0:00:08 > 0:00:10APPLAUSE
0:00:55 > 0:00:58My very dear friends,
0:00:58 > 0:01:03this is something that didn't happen to me before.
0:01:03 > 0:01:10This is the first time that I am 80, and I'm very embarrassed at the same time.
0:01:10 > 0:01:14I don't know whether to be happy or unhappy.
0:01:14 > 0:01:18But this spiritual journey through music
0:01:18 > 0:01:23is the only thing that I feel important in my life.
0:01:54 > 0:01:59My earliest memory is going to the ghats in the evenings,
0:01:59 > 0:02:02and spending hours there, you know.
0:02:02 > 0:02:09Someone is to be with me to see that I don't go and jump in the Ganges or get lost!
0:02:20 > 0:02:24The heart is such magic with the shehnai playing,
0:02:24 > 0:02:26and all the temples,
0:02:26 > 0:02:32and they're enacting the Ramayana or some other mythological story.
0:02:32 > 0:02:36Everything is going on there - children are being born.
0:02:36 > 0:02:40In the distance, you have the Burning Ghat.
0:02:40 > 0:02:42You have the whole world there.
0:03:21 > 0:03:24As much as I remember of my mother,
0:03:24 > 0:03:27it's not a very happy memory that I have.
0:03:27 > 0:03:30I felt she was so lonely
0:03:30 > 0:03:32and she used to work very hard
0:03:32 > 0:03:37to give education to my three elder brothers who were going to college and school.
0:03:37 > 0:03:40Taking care of me all by herself.
0:03:40 > 0:03:44And, automatically, I felt...
0:03:44 > 0:03:46I won't say anger,
0:03:46 > 0:03:51but sort of...a hostile feeling towards my father
0:03:51 > 0:03:58because he was never there. Either he was in Calcutta practising law or he was in London.
0:04:00 > 0:04:02The first time I saw him,
0:04:02 > 0:04:05I was eight in Benares.
0:04:05 > 0:04:08And he came hardly for two weeks -
0:04:08 > 0:04:10much less, maybe -
0:04:10 > 0:04:13and stayed in a hotel.
0:04:13 > 0:04:15He looked so different.
0:04:15 > 0:04:20He was very fair in colour and dressed immaculate Western dress.
0:04:20 > 0:04:23To me, he seemed like a sahib.
0:04:25 > 0:04:28He was coming back to India, actually.
0:04:28 > 0:04:33He got a very good offer. He might have taken it and we were hoping he would.
0:04:33 > 0:04:38But somehow, on the way, in London, he died.
0:06:01 > 0:06:05My mother - she was my greatest friend, really.
0:06:05 > 0:06:09At that time period of... until about ten or so.
0:06:09 > 0:06:12She would tell me all the stories.
0:06:12 > 0:06:16Not only fairy tales, but also historical stories.
0:06:16 > 0:06:19She was in Rajasthan for many years.
0:06:19 > 0:06:26She told me about all the wonderful kings, brave kings who fought against invasions.
0:06:27 > 0:06:31Then she would tell me about the stars and the moon...
0:06:31 > 0:06:36with whatever knowledge she had. It wasn't very scientific maybe,
0:06:36 > 0:06:41but she knew all the names of the different ones.
0:07:32 > 0:07:35Being born in a Brahman family
0:07:35 > 0:07:38and being raised in Benares,
0:07:38 > 0:07:41which has so much of a religious aura,
0:07:41 > 0:07:47I was - without trying to know or be - a very religious person,
0:07:47 > 0:07:50I was brought up in the atmosphere.
0:07:50 > 0:07:56And especially...gods like Siva or Krishna...
0:07:56 > 0:07:58I mean, to us...
0:07:58 > 0:08:01especially Krishna...
0:08:01 > 0:08:04they're like persons who are still there.
0:08:04 > 0:08:08We talk about Krishna, write songs about him, sing about him...
0:08:08 > 0:08:13He is there in every art form - dance or music...
0:08:13 > 0:08:15stories...
0:08:15 > 0:08:18and if you go to Mathura,
0:08:18 > 0:08:25you will have that feeling that he is somewhere there talking, that you know...Krishna was here.
0:08:25 > 0:08:31And that's what it has been with me - this very nearness feeling to Krishna.
0:09:16 > 0:09:22Anything I saw, like silent films, and later on, talkies, and theatre,
0:09:22 > 0:09:24whatever, you know...
0:09:24 > 0:09:29I used to enact it in front of a mirror.
0:09:29 > 0:09:36Sometimes be the hero and the villain, or the villain...or heroine also...
0:10:03 > 0:10:09When I started performing, I was already a dancer as well as a musician.
0:10:10 > 0:10:13Dance has always fascinated me.
0:10:41 > 0:10:45My school days in Benares came to an end when I was nine.
0:10:45 > 0:10:48And my brother, Uday -
0:10:48 > 0:10:50we called him Dada -
0:10:50 > 0:10:53took me into his dance troupe.
0:11:04 > 0:11:08What happened - he had a partner who was French.
0:11:08 > 0:11:11Her name was Simone Barbier
0:11:11 > 0:11:14She was a pianist. Beautiful pianist.
0:11:14 > 0:11:19He was in love with her. He taught her dancing. She left piano.
0:11:19 > 0:11:22A name was given - Simkie.
0:11:29 > 0:11:31"Bizarres instruments!"
0:11:35 > 0:11:39We can imagine 1932...
0:11:39 > 0:11:41Wow!
0:11:42 > 0:11:45Simkie...
0:11:51 > 0:11:54He was such a wonderful dancer,
0:11:54 > 0:12:00and he was just...not sexy, but he was beautiful!
0:12:04 > 0:12:07That's me!
0:12:07 > 0:12:10THEY CHEER
0:12:18 > 0:12:22It was too much for me from Benares to Bombay -
0:12:22 > 0:12:29Bombay was something which I couldn't believe. I would get fever all the time with the excitement.
0:12:30 > 0:12:33And from there, on the boat...
0:12:33 > 0:12:37SS Ganges. I still remember the boat.
0:12:37 > 0:12:39And...
0:12:39 > 0:12:43coming to Brindisi, and from there by train to Venice.
0:12:43 > 0:12:47The San Marco's Place with all the pigeons.
0:12:47 > 0:12:50And then the train journey.
0:12:50 > 0:12:56And it was very cold and I had never experienced such cold weather.
0:12:56 > 0:12:58Everything was so exciting.
0:12:58 > 0:13:01And finally, Paris -
0:13:01 > 0:13:03art centre of the world.
0:13:06 > 0:13:12Segovia lived a few houses away from us. He used to come sometimes. I used to sit on his lap.
0:13:12 > 0:13:15And he loved Indian music.
0:13:15 > 0:13:18He played for us one or two days.
0:13:18 > 0:13:24So I was so fortunate in hearing the best of classical music,
0:13:24 > 0:13:30whether Jascha Heifetz or Kreisler, or going to Toscanini's conducting,
0:13:30 > 0:13:32or Paderewski's piano.
0:13:32 > 0:13:37Chaliapin singing basso with chandeliers shaking almost.
0:13:37 > 0:13:40So that one side,
0:13:40 > 0:13:43then all the French accordion music...
0:13:43 > 0:13:47Georges Milton, at that time, was very famous...
0:13:47 > 0:13:50HE SINGS IN FRENCH
0:13:50 > 0:13:54Then I had a lot of discs.
0:13:54 > 0:13:57The song I remember so well...
0:13:58 > 0:14:03# I love you so much Why don't you feel it?
0:14:03 > 0:14:06# I love you so much
0:14:06 > 0:14:08# Why don't you feel it?
0:14:08 > 0:14:11# I love you so much
0:14:11 > 0:14:13# My eyes reveal it
0:14:13 > 0:14:17# It's a wonder you don't feel it
0:14:17 > 0:14:20# It's a wonder you don't feel it
0:14:20 > 0:14:23# I love you so much... #
0:14:23 > 0:14:28It goes on like that. And I used to love that - I'd play it again and again and again!
0:14:29 > 0:14:33BIG BAND MUSIC
0:14:37 > 0:14:42Going to America with the group in those days...
0:14:42 > 0:14:48there were a lot of people who were rather doubtful whether we would have success,
0:14:48 > 0:14:55but because of Dada's charisma and the well-presented show in the American way of publicity...
0:14:55 > 0:14:59and the best theatre in Broadway.
0:14:59 > 0:15:04What a success! For five, six years, we were on top of the world.
0:15:15 > 0:15:19It came..."God On The Stage!"
0:15:19 > 0:15:22The Sunday Times... The New York Times...
0:15:22 > 0:15:25superstar in those days.
0:15:25 > 0:15:33We never had a superstar like that. Not just in your own city or own country, but world over.
0:15:43 > 0:15:47When we went to Hollywood...
0:15:47 > 0:15:51he was mad for the cinema stars.
0:15:51 > 0:15:55Jean Harlow...! He went straight and got their autographs.
0:15:55 > 0:16:00- Jean Harlow...- Jean Harlow. I was in love with her!
0:16:03 > 0:16:07Marie Dressler used to be the old actress.
0:16:07 > 0:16:09She wanted to adopt me!
0:16:09 > 0:16:14She was so much in love with me... I was 13½, going 14.
0:16:14 > 0:16:16Marie Dressler wanted to...
0:16:16 > 0:16:24We were at her home, big party - Clark Gable, Joan Crawford, Greta Garbo - they were all there.
0:16:25 > 0:16:28And when she proposed that,
0:16:28 > 0:16:34my brother... I saw them discussing something and my brother was there saying no.
0:16:34 > 0:16:38And he called the other brother. They all said no.
0:16:38 > 0:16:44And I was so angry...! I was crying. I said, "I want to be adopted by her!
0:16:44 > 0:16:47"I want to stay in Hollywood!
0:16:47 > 0:16:49"I want to become a film star!"
0:16:49 > 0:16:54And they wouldn't let me. What a sad thing!
0:16:54 > 0:16:58SCAT MUSIC
0:17:03 > 0:17:07SITAR MUSIC
0:17:49 > 0:17:54I loved dancing and I think I would have been a good dancer.
0:17:54 > 0:18:00I was 15, 16 when I composed a piece myself,
0:18:00 > 0:18:03completely choreographed it - a solo dance.
0:18:03 > 0:18:06I used a lot of footwork
0:18:06 > 0:18:12which in those days was very much associated with erotic type of words
0:18:12 > 0:18:15and dancing girls, you know.
0:18:15 > 0:18:19But Baba - that is my guru...
0:18:19 > 0:18:22He was always giving me a little...
0:18:22 > 0:18:25"This is not the way...
0:18:25 > 0:18:29"This is not the life to learn seriously.
0:18:29 > 0:18:31"You are like a butterfly.
0:18:31 > 0:18:35"You do this, you do that, you run around girls...
0:18:35 > 0:18:39"I mean, you are not serious in anything.
0:18:39 > 0:18:41"And you have so much talent,
0:18:41 > 0:18:45"and I will teach you... I would LOVE to teach you...
0:18:45 > 0:18:51"but only if you leave everything and come to me. I'll teach you."
0:18:51 > 0:18:54This went directly in my head and stayed there.
0:18:54 > 0:18:59It was haunting me. And I was having much more fun all around.
0:18:59 > 0:19:04I was going through such turmoil in my mind,
0:19:04 > 0:19:11and gradually, I decided that, "No, I'll have to work and learn from him."
0:19:12 > 0:19:16The way... I was attracted to him as...
0:19:16 > 0:19:22I mean, I had only seen Pablo Casals or Kreisler at that stage...
0:19:22 > 0:19:28I never had any idea of Indian musicians. He was the first one.
0:19:28 > 0:19:30He was, to me, like a Himalaya.
0:19:56 > 0:20:01Taking a guru was the biggest decision of my life.
0:20:01 > 0:20:04It demanded absolute surrender -
0:20:04 > 0:20:08years of fanatic dedication and discipline.
0:20:09 > 0:20:13I stayed with Baba more than seven years.
0:20:13 > 0:20:16He was a tyrant, absolutely,
0:20:16 > 0:20:19and I was always frightened of him.
0:20:22 > 0:20:26Now I thank God for bringing me to Baba.
0:20:28 > 0:20:31What he gave me is all my life.
0:20:55 > 0:20:58'The grand old man of Indian music,
0:20:58 > 0:21:02'Allaudin remains the uncrowned king of my heart,
0:21:02 > 0:21:05'a versatile musician
0:21:05 > 0:21:08'playing practically ALL instruments.
0:21:08 > 0:21:12'Under the stern discipline of the master,
0:21:12 > 0:21:17'his children and his pupils became the famous musicians they are today.'
0:21:18 > 0:21:23Those years in Maihar with Baba were so wonderful,
0:21:23 > 0:21:26along with his son Ali Akbar
0:21:26 > 0:21:32and his daughter Annapurna whom I married in 1941,
0:21:32 > 0:21:35and we had a son Shubho.
0:21:38 > 0:21:42It was difficult for me, you can imagine,
0:21:42 > 0:21:46after years of good living in five-star hotels
0:21:46 > 0:21:50and all the pleasure and fun in life,
0:21:50 > 0:21:53and I was 18.
0:21:54 > 0:21:58So to be, all of a sudden in a place like that,
0:21:58 > 0:22:00where there's nothing, nothing.
0:22:00 > 0:22:04There was no cinema, no entertainment,
0:22:04 > 0:22:07nothing that you could waste your time.
0:22:07 > 0:22:12I had just a room to myself, next house to Baba's,
0:22:12 > 0:22:18an ordinary bed made of coconut coir, I think - very thin, you know.
0:22:18 > 0:22:22But the fact that I had tremendous fire in me,
0:22:22 > 0:22:25I went through all that.
0:22:32 > 0:22:35INAUDIBLE CONVERSATION
0:22:36 > 0:22:39He was continuously saying things
0:22:39 > 0:22:43relating to music and religion at the same time.
0:22:44 > 0:22:49And he used to say all the time that music is not for entertainment.
0:22:49 > 0:22:52It's not to make money.
0:22:52 > 0:22:54We HAVE to do it, we have to live,
0:22:54 > 0:22:59but it is not meant for that. It is meant for worshipping.
0:22:59 > 0:23:04Singers have an advantage because they can sing beautiful songs
0:23:04 > 0:23:09composed on Siva or Krishna or Devi...
0:23:11 > 0:23:14..but we...don't have that advantage.
0:23:14 > 0:23:17It's just mere sound...only,
0:23:17 > 0:23:24but to create that, you had to go within and think of...and train yourself,
0:23:24 > 0:23:29and that only can come with a lot of humility.
0:23:29 > 0:23:35If you have ego, you are saying, "Look what I can do - the speed and this,"
0:23:35 > 0:23:41and playing for...you know, continuous praising from the public.
0:23:41 > 0:23:45That is a different music. That's for entertainment.
0:23:45 > 0:23:50As they say in the West, playing for the gallery.
0:23:50 > 0:23:54But what I'm talking about is something else.
0:23:54 > 0:23:56It's more the introvert.
0:23:56 > 0:24:00You don't know what you are doing yourself.
0:24:00 > 0:24:05You're not planning to go to the next note. It flows.
0:24:05 > 0:24:07The raga and you become one.
0:25:09 > 0:25:13It is a state of mind which is unbelievable.
0:25:13 > 0:25:15It's so beautiful.
0:25:15 > 0:25:20It's an ecstasy that cannot be explained.
0:25:20 > 0:25:24Often, tears come to my eyes or...
0:25:24 > 0:25:27It is a beautiful pain,
0:25:27 > 0:25:30which makes you so sad,
0:25:30 > 0:25:33but that sadness has such beauty in it,
0:25:33 > 0:25:38it's also like a happiness at the same time, you know?
0:25:38 > 0:25:40And that truly, I think,
0:25:40 > 0:25:44is the real spirit of music.
0:25:53 > 0:25:58He had finished the film. He showed me the rushes.
0:25:58 > 0:26:02The moment I saw the rushes, which were very rough,
0:26:02 > 0:26:05I knew it was a great film.
0:26:05 > 0:26:09Nothing like that has been made in India before.
0:26:09 > 0:26:12He was very dejected
0:26:12 > 0:26:16because all his finance was finished.
0:26:16 > 0:26:18He didn't know how to bring it out.
0:26:18 > 0:26:26When I saw it, I said immediately that I had a tune, like a theme music.
0:26:26 > 0:26:29HE SINGS A MELODY
0:26:34 > 0:26:37MUSIC PLAYS ON FILM
0:26:48 > 0:26:51This came to me like this...
0:26:51 > 0:26:54and I sang to him and he was overjoyed,
0:26:54 > 0:27:01and that's why it became the theme music which flowed with different things.
0:27:01 > 0:27:06I played the sitar also. And there are a lot of different sequences,
0:27:06 > 0:27:13but with few instruments. I did it in hardly eight hours - looking at the film,
0:27:13 > 0:27:20stopping, timing it and then, the second time, just doing it with a few musicians,
0:27:20 > 0:27:23making them write some pieces,
0:27:23 > 0:27:26and it turned out to be so fantastic.
0:27:57 > 0:28:00SORROWFUL MUSIC
0:28:01 > 0:28:05MUSIC DROWNS SPEECH
0:28:29 > 0:28:32MAN WAILS
0:28:37 > 0:28:42It was in that period that I met a few diplomats in Delhi -
0:28:42 > 0:28:47you know, the Belgian, the French, and the other embassies -
0:28:47 > 0:28:51and some of them were very interested in music.
0:28:51 > 0:28:56They came to my concert and they were very impressed.
0:28:56 > 0:28:58But at that time,
0:28:58 > 0:29:05unfortunately all our musicians - almost every one of them barring a few here and there -
0:29:05 > 0:29:09they had no proper education in English,
0:29:09 > 0:29:12and they couldn't explain,
0:29:12 > 0:29:17so I, with my childhood experience and all that,
0:29:17 > 0:29:19I had a great advantage.
0:29:22 > 0:29:25COMMENTARY IN RUSSIAN
0:29:28 > 0:29:31That was their cultural delegation
0:29:31 > 0:29:33which Pandit Nehru sent in '54
0:29:33 > 0:29:36in Eastern Europe.
0:29:45 > 0:29:48We played all over Soviet Russia.
0:29:48 > 0:29:52We had Bolshoi Theatre and Kremlin Theatre
0:29:52 > 0:29:55but I had the major section,
0:29:55 > 0:29:58almost playing 20 minutes.
0:30:23 > 0:30:27RUSSIAN COMMENTARY
0:30:29 > 0:30:34I took the whole responsibility on myself, you know,
0:30:34 > 0:30:37concerning Indian music and the West...
0:30:37 > 0:30:40because I had felt that I could do it.
0:30:40 > 0:30:45All the encouragement that I had from the group in Delhi
0:30:45 > 0:30:49who told me to go out and tell them about Indian music
0:30:49 > 0:30:52made me go, go, go and not stop.
0:30:52 > 0:30:57We've invited one of India's foremost musicians, Ravi Shankar,
0:30:57 > 0:31:04to discuss the music of his country, to play it for us, and to explain its characteristics.
0:31:04 > 0:31:09The raga is very hard to explain to the Western listener
0:31:09 > 0:31:14because it is neither a scale nor a mood as many people think,
0:31:14 > 0:31:16though it was based on both.
0:31:16 > 0:31:24Like the major and the minor, we have 72 parent scales, as it is known, which is known as mela...
0:31:24 > 0:31:26'They didn't have any idea
0:31:26 > 0:31:33'that Indian music is as classical as you can think of Western music being classical.'
0:31:33 > 0:31:37And then of course, a raga is not a written-down thing.
0:31:37 > 0:31:44First, I have to tell them ours is not written-down, it's an oral tradition,
0:31:44 > 0:31:47so a raga is just a cluster of notes
0:31:47 > 0:31:55where you give life to the raga, which you learn from the guru, of course - breathe life into it.
0:31:55 > 0:32:02Then the use of microtones... Little... Sometimes microtones are not used directly,
0:32:02 > 0:32:05but with little...
0:32:05 > 0:32:09HE SINGS WITH SUBTLE VARIATIONS IN NOTES
0:32:21 > 0:32:23We never use staccato.
0:32:23 > 0:32:26HE SINGS SEPARATE NOTES
0:32:27 > 0:32:30This is not Indian music.
0:32:30 > 0:32:34It's always rounded. It's not cornered, you know?
0:32:34 > 0:32:36That is a very important thing.
0:32:36 > 0:32:39And then give feeling to it.
0:34:03 > 0:34:10I was lucky also being the first person there, and the right people being there.
0:34:10 > 0:34:16Yehudi Menuhin was the greatest name that I can think of in the classical world.
0:34:16 > 0:34:22- RAVI SINGS - I'll do this...- Yes, the ta-da-ra-dun.- Pa-pa-papum...ah!
0:34:32 > 0:34:35He got so much interested in it.
0:34:35 > 0:34:38That was a unique quality in him -
0:34:38 > 0:34:44his love and respect for other art forms, other cultures, other religions.
0:35:10 > 0:35:13RHYTHMIC PERCUSSION
0:35:26 > 0:35:34We have to remember that this was the time that Ravi should meet people like Leary and Burroughs
0:35:34 > 0:35:40and Ginsberg and all these people that were the arbiters of a new kind of culture.
0:35:49 > 0:35:53The point was that there was a cultural shift.
0:35:53 > 0:35:57It was like a sea change. It was a profound change
0:35:57 > 0:36:02in the way Western culture saw itself in relationship to the world,
0:36:02 > 0:36:05in relationship to its own history,
0:36:05 > 0:36:09and also in terms of its own responsibilities.
0:36:09 > 0:36:12Ravi was somehow... When that door opened,
0:36:12 > 0:36:15he was already there.
0:36:16 > 0:36:19SITAR MUSIC PLAYS
0:36:46 > 0:36:48Everything was happening together,
0:36:48 > 0:36:54and they were giving all these mantras to the young people.
0:36:54 > 0:36:56"Take hashish, take LSD, take this.
0:36:56 > 0:37:01"This is how you can meet God. In India, everyone does it,"
0:37:01 > 0:37:03and that's not true at THAT time.
0:37:09 > 0:37:13They created Haight Ashbury,
0:37:13 > 0:37:21and the whole works - Kamasutra, Tantra, Tibetan Hole In The Head, Siddharta -
0:37:21 > 0:37:25these were only the few things they read,
0:37:25 > 0:37:29and they were thinking they knew everything.
0:37:29 > 0:37:34You know, playing guitar... for hours, stoned.
0:37:34 > 0:37:38"What are you doing?" "I'm discovering new music,
0:37:38 > 0:37:45"writing stupid lines, my own thing. Painting, just like that."
0:37:45 > 0:37:48But, on the other hand, I liked them
0:37:48 > 0:37:53because, at that period, that innocence was there.
0:37:53 > 0:37:56THEY SING ALONG WITH MUSIC
0:38:03 > 0:38:07- Now, once more. "Jai jai Guru Deva...?"- "Jai Sri..."
0:38:07 > 0:38:10"..Jai Sri Guru Deva Jai jai Guru Deva."
0:38:10 > 0:38:13It is in praise of the guru.
0:38:13 > 0:38:20'And then I met them for the first time, the Beatles. And, believe me, I had no idea who they were...
0:38:20 > 0:38:24'I'd vaguely heard they were very popular.'
0:38:25 > 0:38:31It was George who really attracted me, in the sense that he was so...
0:38:31 > 0:38:36interested in Indian music, philosophy...
0:38:36 > 0:38:43He had come to a few of my concerts, heard me in the Royal Festival Hall and different places,
0:38:43 > 0:38:50and he had all my records, and he had been so much interested in sitar.
0:38:50 > 0:38:52I told him very frankly
0:38:52 > 0:39:00that it's not like guitar - that if you have a lot of talent, you just learn a few chords
0:39:00 > 0:39:07and, if you have enough talent, you can go on your own, write your songs - which is fantastic -
0:39:07 > 0:39:12but it's like classical guitar or anything like violin or cello,
0:39:12 > 0:39:17you have to give many years and many hours to work hard on it.
0:39:17 > 0:39:20HE SINGS THE INSTRUMENTAL PHRASING
0:39:42 > 0:39:49'He did develop a lot, musically, by listening all the time to the chords, by thinking about it,
0:39:49 > 0:39:54'and as much as I could give him through talking to him about music.
0:39:54 > 0:39:59'And he has become one of the dearest persons in my life
0:39:59 > 0:40:04'and I really love him like my son.'
0:40:04 > 0:40:11And he considers me as a father. But we are at the same time great friends. A lot of fun!
0:40:13 > 0:40:16TABLA JOINS IN
0:40:46 > 0:40:50TEMPO ACCELERATES
0:41:24 > 0:41:31I was discovered, you know, by the young generation...all over the world...and became a superstar.
0:41:31 > 0:41:34It was strange!
0:41:34 > 0:41:40If I were young, younger than I was - because I was already 47, 48 -
0:41:40 > 0:41:43I'm sure I would have lost my mind.
0:41:43 > 0:41:46But having worked...
0:41:46 > 0:41:52All the ten years in Europe had created a wonderful audience for our music.
0:41:52 > 0:41:57That was very helpful for me to keep my head straight.
0:41:57 > 0:42:01I mean, the first one was all right, Monterey -
0:42:01 > 0:42:07in spite of drugs, which I was always talking against, and protesting -
0:42:07 > 0:42:11but I saw how quickly it was going on changing...
0:42:11 > 0:42:18And with the experience I had in Woodstock, I knew that this... this is not going to work.
0:43:00 > 0:43:02MEDITATIONAL CHANT BEGINS
0:44:16 > 0:44:23Sometimes it worries me, this "globalisation", as they call it, Americanisation, whatever,
0:44:23 > 0:44:29and I feel it might harm the classical or the traditional part.
0:44:29 > 0:44:33But...as long as there are artists, still,
0:44:33 > 0:44:40who can really touch the heart, the soul of people through the traditional music,
0:44:40 > 0:44:43I think it will live.
0:45:02 > 0:45:06Ah...no... Because that sound is...
0:45:06 > 0:45:09MOUTH-MUSIC
0:45:09 > 0:45:12PLAYER COPIES PHRASING
0:45:13 > 0:45:16THEY REPEAT IT
0:45:16 > 0:45:18"Dah..." THEN, you can. OK?
0:45:21 > 0:45:23HE SINGS LYRIC
0:45:23 > 0:45:26PLAYER REPEATS MELODY
0:45:27 > 0:45:30HE SINGS NEXT LINE
0:45:30 > 0:45:33PLAYERS REPEAT IT
0:45:36 > 0:45:42WOMAN: His disciples are REALLY like his children to him.
0:45:42 > 0:45:46He just dotes on them, he loves them all so much.
0:45:46 > 0:45:52They really give him the respect of a guru. But at the same time they just love him like a father.
0:45:52 > 0:45:57They eat with him every day when they live with us,
0:45:57 > 0:46:04and talk about all kinds of things, personal problems, musical problems. He's very close to his students.
0:46:05 > 0:46:11'Being my teacher AND my father was a lot tougher for him than it was for me,
0:46:11 > 0:46:19because he's the one who's USED to having many, many students and having them be a certain way with him.
0:46:19 > 0:46:23And this relationship where there's so much respect from the student
0:46:23 > 0:46:30that he can almost command them to practise all night, or sit for eight hours. And then I come along.
0:46:30 > 0:46:37I was eight or nine. He really had to tailor the way he taught me. He COULDN'T get angry. I'd start crying.
0:46:37 > 0:46:42So HE had a tough time with that. And then we worked on it together.
0:46:42 > 0:46:49For me, it's just beautiful. I've got a father and teacher in one. And that's made me a lot closer to him.
0:46:57 > 0:47:03'It's a pity that I didn't start with her SERIOUSLY when she was younger.
0:47:03 > 0:47:10'I think it would have been a different story if we lived in India. But being in California...
0:47:11 > 0:47:14'It is a life that...'
0:47:14 > 0:47:20'She's along with all her friends, and they are into everything.'
0:47:20 > 0:47:28Listening to all sorts of music, seeing films, this, that, TV... There's so much of distraction.
0:47:28 > 0:47:34But in spite of all that, she has this versatile mind,
0:47:34 > 0:47:38and anything that she wants to do, she can do it.
0:47:38 > 0:47:43You know - she changes like a chameleon into different atmospheres
0:47:43 > 0:47:46with different dress, different people...
0:47:46 > 0:47:50She's a fantastic person.
0:48:04 > 0:48:10Well, we had to do something for him, for all that he has given us.
0:48:10 > 0:48:13And that's how it all started.
0:48:13 > 0:48:17We needed a place to put all his things, all his works...
0:48:17 > 0:48:20and...a home.
0:48:34 > 0:48:40'My idea for the centre is basically research as well as an archive.
0:48:40 > 0:48:43'I do want to help maybe a few students,
0:48:43 > 0:48:49'but it will be training in the best thing of the old gurukul system.'
0:48:52 > 0:48:57This is the main dining room for all of us.
0:49:03 > 0:49:05Sitting room...
0:49:07 > 0:49:09This is Sukanya's area.
0:49:09 > 0:49:14To keep ALL the saris he has bought for me. Never-ending!
0:49:27 > 0:49:34This is the... Next-door is a college, a ladies' college, girls' college.
0:49:34 > 0:49:39- So you know he'll be standing here! - Their playground's really beautiful.
0:49:41 > 0:49:44Only girls.
0:49:46 > 0:49:52This will all... Flowerpots. Flowerpots here.
0:49:52 > 0:49:57And this, you can have a fantastic view from here.
0:49:57 > 0:50:01I would like to watch a show from here.
0:50:03 > 0:50:10And this is MY terrace, to keep an eye on him when he's watching the girls! Ri-ight across.
0:50:15 > 0:50:19And this is our piece de resistance, the music room.
0:50:21 > 0:50:27And that will be the stage, a small platform area for performance,
0:50:27 > 0:50:29people sitting on the floor.
0:50:29 > 0:50:38Maybe on the sides, special guests or people with bad legs might have some chairs...all around.
0:50:40 > 0:50:45I mean, I wish we had started it at least 10, 15 years earlier!
0:50:45 > 0:50:51But with this lady there, I have full faith that, yes, it's going to be done.
0:50:51 > 0:50:54It's very much your thing, isn't it?
0:50:54 > 0:50:59- Anybody would have done it...- No. - ..for him.
0:50:59 > 0:51:02You are special.
0:51:11 > 0:51:13BIRDSONG
0:51:25 > 0:51:30ALAP OF RAGA BEGINS
0:53:45 > 0:53:52ANOUSHKA: His health is definitely not the way it was ten years ago. And I wonder how he does it.
0:53:52 > 0:53:59He goes into the hospital and will have an angioplasty, then he'll come out and do a show two weeks later.
0:53:59 > 0:54:06My mother and I will always be like, "You don't have to do a show. Cancel it." But he won't. He HAS to play.
0:54:06 > 0:54:13I'm convinced that performing for people and playing his music is what keeps him alive.
0:54:47 > 0:54:51As far as improvisation and ideas...
0:54:51 > 0:54:55I mean, I never had it before like this.
0:54:55 > 0:54:58It is such a joy and ecstasy.
0:54:58 > 0:55:04It is like I'm being sent ideas after ideas.
0:55:04 > 0:55:07It comes like a sea wave.
0:55:07 > 0:55:14And it is so spontaneous that I'm wondering MYSELF, "Oh, how beautiful it is. I wish I can remember it."
0:55:14 > 0:55:19But by that time it's gone and something else is happening.
0:58:08 > 0:58:13Subtitles by Subtitling Unit BBC Broadcast - 2002
0:58:13 > 0:58:17E-mail us at subtitling@bbc.co.uk