Cassius Khan is internationally recognized for his singing of Ghazals and his tabla playing. He is one of the few musicians in the world who can do both simultaneously at such a masterful level.

Now he has taken on another challenge, as a festival organizer! The first Mushtari Begum Festival of Indian Classical Music and Dance happens at the Massey Theatre in New Westminster on Saturday, August 25th. It features some incredible local talent and guest performers from India. - CBC Canada

Jorhat, Dec. 3: Close on the heels of the song and dance-packed Assam Mahotsav here, will follow a night of music, Basant Melody, organised annually by the Rotary Club on December 21 at the District Library auditorium.

This time the people of Jorhat can look forward to be entertained by Pandit Salil Bhatt, the creator and exponent of the satvik veena and the son of the legendary artiste Padmashree Pt Vishwa Mohan Bhatt, along with Ustad Cassius Khan, renowned tabla exponent and a master of Indian classical music from Canada.

Eminent flautist from Assam, Dipak Sharma, who is a student of Pandit Hari Prasad Chaurasia, will accompany the duo.

Brijesh Poddar, a member of the Rotary Club, said every year they tried to bring in different musicians from different parts of India to encourage classical musi-cians and the proceeds of the tickets were given for a cause.

“We are already donors to the Prerona Spastic Society and Anath Ashram at Dagaon. Besides this, we have set up a number of public waiting sheds and urinals. We also aid the ICU at the Christian Medical Centre here by buying oxygen cylinders and other equipment,” he said.

Basant Melody is organised every year by Rotary Club of Jorhat to aid various social and humanitarian projects, including eradication of polio with the motive of encouraging Indian classical music, he said.

Last year, the Navarasa Group of Calcutta had thrilled the audience here with fusion songs and music in which singer Ambarish Das had crooned to the strains of the sitar played by Partha Bose and accompanied by Michael Banerjee on the saxophone, Pulak Sarkar on the keyboard and Subrata Manna on the tabla. - The Telegraph

PRLog - May 2, 2011 - BIRMINGHAM, U.K. -- (Birmingham UK, August 12th 1990) -

Cassius Khan, the young Canadian Tabla and Ghazal wizard, was absolutely stellar in his six hour performance of ghazals and a stupendous tabla solo recital last night at the new Centennial Centre in Birmingham last night.

Khan dazzled his audience by playing the tabla and singing at the same time, a feat, he says, accomplished by no one so far as a professional musician. And to see him in his element is astonishing. You really could not tell that it was one artist doing two things at the same time, and yes, Khan made it effortless.

In front of a rather intimate crowd of about 250, the young and extremely adorable mop haired Khan apologized for his cracking voice as he was reaching his maturity as a vocalist. "Sorry for that", he would say when his voice cracked,"it's tough getting older," which would bring the audience to peals of laughter.

Coming to a close of his rather hectic 40 + city tour of Great Britain, Europe, North America and the South Pacific, the young Khan showed no signs of slowing down. "I am really tired, but when I am playing music, all the fatigue disappears. Hopefully after this, I can go home and take some rest before I start school again. And I am really missing playing hockey with my team!"

Khan shone in the singing of "Mere Humnafas mere Humnawah" set to Raag Darbaari, in which he said he sang a rather difficult time signature to. "The singing style is known as taranum ang gayaki, or recitational style singing, which is only sung by the great ghazal singer Farida Khannum-ji at the moment, but I am slowly getting the hang of it," Khan exclaimed enthusiastically.

In his tabla solo Khan was beaming as he rolled off complicated drum rolls and compositions, and played a two hour tabla recital pausing only to wipe his face, adjust his curly mop of hair, or drink water. He presented an extremely defined dexterity and for his young age, was twice as explosive as a tabla player than the great Ustad Zakir Hussain.

"Ustad Zakirji is the greatest tabla player to walk this earth, and I am not even worthy to be the dust of his shoes," said Khan," but I hope that my musical journey will bring me more knowledge as i get older."

The biggest surprise for Khan that evening was the attendance of the Pakistani Ghazal king, Ustad Mehdi hassan, who also had a concert in London. Hassan hugged Khan and blessed him for a job well done. " This young artist will prove to be a great human being," Hassan said in Urdu," and I would very much like for Cassius to play with me tomorrow. There is a lot of things I can show him. The fact that he sings ghazals and plays tabla at the same time amazes me. And he sings my ghazals very well with his variations, and he also played a great solo tabla."

The beaming and excited Khan sang " Zindagi me to sabhi pyar kiya karte he" for Mehdi Hassan, "I am speechless, and I am thankful to Mata Saraswati for this amazing moment in my life," said Khan about Mehdi Hassan attending his concert. - PRLOG

PRLog - Jan. 10, 2011 - NORTH VANCOUVER, British Columbia -- An internationally renowned prodigy on the Indian classical music scene helped raise money last night for flood-ravaged Pakistan. Cassius Khan, New Westminster's Ghazal/Tabla Wizard, wowed the audience at the Kay Meek Centre Last night with his indelible charm, scintillating ghazals and mind boggling tabla skills. Khan is the only professional performing artist in the world who can simultaneously play the Tabla and sing Ghazals – an important genre of Indian classical singing.

Ghazals are tricky to execute on their own as the poetic form consists of rhyming couplets and a refrain, with each line sharing the same meter. Then to be able to factor in the drum beat is a rare talent that Khan says came to him naturally.

“The tabla is quite a complicated instrument,” he explained. “It require a lot of concentration and strength.” The pair of hand drums also has a completely unique sound and a language of its own. Playing the tabla requires the extensive use of your fingers and palms in various configurations to create a wide variety of different sounds.

“Anything that you can play on any percussive instrument in the world can be mimicked on the tabla, but anything you play on the tabla can not be mimicked by any other drum,” said Khan," and ghazals are Urdu poetry written by both ancient and newer poets and I sing them in ragas of Hindustani classical music. The trick for me, is to combine the two simultaneously."

Khan, who performed alongside his wife Amika Kushwaha who played the harmonium, was showered with applause and cheers in his performance last night, as he skillfully wove his rich voice and intricate fingers into one. He left the audience entranced when he performed a tabla solo recital at the end of the show, and received a standing ovation after his performance. One listener was so entranced by Khan's charms and good looks that she asked him to autograph her arm. "I won't be washing this arm in a long time,"she said."I am so in love with his hair, his looks, and his art!"

Khan, who is of Indian decent, was born in Fiji and then came to Canada with his family in the seventies before going back to Fiji for a period of four years when he was just coming into his early teens. While growing up in Fiji, Khan didn’t care much for his parents’ taste in music, even though Indian pop was probably what other kids his age were into. Instead he started listening to classical Indian music. His mom and dad, Naimatullah and Razia, took him to his first concert of Mehdi Hassan – famously known as the “King of Ghazal” when he was only a few months old. “’You were so quiet and your eyes were so big as you watched him perform," Khan recalls his mom saying.

At a young age Khan released his first CD and embarked on an international tour, and some years later he performed in the famed Carnegie Hall in New York City. “I had no idea how huge that was,” he said. “And I didn’t even know what the Carnegie Hall was. I was asked to participate as a performing artist there by some Indian organization and my manager at the time thought it would be good exposure. So, off I went and I sang a Ghazal there and the audience loved the fact that I sang while playing tabla”

Khan said that some people were not too happy to hear that he was helping to raise money for Pakistan. "I am a secular person and my religion is music. My wife's family is Hindu, and my family is Muslim. I have no time for these people who have ostracized me for helping to raise money for Pakistan. Some people told me ' how do you know that the money is not going to extremists?' It is sad and unfortunate that fundamentalists have ruined the name of religion, and unfortunately Pakistan is known around the world as a country that harbors such people, but, we cannot take it out on the whole nation. Many of those people don't like the fundamentalists and are abhorred by them. I saw images on television of mothers and fathers carrying their children on their shoulders, people weeping and wailing, who have probably lost all of their meagre possessions and their loved ones... if we don't help them what type of humans are we? I cannot live with that on my conscience, so I told these people, "do what you want, but I am a musician and I am going to help."

This week the United Nations stated more than 3.4 million hectares of crops have been lost due to the flooding. Eight million people are in need of humanitarian aid, the nation stated. Students from the Kamal Music Centre also performed at the fundraiser and Z Design put on a fashion show featuring traditional and modern Pakistani clothing. All proceeds from the event went to the Red Cross to assist with flood relief efforts in Pakistan. - PRLOG

PRLog - Dec. 27, 2010 - TORONTO -- How did you get the inspiration to sing and play tabla at the same time?
The inspiration was a divine one. I was only a child when I realized that I was able to do these two things at the same time. I could keep rhythm on the Tabla, and I could sing in pitch while I was playing theTabla . After all, there is nobody else in this field that has taken this approach, so I decided to make this my strength in this field of music.

When did you decide to pursue music as your life's work?
I saw a series of dreams when I was very young, sitting in front of 4 wise gurus. They told me to play their compositions. I would retain that information with me and practice on my instrument. My music gurus asked me, "where did you learn this?" and I would tell them. My
teachers told me these dreams do not come to anybody, and that I was a chosen one by the Goddess of Music to serve in the life as a Sangeetkaar (musician). This is what prompted me to continue music as my life's work.

Why had it not been done before? What are the challenges within your technique?
The combination of singing Ghazal and playing Tabla, let alone sing and play simultaneously, has not been done before because it is too difficult. Tabla has many intricate fingering techniques, and Indian Classical vocal technique is extremely difficult as well with all the nuances in breathing, bending the notes and singing a Raga without
destroying the purity of it. The challenges I face are that both Ghazal Gayaki (singing) and Tabla requires immense skill, strength and precision. Most vocalists accompany themselves on a Tanpura or a Harmonium, as those instruments are easier to play for a vocalist. Playing the Tabla with correct timing, tone and balance, plus singing Ragas and Ghazals combined, and then SEAMLESSLY synchronizing it together is the most difficult aspect of all. Also, I had to be at equal strength with both Tabla playing and singing. In my concert presentations it is rare to see a musician who sings Ghazals in one half, and then plays a full blown
traditional Tabla solo recital in the second half. This combination took me a very long time to develop.

Which teachers/masters would you look to for inspiration?
I look to my wife, Amika Kushwaha for inspiration. She is an incredible Kathak dancer and Harmonium player. She always has wonderful ideas, and is always teaching me new Kathak dance compositions on the Tabla or a new interpretation of a Raga, which to
me is very valuable. Also, I look to all musicians - great masters or amateurs, young or old- for inspiration. I have many students, and I would always listen to how they would interpret a certain Raga or a certain bol on the Tabla. Sometimes a small child would use a vocal
intonation which is unique, or a certain fingering style on the Tabla and I would like it and say, "hmm, let me see if I can do that.."

If you are the only person to combine singing and tabla, how were you educated?
I learned Ghazal singing from my teacher, the late Mushtari Begum, an eminent musican and personality who received the title "Queen Of Ghazal" by the Indian Government in 1973. I have also learned Tabla from her brother, Ustad Rukhsar Ali. My training with these two has spanned over 20 years of hard work. Combining the two was my idea, and my teachers whole heartedly helped me throughout this process even though they were quite boggled at my talents. It came so naturally to me, however, I pretty much taught that skill to myself, as there is no reference to go to.

You were born in Fiji and have lived in Canada for much of your life, do you think that if you had lived in South Asia you would be pursuing this unorthodox style?
Absolutely. Even in my family, my parents had aspirations for me to become a doctor or a lawyer. I went to University and decided that I was not going to do what other people wanted me to do, I stuck to my guns and made music my career. Even if I was in South Asia, where it
would have been more difficult to pursue music, I would have probably ran away from home at a young age and fallen at some Gurus feet where I would learn for the rest of my life. For me, this way of of life has always been a very natural process, as I was born on this earth to
sing and play. Music is a divine power, and for me it is like a prayer to the universe. The feelings are indescribable.

Do people in Canada really appreciate what you're doing, do they know enough about Indian classical music to judge?
I personally feel that there are very few peers for musicians like myself in this country. This makes it harder for me to receive grants because the people involved in the process have a very limited understanding of what I do.Even five years ago CMW would not have an artist as myself perform at their venue. I have hope, however, that Canada will recognize World Musicians as myself and give us a better platform to live our lives and help us spread our music through more funding and touring. This is what is currently lacking here in Canada
for World Artists for many years. Every organization should understand what Indian Classical Music is, and the fact that this form of music is the most ancient and complex form in the world. Walking in this way of life has brought upon many hardships for me with funding and acceptance in Canada. However, I am delighted that the trend here is slowly changing. Small World Music is one of the very few successful organizations in Canada which present diasporic classical music.

Could you compare and contrast your approach to ghazal with Kiran Ahluwalia's music?
Kiran is a very well accomplished, wonderful and consummate musician with a beautiful and melodious voice. I really admire what she has done for Indian Music and specifically the Ghazal in the Canadian Music industry. Even though the both of us sing Ghazal compositions, our stylistic approach is different. My style is very heavily influenced by Classical. I do not use many Western instruments, if any, in my repertoire. I prefer the traditional aspect of Ghazalsinging, with lots of on the spot improvisation. Plus, I play the
Tabla while singing, which is my unique contribution to IndianClassical Music. Kiran also sings wonderful Punjabi Folk compositions, which I lack in my repertoire. I like to sing Thumris which are a lighter form of Indian Classical singing asides from the heavier
Ghazals. I am confident that thanks to musicians like Kiran and myself, the Ghazal will survive in Canada for years to come.

You live out in BC, what's it like to get gigs?
I am very thankful to the Goddess of Music that I am very popular in Vancouver. I have many students here, many musicians who respect me, and a wonderful artist manager who works very hard for me. However, with this recession we are dealing with, it is difficult for me or
anyone for that matter to get many concerts here. I prefer to remain exclusive, so I do not perform in clubs or restaurants, which seems to be the trend here to be a regular gigging musician. However, the folk festival season here is usually very kind to me.

What do you hope to get out of the CMW experience?
What is more important for me than money, record contracts or fame is the survival of the Ghazal tradition in Indian Classical Music. Most of the great masters of this tradition will not be here in the next few years. I must carry this weight on my shoulders, as this is what I was born to do. I hope that my message to Canada is that this form of music has to be patronized and nurtured by our government, our arts councils and presenters and promoters around the world. This music needs to be given the right to survive. I am very happy that CMW has
given us this opportunity to finally present World Music. I also hope that all my colleagues in the Yarlowe Group will soar and shine after their presentations in their traditional and evocative genres ofmusic. Money and fame is not as important to me than my music. That
comes first... - Eye Weekly

PRLog - Dec. 27, 2010 - NORTH VANCOUVER, British Columbia -- Canada's Ghazal/Tabla Wizard, Cassius Khan has finally released his long awaited release, "Mushtari - a live concert" in January of 2010 in memory of his guru and mother figure, the Late Mushtari Begum ( Dec.25th 1934- Mar.14th 2004)

The album, released in Jan. 2010 was recorded live at Gary Sill Studios in Vancouver in front of a live audience. The musicians accompanying him were Amika Kushwaha on Harmonium and Lavika Kushwaha on Taanmandal.

Khan, who has overcome many obstacles in his life as a musician of Indian classical music, has overcome one of the greatest obstacles ever in this recording: playing the tabla and singing ghazals simultaneously in a recording atmosphere. This is the only recording in the world which features a ghazal singer playing tablas to his own voice.

"This is by far the greatest challenge I faced in my life so far," said the 36 year old wizard,"and I am deeply indebted to my beautiful wife who skillfully played harmonium to my voice as if I have played it myself!"

Which is true. Most ghazal singers play harmonium to their own voice, as their fingers follow the patterns of their voice in their head. Amika Kushwaha, however, blended her fingers into Khan's voice as if they were one! This, according to Khan, is the greatest challenge for any harmonium player playing for another musician.

" Amika is a master Kathak dancer, and harmonium is actually her secondary instrument. However, because she is such a genius at her musicality, she has literally danced her fingers to the notes of my voice on her harmonium. She is the most talented musician I know" smiles Khan.

Khan also played a blistering tabla solo recital for his album, which is the last track of the album. His sheer prowess on the tabla was a divine experience, and at the end of every composition he played the audience's cheers were delirious with intoxication.

Gary Sill, the recording engineer, was responsible for the wonderful and seamless blending of the instrumentation on the album. "Gary is an amazing sound engineer, and he did a wonderful job on this recording. I am very happy with how everything turned out."

Khan has gained international status and fame as the only musician in the world who has combined tabla playing and ghazal singing in his repertoire, and many senior Indian master musicians have recognized him as the creator of this new style.

"My guru Mushtari Begum ji had always stressed to me that I must be different with my talents, and it is thanks to her that I am able to do what I do. Mind you, it took many years for me to perfect the technique, and I am still perfecting it everyday, and will be perfecting it for the rest of my life", says Khan.

Khan hopes that the album will be a success." The genre I am performing is limited to a smaller audience, but I hope that "Mushtari" will be widely received by the international audience. I am very excited, and I hope that Canada will support it fully as well as the world. I think that people would love to own an album which is unique in every way: tabla player andclassical ghazal singer with a harmonium player playing for the ghazal singer/tabla player and a live audience..... and also, a Canadian of Indian decent born in the Fiji Islands! I guess I am quite the package!" Khan laughs.

Cassius Khan's album, "Mushtari - a live concert" is available world wide through itunes and many other sites, as well as www.indiepool.com

You can also visit Khan's website at www.cassiuskhan.com - PRLOG

His reputation as the only professional performing artist in the world to play the tabla and sing Ghazals simultaneously has opened windows of opportunities for his music career. But if there is one thing that 35-year old Cassius Khan (pictured) is proud of, it's his links to Fiji.

Born in Lautoka, Cassius and his family moved to Canada when he was four months old.

Cassius is one of Canada's popular Indian classical musician and has performed with numerous musicians.

Now living in New Westminster, Canada with his wife Amika Kushwaha, Cassius is second in a family of four.

"I wanted to be a pilot and fly a 747 when I was younger. My dad, Naimatullah Saddiq Khan used to work for Qantas Airways in Fiji in the 1960's and would tell us about it," he said from Canada.

"We lived close to Nadi Airport and I used to watch the planes land. I could tell anyone which plane landed without looking. My ears were so well-tuned to the engines.

"When I came to Canada, I became obsessed with ice hockey, playing goalie.

"At one point, I wanted to be a professional goaltender but things didn't work out.

"I guess the great gurus of music called me in my dreams and I was destined to rest my hands on the tabla and my voice to the cosmos."

His father runs a forklift and hydraulic repair shop while his mother, Razia Begum Khan from Ba is a diesel mechanic and helps with her husband's business.

Cassius' academic life is also interesting.

He attended McCaughley School then Delwood Elementary and Bannerman Elementary in Canada.

In 1983, his family moved back to Fiji and he continued his education at Andrews Primary until 1987 when they returned to Canada.

It was off to Steele Heights Junior High and M. E Lazerte C H.

Cassius then attended the University of Alberta and Concordia University College for a Bachelor of Arts degree.

"I used to work a few jobs for some extra pocket money and tuition fees while I was schooling," he said.

"I would also do concerts here and there to earn extra money as well.

"I believe music was always in me since I was born.

"I was always drawn to rhythm and melody.

"As a child, I used to play my mom's cooking pots as though they were tablas.

"I would always sing and many complimented me on my vocal skills even though I was not trained by anybody at the time."

His specialisation as a vocalist lies in Ghazal gayaki or Ghazal style of singing.

Cassius says Ghazals are poetry of love and heartbreak set to melodious ragas.

Although Cassius has adopted a few styles his vocal training is more of Khayal gayaki.

Noting the singing styles of Ustad Mehdi Hassan and Malika-e-Tarannum Begam Akhtar, Cassius says their artistic renditions are very similar to what he was taught by Mushtariji.

He was taught how to play the Delhi gharana of tabla playing style and has since learnt the skill from other tabla players eventually creating his own niche in the field.

"For me, it's a very natural process like I was born on this Earth to sing and play. Music is divine power and it's like a prayer to the universe," he said.

"The feelings are indescribable. Classical music of India is the oldest and most complex form of music on earth.

"Music as a whole signifies peace and love. Music is not an art. Art only affects human beings because only we can understand paintings, sculptures and architecture.

"But music has a profound effect on plant and animal life. Our earth has music everywhere."

The challenges are many for musicians like Cassius.

He said a lot of aspiring musicians focus on instant success and fame.

For tabla, Cassius says one has to be dedicated and committed.

He practises on the tabla at least six hours a day and vocals for about four hours.

Training the mind in mathematics and physics, hands and voice to play or sing compositions are secrets of being a successful tabla musician.

"Respect your gurus. Practise, practise, practise. Be prepared to sacrifice your life for this form of music," he said.

"The road is very difficult but the rewards are very sweet. Always maintain humility and most of all, respect the stage and your instruments for they are what will carry you to where you have to be."

Cassius is represented by the Yarlowe Artist Group in Vancouver.

He hopes to perform in Fiji and is proud of his roots in Fiji. - Fiji Times