The sad news of Ustad Zakir Hussain’s passing has left the musical and cultural world in profound shock and sorrow. The son of the late, great Ustad Alla Rakha, Zakir Ji carried forward his father’s legacy with extraordinary brilliance, while carving out his own monumental place in music. Stories of Zakir Ji’s genius will echo across generations, celebrating a life dedicated to rhythm, innovation, and humanity.
My journey into world percussion as a student at Berklee was forever changed when I first heard Shakti’s A Handful of Beauty. Long before the internet allowed us to delve into details, the album opened my ears to sounds and rhythms that defied comprehension. One track altered my life: “Isis”.
This 15-minute masterpiece, set in a mind-bending 13.5-beat cycle, showcased Shakti’s revolutionary virtuosity. Featuring John McLaughlin on guitar, Zakir Ji on tabla, L. Shankar on violin, and T.H. Vinayakram on the ghatam, the piece pushed the boundaries of rhythm and musicality. Zakir’s free-flowing solo remains one of the most brilliant mosaics of sound and time I’ve ever encountered. Even now as I lecture on rhythm cycles, “Isis” is a cornerstone of my lessons – it is a testament to the scientific and spiritual beauty of music.
Inspired by “Isis”, I incorporate Solkattu recitation into my teaching. Using the 13.5-beat cycle, my students recite the pattern while playing a simple rock beat, marveling at how the two patterns rotate and expand the cyclic boundaries. Watching their discovery unfold reminds me of Zakir’s ability to make even the most complex rhythms feel accessible and alive.
As my percussion skills evolved, I connected with the classical Indian music community through mentors like George Ruckert (sarod, MIT) and Peter Row (sitar, NEC). Through them, I had the privilege of meeting Zakir Ji. At one gathering, Zakir conveyed his deep love of sound. “Jerry,” he said, moving his fingers as if playing air-tabla, “to this day, I am still looking for more ‘Na.’ The resonance and beauty of pure sound.” That simple yet profound statement reflected his endless curiosity and pursuit of perfection—a quality that inspired everyone who met him.
Ustad Zakir Hussain was far more than one of the great tabla players. He embodied the essence of a true musician—a “musician’s musician.” His mastery of Hindustani music seamlessly bridged into Carnatic traditions from the South.
Beyond his classical roots, his spirit flourished through collaborations with the likes of Mickey Hart, Herbie Hancock, and Béla Fleck, leaving an indelible mark on jazz, fusion, and world music. His contributions to Shakti, Planet Drum, and Remember Shakti redefined global music boundaries, blending cultures with unmatched finesse.
As Ustad Alla Rakha once said, when asked about his greatest accomplishment: “Zakir Hussain.”
Today, the world mourns the loss of a giant, but we celebrate a life that forever changed the way we hear and feel rhythm. Rest in peace, Zakir Ji. Your music will inspire, teach, and heal, transcending time and space.
Jerry Leake is a Professor of World Percussion at New England Conservatory and Berklee College of Music. He leads the world-rock-fusion octet Cubist and is a founding member of Boston-based band Club d’Elf. Jerry has also written eight influential texts on North and South Indian, West African percussion, and rhythm theory.
