Thanks to two masters, the pakhawaj is getting its groove back.
Bhai Baldeep Singh playing the jori.
With the predominance of the tabla as an instrument of percussion in North India, the pakhawaj, or a version of it, has come to be associated as a percussion instrument played primarily in the South. But, in fact, the barrel-shaped drum has been played in Punjab since the time of the fifth Guru of the Sikhs, Guru Arjan Dev (1563-1606). Without the accompaniment of the pakhawaj, no Gurbani kirtan would ever have sounded quite the same.
The devotional musical offerings in gurdwaras, sung in dhrupad style, were traditionally rendered to the accompaniment of the rabab, a stringed instrument, and the pakhawaj. Bhai Mardana, who accompanied Guru Nanak on all his travels, playing the rabab to the Guru’s compositions, was famously gifted his rabab by Guru Nanak Dev himself.
In a kabit (a form of Punjabi oral poetry) by Bhai Gurdas, the first interpreter of Gurbani, writes about the popularity of the pakhawaj in the 16th century: “Ghar-ghar baba gaviyai, vajjan tāla mridañg rabābā” or, each home has become a resting place where kirtans are sung to the accompaniment of rababs and mridangs (another kind of percussion instrument).