My master, Ustad Zakir Hussain or Zakir bhai as I affectionately tended to him, is viewed as one of the world's most noteworthy tabla maestros and is commended for his pivotal commitments to Indian old style music and then some. His virtuosity, development and capacity to combine Indian rhythms with worldwide classes made him a trailblazer in the field of percussion.

Eminent for his sheer virtuosity and unrivaled specialized dominance of the tabla, set apart by a profound comprehension of the intricacies of Indian beat and his capacity to execute unpredictable examples with momentous speed, Zakir bhai was an organization in himself. He was a genuine virtuoso who effortlessly rode different melodic classes, be it Hindustani, Carnatic, jazz, western music, even Latin, African and popular music.

Zakir bhai's virtuosity radiated through in his capacity to play very complicated musical examples in a manner that was both liquid and dynamic. One of his most noteworthy abilities was his capacity to perform multifaceted tihais (cadenced redundancies), layakari (musical varieties) and complex taals (cadenced cycles), all while keeping up flawlessly and control. He could likewise perform complex polyrhythmic structures (various rhythms layered on top of one another) and jaatis with impeccable clearness, an accomplishment that requires an uncommon degree of focus and skill. This was clear in his numerous coordinated efforts with Carnatic performers.

Zakir bhai could play at rankling speeds without losing the lucidity of sound or beat. The ability of his fingers, wonderful equilibrium and accuracy in creating unmistakable apparent characteristics from the tabla's two heads — dayan (the sharp sounding right drum) and bayan (the lower-pitched left drum) — are unequaled.

Notwithstanding his percussive virtuosity, Zakir bhai's remarkable improvisational abilities to suddenly make mind boggling pieces on the tabla and baya displayed his profound melodic information, imagination and unparalleled capacity to guarantee that each presentation was extraordinary and spellbinding and a demonstration of his smoothness and specialized brightness.

Ustad Zakir Hussain's impact stretches out a long ways past conventional Indian old style music. He plays had a vital impact in the combination of Indian rhythms with worldwide music classes, acquainting the tabla with new crowds around the world. The development of Shakti during the 1970s with unbelievable performers like John McLaughlin (guitar), L Shankar (violin) and Vidwan Vikku Vinayakram (ghatam) was a defining moment in music cooperation, as many believe this gathering to be the absolute first world music bunch.

Zakir bhai's joint efforts with George Harrison, Mickey Hart, Béla Speck and Edgar Meyer further established his part in worldwide combination. His work in this area features his specialized authority as well as his capacity to adjust complex Indian cadenced frameworks into different melodic structures.

His combination work exhibits his uncommon capacity to blend and analysis while holding the substance of Indian musical custom. Whether in jazz spontaneous creations or world music jams, Zakir bhai has shown that the tabla isn't restricted to its old style establishes yet can develop because of various melodic settings. His effect as a social minister has been significant.

Zakir bhai's lamentable downfall is an enormous misfortune to the music world. There can never be another Ustad Zakir Hussain. He was genuinely 'Bharat ratna' and I demand the public authority to recognize his endless commitment by granting him the Bharat Ratna.

The essayist, a notable tabla player, is a supporter of Ustad Zakir Hussain