Cover Story: All that Desi Jazz
Originally appeared in the August 2012 issue of Khabar Magazine
Source: http://www.khabar.com/magazine/cover-story/all_that_desi_jazz
“Guitar” Prasanna.
Sunny Jain.
Rudresh Mahanthappa.
Sachal Vasandani.
Rez Abbasi.
Sameer Gupta.
Originally appeared in the August 2012 issue of Khabar Magazine
Source: http://www.khabar.com/magazine/cover-story/all_that_desi_jazz
On June 21, 2012, as we went about our daily activities, two Indian-Americans had made it into the annals of American music history, yet again. The Jazz Journalists Association honored Rudresh Mahan- thappa as Alto Saxophonist of the Year, and Vijay Iyer as Pianist of the Year. Mahanthappa won the same award in 2011, 2010, and 2009. In 2010, the Jazz Journalists named Iyer the Musician of the Year. Consider this: Iyer won an award that had been previously bestowed to jazz greats such as Herbie Hancock. Vijay Iyer also won in five categories in the recently announced 2012 Downbeat International Critics poll.
When one thinks of Indian influences in the global music scene, sitar maestro Ravi Shankar comes to mind, and indeed, his influence on Western performers and audiences is well-documented. Jazz great John Coltrane studied under Shankar and even named his son after the maestro. Today, Ravi Coltrane is himself an accomplished saxophonist.
“Guitar” Prasanna.
Music enthusiasts may also be aware of artists like “Guitar” Prasanna whose explorations of Carnatic music on the guitar have won him much praise and accolades, including stints as a composer for various Tamil films. But also consider this: the contemporary jazz scene in the States today is home to not just Iyer and Mahanthappa, but also, among others, to performers like Sameer Gupta, a noted percussionist who plays the tabla; Sunny Jain, a dhol player/percussionist who started a band that would feature the dhol as the lead instrument; Sachal Vasandani, a jazz vocalist; Rez Abbasi, a Pakistani-American guitarist/composer; and Rafiq Bhatia, an up-and-coming guitar player/composer.
Rafiq Bhatia.
The stories and musical journeys of the various artists profiled here—some of the most talked about desi performers who showcase jazz in their compositions and repertoires—reflect that very quintessential of immigrant experiences, a quest to marry the richness of the native and adopted cultures, whether the artist is a chef marrying diverse tastes or a saxophonist merging Charlie Parker with Kadri Gopalnath.
All what jazz
Rock ‘n’ roll, rock, and hip-hop feature prominently as early influences for artists such as Bhatia. But, as Indian-Americans, many were also exposed to Carnatic music, bhajans, ghazals, and Bollywood numbers, setting the stage perhaps for a greater appreciation of music in general and particular similarities in rhythms and tones. Early evidence of musical talent and precociousness is a common thread in these artists’ youth.
Sunny Jain.
“I grew up with Jain bhajans, Bollywood music, and a heavy dose of classic rock,” says Jain, who leads Red Baraat, a nine-piece dhol and brass band. His drums instructor, himself a bebop jazz drummer, encouraged Jain to join his junior high school’s jazz ensemble. Pretty soon, he was completely taken by jazz and began studying some of the jazz greats. Jain later went on to obtain a B.M. in Jazz Performance from Rutgers University and an M.A. in Music Business from New York University.
When his parents visited India, Bhatia, then a first grader, asked them to bring back a snake charmer’s flute. His precocious talent in music became apparent to his parents when he played the then-popular Hum Aapke Hain Kaun tune on the flute, almost as soon as he heard the soundtrack. Bhatia, the son of East African Indian immigrants, is a guitarist/ composer who enjoyed hip-hop growing up. His interest in jazz developed when he took up guitar in high school and started listening to Jimi Hendrix, Miles Davis, and John Coltrane. Bhatia spurns categorization as an artist. His music may not fit cleanly into what people imagine when they think of jazz. “I make instrumental music that incorporates improvisation and draws on all of the music that inspires me,” he says.
Iyer grew up in a traditional middleclass South Indian-American household. Even though he didn’t start out playing Carnatic music, he was drawn towards it in his twenties. “Carnatic music has a certain symmetry, much like the kolam (South Indian design that adorns the floor in front of homes) or the South Indian temple architecture,” Iyer says.
Rudresh Mahanthappa.
By contrast, Mahanthappa, who started playing the saxophone in elementary school, was exposed to the occasional bhajan music at home, but not much more. Mahanthappa’s exposure to Indian classical music came from a college trip to India in the early ’90s. “It was a revelation,” Mahanthappa says. Attending traditional music concerts from sunrise to sunset, and being exposed to a whole new genre was eye-opening. And then he heard about Kadri Gopalnath, who had mastered Carnatic music on the saxophone. Something clicked. Soon after, he met Iyer and they began their creative collaborations that spread over many albums and continues to this day.
Sachal Vasandani.
In an introduction to Sachal Vasandani, NPR host Michelle Norris offers, “Every now and again you hear a special voice that makes you sit up and take notice ... Sachal Vasandani has that voice.” Vasandani, a jazz vocalist, drew attention when he won DownBeat magazine’s Collegiate Jazz Vocalist of the Year award in 1999.
Rez Abbasi.
Rez Abbasi, born in Karachi and raised in Southern California, is an accomplished guitarist and composer who was tutored by Ustad Alla Rakha. Abbasi, who will visit Atlanta in early 2013 for a concert with Georgia State University faculty and organize workshops on jazz and Indian/South Asian classical music, was exposed to Indian classical and film music through television and from relatives singing around the dinner table at family gatherings.
Sameer Gupta.
Sameer Gupta, a percussionist who plays a hybrid tabla and drumset simultaneously, became curious about jazz in high school and was at first hesitant about the art form. “I also didn’t like things that sounded ‘out’ and didn’t have patience for stuff that rocked the boat too much,” he says. With time, though, a greater appreciation of the music allowed him to embrace “the rocking that ensues when it is truly floating down the stream of consciousness.” Growing up, Gupta was exposed to the popular film and ghazal music from the ’60s and ’70s, but became a serious practitioner only several years after college, where he received a degree in Western Orchestral Percussion.
Prasanna, who attended college in India before moving to America, grew up with the music of Michael Jackson, Tamil composer Ilayaraja, Carnatic musician Lalgudi Jayaraman, and Iron Maiden. Given the broad range of musical interests, “jazz was just a logical extension of my curiosity,” he says. However, it took Coltrane’s record Ole Coltrane for Prasanna to truly understand and appreciate the art form. The record “drove home the point that jazz is much more than fancy chords, complex technique, and virtuosic playing. It’s about personal expression.”
