Bengaluru is steeped in both, a strong Indian classical musical heritage as well as distinctive rock and jazz culture. But, the two very disparate genres are finding common ground with a rise in fusion bands and artistes, who are blending desi ingredients with traditional Western genres of music.
And many are finding international acclaim. Slide guitarist Prakash Sontakke, who is at home with multiple instruments, recently won the American Independent World Music Award for his distinctive blend of jazz and Indian classical music. He calls his music “progressive classical”. “I started mixing genres a long time ago. Carnatic ragas such as Bhairavi, Sindhu Bhairavi and Dharmavati go so well with jazz,” the musician said.
Violinist Aneesh Vidyashankar, too, finds that Carnatic music lends itself to western compositions in an organic manner. The young musician uses Carnatic components for his connecting segments amidst a spectrum of metal, pop, rock, and jazz. He can typically combine ‘ Zara Zara Behekta Hai’ , with a serene raga of Keeravani, hop on to Bach’s Toccata and Fugue in D minor, and balance it with Mozart’s Symphony 40, and finally, find local ground with the Kannada hit Anisutide Yako Indu .
Meanwhile, the band ‘Indigenous Fakirs’ inculcates genres like Rajasthani folk, Tamil, Hindi and Kannada songs, Hindustani classical, blues, jazz and even country in their medley of music. “Why be restricted to genres and constrained by languages. We find that blues merge best with Indian melodies,” said Adrian Jeffery of Indigenous Fakirs. The band uses instruments like morching, khanjira, African percussion Udo, and wind instrument Kavoo. “What I can relate to is my guru Chembai Kodandaraman in Carnatic music, who had a progressive style of rendering which was much ahead of his times. Being democratic is what is key to our exploratory and yet contemplative music,” said Harish Sivaramakrishnan from Agam, the Carnatic progressive rock band that changed the way people look at traditional or rock music.
Another popular voice in Bengaluru’s fusion music landscape is Suraj Mani, whose music project, Tattva Trip blends Indian ballads with rock music along with a social commentary set to melody and beat.
While traditionalists may not approve of this blend of music, Mr. Sontakke argues that mixing genres is like opening up new forms of communication. It is one way to connect to audiences.
This mixing of genres is not one-sided. Several Indian classical musicians in Bengaluru are also experimenting with different genres. The Karnataka College of Percussion’s next generation percussionist, Karthik Mani, is at ease in traditional Carnatic platforms with his Ghata and Khanjira just as with his drumming with global bands. “Familiarity helps us be participative in global music, at the same time comply with traditional formats in classical platforms,” said Karthik.
Such kind of fusion, say artistes and musicians is witness to the fact that music has no boundaries. Traditional walls can come down… as long as the audience enjoys it.
Fusion of classical melodies with the modern helps people connect to music
Aneesh Vidyashankar, violinist
