Bismillah Khan

Certain instruments have forged unbreakable bonds with specific musicians over time. Within the Hindustani tradition, Shivkumar Sharma stands inseparable from the santoor while Zia Mohiuddin Khan commands the same regard for the rudra vina, yet no pairing has matched the depth of Bismillah Khan’s lifelong identification with the shehnai. Born in 1916, he elevated the standing of one of India’s most singular-sounding instruments to heights never previously attained. Although the double-reeded aerophone serves numerous ceremonial functions in its folk guise, its strongest ties remain to wedding celebrations. Bismillah Khan documented a vast catalog, and, in common with many Indian classical performers, the bulk of his initial releases appeared on EMI India or through its international affiliates. EMI’s British parent selected his landmark jugalbandi alongside Vilayat Khan to launch the Music of India series, which subsequently issued recordings by such masters as Ravi Shankar, Ali Akbar Khan, and Nikhil Banerjee. The series opened, however, with the pair’s duets titled “Chaiti-Dhun” and “Bhairavee Thumree.” Its third installment presented Bismillah Khan once more in a shehnai jugalbandi, now partnered with violinist V.G. Jog—an unmistakable mark of the respect accorded him, a regard that has only grown stronger with the passage of years.