He sat with his eyes shut and back erect, the way he did on stage. He started singing Bilaskhani Todi, building on notes in the lower register in that unhurried meditative manner that no one else could do before him or after. He was demonstrating the Merukhand technique of building a mountain of melody, gradually and with great mindfulness, without any desire to titillate. It was as if he was a solitary presence in the room.
