Ustad Usman Khan is one of the leading Sitar player of India today. He is the grandson of Sitar Ratna' Ustad Rehmat Khan and the son of Ustad Abdul Karim Khan, who headed the faculty of instrumental music at the Karnatak University, Dharwad. India.

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Ustad Usman Khan
The sitarist with a rare distinction - being hailed as 'the wonder sitarist of Indiaâ by critics abroad; Usman Khan is a class by himself. A sltarist who has blended both, the, âGayaki' (vocal) and âTant' (instrumental) style in an aesthetic manner and who delights in discovering the multiple facets of a âraagâ rather than parading his mastery of the technique of Sitar-playing.
Sitar is a family tradition for Usman Khan. His grandfatherUstad Rehmat Khan from Dharwad was an acclaimed virtuoso of his time. Usman Khan's father Ustad Abdul Karim Khan was the Head of the Faculty of Instrumental Music at the Karnatak University. He initiated Usman Khan in the art of Sitar and began to train him in a very disciplined manner.
Usman Khan made his debut as a concert artist at the age of nine years. The training continued and he gained experience both as a musician and as a performer, Today he has played in every part of India and in foreign countries like U.S.A., Canada, France, Shri Lanka and East-Asian countries.
Along with these concerts, his creative urge has prompted him to score music for Bhajans, Ballets and Orchestral compositions. The music scored by him for a Ballet based on Ramayana, produced in Singapore, has won a shower of praise.
Usman Khan is a man of few words devoting his time to such creative pursuits, practicing, contemplating music and expressing it through his Sitar. One âhas to agree, he is different, no doubt!'

Mukesh Jadhav

Mukesh Jadhav has attracted lot of attention by his brilliant Tabla accompaniment with Ustad Usman Khan's Sitar, has already begun to show the makings of a master in him. Mukesh hails from a remote township called Kasar-Shirshi in Marathwada. Tabla was his first love since childhood. At the age of 9 years, he had passed the 'Tabla-Visharad' examination. He is the disciple of Shri. Shantaram Chigri of the Benaras Gharana.
Mukesh came to Pune for his college education and a wider field was open for his virtuosity. Rigorous and regular practice has endowed him with excellent tonal quality, clarity and speed. Today he has become well-known Tabla player of the Pune city.
Mukesh has played in a number of conferences as a soloist or as an accompanist and has toured in U.S.A., U.K., Germany, France and Singapore. One can expect a lot from him.

Raag Malkauns

This Malkauns is sure to be remembered as one of the most memorable performances by Ustad Usman Khan. It was not scheduled in advance. Some of the already scheduled artists for the second day of the Savai Gandharva Festival were unable to reach Pune due to unstable situation in many parts of India. Usman Khan was therefore requested to perform on that night. He accepted and gave a wonderful performance pouring all his Art and Heart into it. He chose Malakauns - a raag with a characteristic dignity and serenity of its own. Beginning with a leisurely but a well-composed âaalapâ, he began to build the structure of the raag. Each note was approached sensitively and imaginatively. The âmeendsâ (glissandi) and âgamaksâ (vibrations) were in imitation of the 'gayaki' (vocal) style. Progressing gradually towards the upper octave, he carried his listeners with him to the upper octave and from there into the swaying rhythm of the 'jod'.
When the 'gat' or the rhythmic part began, Mukesh Jadhav made an impressive entry on the Tabla. Both the artists then proceeded, complementing each other and thrilling the listeners with flashes of individual brilliance. The concluding 'jhala' section had 'sawal-jawabs' (trading of phrases between the sitarist and the percussionist.) which were equally delightful.
The Malkauns which lasted for about 100 minutes was an experience in itself. Usman Khan explored the whole gamut of techniques during the performance. Fingering techniques, plucking techniques, rhythmic techniques, tonal techniques... all very delightful! And all this without losing the essential dignity of Malkauns ... superb!

Dhun in Mishra Khamaj

After that chaste and imposing Malkauns, Ustad Usman Khan strummed the sympathetic strings of his Sitar for a lilting Dhun. Here the tonal quality of the Sitar assumed the flexibility appropriate for the Mishra Khama j composition. After a short prelude or 'aalap, he went for âjod-aalap', and then into the swing of the Dadra. Mukesh Jadhav also adapted his playing to the movement of the Dhun. The loud applause at the end of the performance speaks volumes about the impression left on the audience by the captivating art of these two a artists.