Training under Jitendra Abhisheki was like a dream come true, says Mahesh Kale
Mahesh Kale, a National Award-winning vocalist, shares his journey in Indian Classical Music, from his early days of growing up in a musical household to his training under the legendary Pandit Jitendra Abhisheki. With a passion that transcends genres, Kale blends tradition with innovation, making Indian Classical Music accessible to a global audience. Through his music and educational initiatives, Kale aims to preserve and promote the rich cultural heritage of India, inspiring a new generation of music lovers and artists.
Can you share some memories of your early life and how music became an integral part of your journey?
Like any middle-class household in Pune at the time, my family also had music as a part of their lives. Every celebration, be it a thread ceremony, engagement, wedding, or festival, culminated in a baithak or a musical get-together of the entire family. So, from my perspective growing up, music was something that accompanied joy and celebration.
What was your experience like training under the legendary Pandit Jitendra Abhisheki in the Gurukul system?
Training under Jitendra Abhisheki was like a dream come true. It was almost like I was sitting in front of God, absorbing as much as I could. Every single day felt like a dream that I lived. Even today, the highlight or the golden period of my musical journey is sitting in front of my Guruji and imbibing all those pearls of wisdom. At the time, it seemed laborious because I was just starting college and studying engineering. I had to balance my life between academic submissions and music. I had to budget my sleep and free time, but being in his presence made it all more than worth it, and I wouldn’t change a single thing about it. Not only did I learn the rarest of rare pieces and a plethora of wisdom in Indian Classical Music, but the main cornerstone I gained from him was that music is a way of life. Just like we eat, bathe, and breathe every single day, we do music.
How do you balance your passion for Hindustani classical music with your exploration of other genres like semi-classical and devotional music?
For me, Hindustani Classical Music is like Vishnu. Every avatar of Vishnu has the same godliness, whether it is Krishna, who in his childhood was very mischievous, or Lord Rama, who was very righteous, or Panduranga, who was all-encompassing. There is godliness in any semi-classical form that is built off of core classical music. Of course, Indian Classical Music holds a special place in my heart, but Abhang, Natya Sangeet, and other genres of music are dear to me as well.
What inspired you to start the Mahesh Kale School of Music in San Francisco, and what goals do you have for the school?
When I moved to the Western world in 2001 to pursue my master's in multimedia engineering, I was initially nudged into teaching. I stood in for a visiting musician who was unable to keep their engagement. When I did that, it was largely appreciated, and requests to return started to come. From lectures and demonstrations to workshops and then weekly lessons, the informal journey of the Mahesh Kale School of Music (MKSM) unfolded even while I was doing my master's at UC Santa Barbara. Western students were introduced to music for the first time during my interaction with them. Some of them were writing survey papers on world music, some on spiritualism and music, and others on yoga. Later, when I moved to the San Francisco Bay Area, I realised there was a lot of curiosity and interest but not enough genuine, passionately driven teachers. I took it upon myself to keep the light of the candle alive by teaching the students. Looking back, I was also trying to build audiences in different parts of the world. MKSM went online during the pandemic and now has students in about 15 to 20 different countries, all of which act as satellites emitting the light of Indian Classical Music and making the world glow with it.
You have collaborated with a diverse range of artists. Can you share some memorable experiences or lessons learned from these collaborations?
I have been fortunate enough to collaborate with some truly amazing and senior talented musicians. Zakir ji (Ustad Zakir Hussain) has been extremely kind and encouraging in this respect. I remember my first interaction with him when I accompanied a senior vocalist of Indian Classical Music. When she was requested to sing for him, I ended up accompanying her on the harmonium for the first time. The next time I visited him, he magically remembered that I played the harmonium and asked me to play nagma on the spot for him. That was the first ever nagma I played for any Tabla solo. Later, when he invited me to a concert of his at UC Berkeley, he made me sing, and upon the audience's approval, he encouraged me to sing a few more pieces. What touched me was not just the rare opportunity of sitting alongside this legendary musician but also his faith in me to deliver.
Trilok Gurtu is another name that comes to mind. The illustrious son of the great Shobha Gurtu, known for her prowess as a thumri singer, has been a world percussionist for a long time. He moved to the Western world when he was very young and has played with many giants of Blues and Jazz music. Every time I meet and interact with him, I learn a lot. His curiosity at this age is remarkable. Recently, when we played in Bangalore, we stayed together, and the few days I spent with him were no short of a masterclass from morning until night.
George Brooks, an older saxophonist of jazz music, has learned Indian Classical Music from Pandit Pran Nath. George ji amazes me with his childlike enthusiasm and curiosity to keep learning and gathering pieces of music that intrigue him. His kindness, acute acumen in cooking, and knowledge of cheese are as endearing as his music! (Smiles)
Sivamani, the well-known percussionist and drummer, is someone I met about 10 or 15 years ago, and we have stayed in touch since. I remember the first time we met, I shared a few of my compositions, and he readily and spontaneously invited me to play with him at a concert in San Francisco. We ended up playing 4 to 5 of my pieces then in the band, and we have had an association since. Very recently, while he was in the audience, he spontaneously came up to the stage and graced the finale act.
There are a bunch of others from different cultures and parts of the world. Every time you interact with a musician from a different background than yours, you not only gather a new perspective on music but also on life, which is far beyond the one you live on your own. When you trade music and collaborate, you learn to live life in more ways than you have discovered yourself.
How do you approach performing Indian classical music for global audiences?
A:Performing Indian Classical Music for global audiences is both unnerving and liberating. It is unnerving because there are no popular ragas or compositions to rely on for instant approval. But it is liberating for the same reasons. You are not confined to what has surfaced populistically over the years in terms of which ragas people usually enjoy. Some of my bravest experimentation has happened in the Western world. I remember one such tour in 2004 where I did an eleven-concert tour with just one tabla player. To be able to fuse, blend, and harness the music from the four strings of the tanpura and enter the magical universe of music deep within was an unforgettable learning experience.
Winning the National Film Award for Best Playback Singer was a significant milestone. How did that moment feel, and what impact did it have on your career?
The very first reaction I had when I heard that I won the National Film Award for my maiden song was to run to my mother and my Guruji. Sadly, both were no longer around by then. But I am sure their aashirwads and blessings are what brought me to this milestone. It was a dream come true for someone like me, who was in silent pursuit of Indian Classical Music, far removed from the mainstream activities in India, and living in the Western world for over a decade. Suddenly, all the silent resilience, sincerity of commitment, and discipline of action seemed to have culminated in this wonderful moment.
What can audiences expect from your upcoming concerts in India, and how do you prepare for performances?
The current work I am on is a series of concerts across India - a thematic presentation of Abhangs called Abhangwari. Abhang means unhindered, unbroken, and wari means pilgrimage. The rich tradition, which lasts over 800 to 1000 years, involves warkaris, or pilgrims, from different parts of Maharashtra and beyond walking a distance of 250 km over 22 days to meet their beloved Panduranga. It is a spectacular, special, and enriching journey. Many saints in this tradition have written beautiful Abhangs in praise of Lord Pandurang or Vitthal, deeply rooted in the philosophy of life and devotion. My effort with Abhangwari is to use narration, song, audiovisuals, and fine arts to give the audience a sense of this pilgrimage inside a theatre. Some compositions are traditional, created by my Guruji, some are popular from my presentations on TV and elsewhere, and some are recently composed. Just like the path of the journey to Panduranga remains the same, the experience every year is uniquely different. This year's Abhangwari has a new storyline, new artists, and a different set of songs, along with the popular and traditional ones. Abhangs, as I said, are very close to my heart. Having been born into a family where I attended Kakad Aarti and bhajan every single week growing up, it comes very naturally to me. Sharing this love of devotion to Lord Pandurang is extremely joyful.
What motivated you to start the Mahesh Kale School of Music, and how do you see it contributing to the preservation of Indian classical music?
The motivation for me to start Mahesh Kale School of Music, especially the online version that emerged during the pandemic, was to provide access to music in its authentic form, beyond the limitations of geography. I believe that if I am able to continue working on this vision by God's grace, we will have enough audiences around the world to sustain the activities of Indian Classical Music.
How do you think Indian classical music can be made more accessible and appealing to younger generations?
Indian Classical Music, in its core discipline, teaches you spontaneity within discipline. This is an extremely important characteristic that needs to be imbibed in the formative years. With careful sonic design and accessible, inclusive performances, this skill can be delivered and instilled in an extremely joyful manner.
What role do you believe music plays in fostering cultural understanding and exchange between different communities?
Music, I believe, is one of the most accessible and impactful equalisers. When people come together and realise that they enjoy the same piece of music, beyond language and beyond their understanding or level of skill in the art, it gives them a sense of belonging across cultures. When you are in the presence of music, attending concerts, it is not just a song you are witnessing or experiencing; along with that, you are learning and absorbing the entire tradition. For example, at Indian Classical Music concerts, attendees often dress in Indian clothes, pay respects to elders in traditional Indian ways, enjoy Indian food, and embrace everything Indian with a sense of initial belonging and then a sense of responsibility. I feel Indian Classical Music plays a key role in cultural preservation.
Mahesh Kale is set to perform a series of devotional concerts dedicated to Lord Vitthal, titled 'Abhangwari' across India. He will grace the stages in Mumbai (13th July), Pune (14th July), Akkalkot (18th July), Hyderabad (19th July), and Chennai (20th July), and Bengaluru (21st July).
