Deccan Chronicle - 1976
Deccan Chronicle - 1976
Indian Herald - 1974
The Indian Express -1971
Times of India - 1969
Deccan Chronicle - 1963
Hindustan Times - 1957
Hindustan Times - 1956
Sholapur Samachar - 1973
Tarun Bharat - 1972
Swarajya - 1967
Free Press Journal - 1963
Nagpur Times - 1958
Screen - 1957
Nagpur Times - 1957
Lok Satha

MONDAY, JULY 12, 1976 .

Brij Narayan's Sarod recital for Laya Sadhana on Saturday was enjoyable beyond expectation.

Tabla veteran Ustad Shaik Dawood is responsible for presenting this young talented Sarod player as he had done earlier in the case of Shahed Parvez, the Sitar nawaz for which the music lovers of the twin cities should be grateful. Shaik Dawoodji should also be appreciated for his understanding and patronizing attitude towards young musicians, which is rare among senior artists. Shaik Dawood played Tabla for this young Sarod player with the same zeal and seriousness as he would have shown to a famous and far more senior artist. This is Shaik Dawood's specialty. In this concert the Tabla was as stunningly beautiful as the Sarod.

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By C.K.

Laya Sadhana presented Mr. Shahed Parvez Khan in a grand sitar recital at Gandhi Gyan Mandir on Saturday. Shahed Parvez Khan is quite young but he gave ample proof of his considerable mastery over Sitar.

It must also be mentioned that Parvez Khan though quite exuberant as is natural for a young man treated the great Tabla Nawaz Ustad Shaik Dawood with utmost regard and several times he kept time on Sitar to allow the seasoned maestro to replay on the Tabla some of his Swara bouts.

Kudos are due to Ustad Shaik Dawood who accompanies young artists and gives them good encouragement.

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Indian Herald
Dated December 16, 1974
Four hours of ecstasy

Ustad Shaik Dawood, who has been a legend in the Hyderabad music world for much longer than anyone can remember, and who has the distinction of having accompanied scores of maestros, proved once again that tabla was a sort of complementary antithesis to any instrument. By his virtuosity, he often drew the applause of the sitar maestro ustad Abdul Haleem Jaffer Khan and he audience, and proved a match to the former.

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Saturday, July 24th 1971 .

By B. Chandramohan:

He is gentle, soft spoken and most unassuming. No wonder Tabla Nawaz Ustad Shaik Dawood Khan is a favorite among the critics and the laymen alike. He has a style of rendering soft דּ'. There is grace and softness in his rendering and deftness in his fingers. He is one of the few who combine ṹari', presentation, clarity and purity of bols.

Dawood plays without any kind of bodily movement and that too when in 䩠Drut Lay.' We find only his electrified fingers moving rapidly on the surface of the percussion.

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Dated: 25the October, 1969.
By our music Critic.

The artist who really stole the show was the gifted santoorist, Shivkumar Sharma, with whom the four-hour session began. His Purva-Kalyan emerged as an excellent specimen of instrumental artistry.

The 70 minute exposition in alap, jod and jhala, followed by gat work in vilambit and drut, revealed a keen sense of form and proportion. The passage showed an invigorating celerity and trenchancy of rhythm.

Mention must also be made of the equally masterly percussion support which Shaik Dawood Khan of Hyderabad provided to Jasraj and Sharma. One rarely comes by the kind of adroitness and skill this veteran brings to bear on his play.

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Deccan Chronicle

Soulful Music

Ustad Shaik Dawood, the tabla wizard, was the first to perform and set the tone of the music that followed. Ranked second only to Ahmed Jan Khan in the country, Dawood played the teen taal in gat tuda. The audience was intrigued as to what instrument he could be playing. He could distil music out of anything from barrel-scraping to an attack of hiccups. Sometimes it breathed the air of a wild, untamed landscape but often it was soft as the touch of the morning breeze. Though elaborate in texture and counterpoint, it did not sound either congested or confused.

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Dated 25 th October, 1957.

Shaikh Dawood of Hyderabad , who accompanied the violinist Gajanan Rao Joshi on the tabla in Wednesday night's session of the Radio Sangeet Sammelan, provided sangat of the truest type. No other tabla accompanistﴠexcluding Karamat's good performance in the session relayed from Bombay 衳 provided sangat of this immaculate type. Dawood would cut into the patterns of the violinist; intertwine his playing spontaneously with their mannerﴠmerely repeat them after they had been executed; maintain the distinction between 衡li' and 衲i' while doing so, so as not to inconvenience the main performer; end his patterns exactly when those of the violinist ended; and, finally, resume the theka at precisely the same speed at which it flowed before the pattern.

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The Hindustan Times
Sunday March 11, 1956
By a Music Critic

Accompanied by Ram Narain on Sarangi and Ustad Dawood Khan on tabla, Joshi gave a superb rendering of raag shuddh kalyan through two khayals, and a thumri in raag kaafi which drew early applause from the audience. Both accompanists performed creditably. Ustad Dawood khan is to be congratulated for the steadiness and grace of his theka throughout the performance. He is better than many more publicized tabla players.

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Jan. 7 th , 1973
By Vaman Ingle

TABLA MAGICIAN Ustad Shaik Dawood.

At a music conference of 硲 Sadhana Sangeet Samajᠭan in simple ordinary clothes seemed to be accompanying many vocalists and instrumentalists and was accompanying according to the artistic ability of the performer. In the midst of glamorous glittering fanfare, this person stood out with his simplicity. He was none other than Ustad Shaik Dawood.

Babasahib Uttarwar, the member of 硲 Sadhana' said this about Dawood Saheb. ᷯod Saheb is an artist Saint. In contrast to those artist who take pride in arriving late, Dawood Saheb is a Shining Jewel.襠went on to say that, when the escort car for the artists was being used elsewhere, Dawood Saheb chose to walk his way to the auditorium to avoid keeping people waiting!

This story made me wonder, ﷠can this artist, who is counted amongst the top tabla players, be so humble?ᮤ the answer was prompted to me: Khan sahib doesn't need to assert himself with gharanas outfits or snobbery. He relies more on his hands that have a divine touch.

I remembered the poem 䡠Chautal' of Mr. Karandikar, ᣥ the truth; reveal your real self; titles and forms are only obstacles to perceiving the truthԨese lines seemed to be addressed to Dawood sahib. Here in lies the secret of Dawood saheb's personality that doesn't play unnecessary oddities when accompanying.

However, that doesn't mean he didn't know how to play odd beats. One day, Pundit Sampatlal, himself an excellent tabla player was accompanying on harmonium for Dawood Saheb's Solo performance. Dawood Saheb, in a playful mood, announced, ﭥ artists like to be deliberately difficult; and this is how I accompany such people,戡ving said this, Khansaheb performed such unthinkable cross rhythms in various tempos that the audience was stunned.

I (Vaman Ingle) have heard him with many artists such as Abdul Haleem Jaffer Khan, Shivkumar Sharma, Bimal Mukherji, Nikhil Bannerji, Bhimsen Joshi, Basavraj Rajguru, Jasraj and every time I realized that Dawood sahib is the master of rhythm. Very few people understand as he does; how much to play and what to play. Often times, both instrumentalists and tabla player are technically expert and both of them go into this Ღare' of playing back and forth. Dawood sahib is never seen to have gotten into such unnecessary aggression. When accompanying vocalists with restraint, he would play a strong down beat (sam) and would have his own minimalistic technique to fill in the long gaps of Vilambit. But with Jasrajji, who, in his fast sargam, invites tablachi to participate, Dawood sahib comes up with such a Tukra that guarantees approval from Jasraj, which he accepts gracefully.  when required' is his motto of tabla playing. An ideal accompanist, capable Soloist and a great Human being is his real identity. His faultless finger technique makes him a loved one of the young generation of aspiring tabla players, as well as established artists who can count on him to make their performance more beautiful. Khan sahib gives all credit of his fame to his own Ustads.

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Dated: June 19 th , 1972 .

Shaik Dawood Sahibs tabla accompaniment had clear intonation, great rhythmic sense and it brightened up the performance of the soloist he was accompanying (Pt. Vasant Rao Deshpande). The deep sound of his 姧a' (the base drum) was like humming of a dove. Shaik sahib seems to have an inborn gift of ability to offer a restrained and disciplined accompaniment. He settled on such a beautiful rhythm (theka) that the dialogue between the two artists altogether lit up. After intermission, he presented a wonderful solo performance, consisting of relas, tukras, gats and chakkardhars.

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Dated: Dec. 9 th , 1967 Saturday.
By V.D. Nagarker

After Thirakwa Saheb, one has to cite Dawood Saheb as the gifted and all round tabla player.

His performance makes impression that lingers many days latter. The sweet harmony and dialogue one can hear in Dawood Saheb's right and left drums (Dayan-Bayan) is a rarity. The sweetness of his tabla is akin to the ornate voice of Bade Ghulam Ali Khansaheb.

Dawood Khan can be heard performing in many different styles, playing differently with different singers and instrumentalists. He tailors his accompaniment to the line of the artist he performs with.

Just as an expert vocalist uses various musical ornaments to decorate the notes he renders; Dawood Khan creates a similar harmony and ornamentation with his dayan-bayan while performing various tabla compositions. He accompanies vocalists as well as instrumentalists with equal authority and understanding.

All the authorities in the field of music have highest regards for him. His rigorous efforts and his performing which is full of aesthetics, makes Dawood Khan Saheb an ideal tabla wizard.

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Free Press Journal -
June 25, 1963

Vilayat Khan Revel in musical patterns

Ustad Shaik Dawood, accompanying the noted sitariya Ustad Vilayat Khan on the tabla gave a mature and sober support. He stood as a class by himself an able accompanist by not showing off beyond requirements.

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Nagpur Times
Jan 5, 1958
Sitar-Tabla Duel at Music Conference

The tabla accompaniment provided by Ustad Shaik Dawood was also of an equally high order. The 'jugalbandi' between two masters thrilled the audience for all the time.
In his solo performance earlier shaik Dawood played "teental". The ease with which he handles the instrument is be-watching. He doesn't make races and gestures as some tabla players do. You don't see the strain anywhere on his face while his fingers move with the elasticity of rubber.

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Screen (Complete film Industry Edition)
April 19, 1957

Shankar Jai Kishan, the famous Sine labs studios, Mahalaxmi, Bombay was turned into a concert hall last Friday morning when the music directors along with their colleagues and friends, settled down to enjoy a four-hour performance by the tabla virtuoso from Hyderabad, Khan Sahib Dawood Khan.

Shankar known for his study of the rhythmic aspect of music, was once a student of the percussionist who was on a visit to the city.

Among the selected appreciative audience besides the music directors, were the famous classical singer, Ustad Amir Khan, lyricist Shailendra, Singers Manna Day and Mukesh and Chandrashekhar.

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Nagpur Times, 1957.
- By Waman Ingle
Ustad Shaik Dawood - Wizard of Tabla

'Swar Sadhana Sangeet Samaj' musical conference was in full swing in Nagpur. During the conference, music lovers noticed a simple-dressed man with very humble airs, accompanying every prominent vocalist and instrumentalist on tabla. The friends sitting by my side used to speak of the very humble clothes that the tabla player was putting on. There was a little difference between Ustad Shaik Dawood's artistic faculty and his rustic personality which had caught our attention. Shaik saheb in the next sitting took us by surprise by appearing on the stage in brand new clothes as if he had heard our comments. But his new clothes had nothing to do with the fashion parade around. That day too his airs were normal and his playing on tabla as genuine as his personality.

At Khandwa Conference.

This was my fourth time to listen to Shaik Dawood's public performance. At the Khandwa conference he presented a full fledged solo. He has accompanied almost all the top ranking instrumentalists and vocalists. I had opportunities to listen to his accompaniment on tabla with Ustad Abdul Haleem Jaffer and Dhananjaya Pujari, Nikhil Banerji, Bhim Sen Joshi and Basavaraja and so on.
Still I shall say that grace and softness in the 'bol' rendering of Shaik Dawood is simply unique. 'Tayyari', presentation clarity and the purity of 'bol' and extempore spirit and balance are the standards by which merits of the artiste in this sphere can well be judged, Shaik Dawood is one of the very few having all the ingredients. The special thing about Dawood is that his playing on tabla has every qualitative appeal which almost all the masters in this field have. In spite of that he is unparalleled for his unique style of rendering soft ' bols'. It has been a pleasure to listen to Dawood's performance in a live programme.

Master of 'Jugalbandi'

Dawood Saheb is no doubt a master of 'Jugalbandi'. But his way of filling the gaps in vocal 'vilambita' is equally marvelous. He can produce the exact parallel pieces when a top vocalist like Basavaraja and Jasraj 'make' their eloquent notations. Dawood performs it when he is confident that a vocalist invites such a performance. On the other hand, he proves a perfect 'Thekedar' who illustrates perfect 'laya' and 'weight' of the original 'Theka'. There are very few who can accompany to the need and cause and to the grace of the particular sitting. Shaik Dawood beyond doubts is an ideal accompanist. And that is why this favorite 'Tabla Nawaz' of Nawab of Hyderabad is also a top favorite of a common music lover. This of course cannot be without a penance and natural gift. He has been brought up in an atmosphere of 'laya' and 'soors'.

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It is no surprise that the presence of Dawood Khan, well known as a virtuoso tablist will add to the colorfulness of the festival. Every year the audience derives more and more pleasure from his performance. He has studied with Shaik Khasim Saheb and Alladiya Khan; and recently he has been a ᮤa bandh' (initiated into disciple hood) of Mehboob Khan Saheb (Mirajker).

Dawood has a very sweet intonation and as an accompanist he pours his heart into his performance. His solo performance is also a special feature of his tabla virtuosity.

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