Bismillah Khan: Opening

“After a year and half Mamu told me if you see anything don’t talk about it. One night I was playing deep in meditation. I smelled something. It was an indescribable scent, something like sandalwood and jasmine. I thought it was the aroma of Ganges but the scent got more powerful. When I opened my eyes, there was Balaji standing right next to me, exactly as he is pictured. My door was locked from inside; nobody was allowed to enter when I did riyaz.”

Bismillah Khan

He said ‘play my son’ but I was sweating. I stopped playing.
Khan used to do riyaz (practice) before the temple of Balaji as advised by his mamu (maternal uncle) who had also told him not talk to any body about anything that might happen. But when he told his mamu about his seeing Balaji, mamu was annoyed and slapped him.
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Night

“Allahee… Allah-hee… Allah-hee…. I continued to raise the pitch. When I opened my eyes I asked them: Is this haraam? I am calling the God. I am thinking of him. I am searching for Him. Why do you call my search haraam?”

Bismillah Khan

In reply to the Shia Maulvis in Iran who were arguing with him that Music should be banned, he sang the song in Raag Bhairavi and posed a question to them to which they had no answer.
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God , Search , Thinking

“Along with the steady diet sitar, sarod, and tabla, several new instruments and players came to my attention. The first of these was Ustad Bismillah Khan, master of the sonorous double-reed instrument known as shehnai. This beautiful wind instrument, with finger holes and a bell-shaped opening at the bottom, sounded to me like a hybrid of soprano saxophone and oboe, and Bismillah Khan’s tone very much influenced what Coltrane and Terry Riley would do with the soprano sax. Primarily used at weddings, the shehnai had been rejected as a classical instrument until Bismillah Khan elevated it to a higher status among listeners. His unique fingertips and sublime breath control produced the necessary range of sounds for raga making shehnai one of the more popular instruments in North India.”

Bismillah Khan

Peter Lavezzoli in his bo [Lavezzoli, Peter, The Dawn of Indian Music in the West, http://books.google.com/books?id=OSZKCXtx-wEC&pg=PA375, 24 April 2006, Continuum, 978-0-8264-1815-9, 32]

Beauty , Making love , Wedding

“Allahee…Allah-hee… Allah-hee…. I continued to raise the pitch. When I opened my eyes I asked them: Is this haraam?”

Bismillah Khan

I am calling the God. I am thinking of him. I am searching for Him. Why do you call my search haraam?
In reply to the Shia Maulvis in Iran who were arguing with him that Music should be banned, he sang the song in Raag Bhairavi and posed a question to them to which they had no answer.
Quote, Power Profiles