Shweta Jhaveri / My Memoirs in Music

" My Memoirs in Music " by Shweta Jhaveri

A thing of beauty is a joy forever - in the spirit of this favourite Keatsian line I present a few of my memoirs in music. Whether it is the present, past or future, sweet memories stay forever. Often suggested by my wellwishers and students in general to write something about my Hindustãni vocal music training and music-life, I present excerpts from my teens and twenties in India and abroad. My first 25 years in music.

* My beginnings at the AACM :

with Baba
at the AACM
1987

I was instrumental to teach my first vocal music class at the
Ali Akbar College
of Music-SanRafael, California.

My Guruji Pandit Jasraj-ji was to teach the Summer season as a guest-vocalist at the Ali Akbar College of Music in 1987 in my debut USA tour with him. Since 1989 due to Guruji's increased touring I was asked to teach his vocal classes. I was 22 yrs then ecstatic teaching a group of 50 to 100 international students. Along with singing, at times I had to translate a bandish-lyric combined with Hindi and Urdu words to English or explaining a bhajan was very difficult but enjoyable. I was spoiled by the loving students with my favourite coffees. Due to students' requests AliAkbar khansaheb in friendly regards with Guruji had agreed that ' this kocchhop-turtle will teach here from now on '.

From 1989 I had begun at the AACM as a guest-faculty in vocal music for a longtime and also toured for my concerts. Revered as a musician of musicians khansaheb was calm, humourous, like a father figure, I was grateful to call him Baba. An iconic sarod legend he sang elegantly teaching a Khayãl, tarãnã, Dhrupad dhamãr or Saraswati prayer in his vocal classes that I was in a bliss listening. Once he had to remark to me-'because you review my vocal classes or sing in my Symphony does not make you my disciple. I can only guide you at times.' Baba was not my Guru but my Mentor who greatly inspired me.

As a vocalist of the Maihar Symphony composed by Khansahib, his ragas such as HemBihãg, maanjh-Khamãj or Yaman moved me due to pure sentiments or rhythm intricacy thus I was inspired by the Maihar tradition. In a rehearsal he liked my bridging of notes or sur-sandhãn as he termed it as one of his traits and had blessed calling me a SurRatna. Baba's encouragement nourished me in California in my formative years with fine influences of East & West in music for which I am ever grateful.

Previous Excerpts :

Paramparaã
Early years

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