljibhai Patel (best harmonium player), Neena Shah (Ravjibhai’s student) and many young musicians.
Once we boarded the train, I was amazed to learn that all these senior musicians took great interest in eating snacks at each station. At the first stop, someone got off to get fafda and jalebi; at Nadiad, it was gota; at Baroda, yet another snack and the list goes on. Every stop was a new treat.
The accommodations for all the musicians was in a school and that was quite the nourishing experience. In one corner, someone would be singing, while a couple of beds down, another musician would be playing the violin. It was a great energy to be apart of. I was the youngest tabla player. Everyone gave me love and respect, which just increased my confidence.
The next day, the second performance was my solo. I played pretty well and got a lot of applause from the audience. After my solo, I went backstage. There, I found internationally-known singer Pandit Rasiklal Andharia. He was so impressed with my playing that he made me his accompanying artist for his program the following day. I was not too enthused about the idea, as generally for vocal accompaniment, the tabla player only plays theka.
I thanked him for the opportunity and told him that I was not in the practice of accompanying vocal. I believe he understood why I said no because he immediately said that he wanted powerful tabla in his vocal performance and that I had the freedom to play whatever I wished.
Excited at the prospect, we decided to practice in the morning to prepare and the the performance that ensued is what I consider to be one of the best performances I have given.