"At seventeen Hussain went on forty-day self-imposed retreat known as a chilla, where a musician practices in isolation until a state is reached in which the music and musician become one. The removal of everyday distractions, combined with single-minded concentration on the practice allows the musician to attain a state of Samadhi or meditative absorption, where one enters into a deeper relationship with one’s own music, and comes in direct contact with the source of music itself. Visions and hallucinations are not uncommon, where one’s musical ancestors may appear and offer encouragement or criticism. What is certain is that the musician makes remarkable progress in his craft. Hussain recalls his first Chilla in Hart’s drumming “I saw things in the music that I had never seen before, new combinations, new patterns”. Six month’s later, against his father’s advice, Zakir was ready to do a second chilla. This time around, the visions were more intense, and Hussain had a premonition that he would soon go to America."

“I’ve never wanted to fit in Abbaji’s shoes and am happy to walk in my own. My father made it categorically clear even when my brothers or me performed with him. “I don’t expect my sons to be me because what I’m doing is already done. They’ve to be better than me,” he’d say. “Photocopies are eventually consigned to the dust bin and only originals preserved.”

“Similarly people talk about me now but they don't realise that there are equally good tabla players around. I wouldn't call myself a torchbearer or anything of that sort. I am just one of those who is able to articulate, may be slightly better than others.”

“If it weren’t for the masters we wouldn’t have audiences for Indian classical music across the world. As for taking their mission forward, we have a long way to go.”

“Zakir bhai is indeed a phenomenon of our times. It is not surprising that young tabla players are inspired or influenced by him but cloning will only give them a temporary impetus.”

“I remember I was once booed off the stage on day one of a festival at Nagpur within half an hour and the same audiences were eating off my hands the next within the first seven or eight minutes. Everyone has their bad day, if I didn’t I’d be God.”

“I firmly believe that the primary role of the tabla is saath-sangat. Which is why I enjoy being on stage with Shivji , Amjadbhai or Birju Maharaj. I look forward to these concerts. Unlike a solo concert where I am my own boss, here I have to strike a dialogue in the music-making process. This enriches and makes me a better musician and tabla player.”