Guitarist Amit Heri composes and performs a creative blend of Indian classical music and jazz. He cites John Coltrane, John McLaughlin, U Srinivas, and Ravi Shankar as influences. Amit has collaborated with a range of artistes including Zakir Hussain, Salif Keita, Trilok Gurtu, Angelique Kidjo and others.
He has performed at festivals around the world including Montreux Jazz Festival, Berlin Jazz Festival, WOMAD, London Jazz Festival, Rome World Music Festival and the Paris Jazz Festival. Amit’s earlier albums are Jhoola and Elephant Walk; he has just released his new album, I ♥ India.
Amit joins us in this interview on his spiritual journey, arrangements on his new album, artistic collaborations, and the messages conveyed through his new album.
How would you describe your musical journey thus far?
My music is a reflection of my life and is a continuously evolving entity. Earlier on, I was more focused on the technical aspects of music, then the mental and nowadays more on the soulful. It really is a coming together of the body, mind and soul. Also, earlier my music was more centered around the art itself and now it really has become a vehicle for connection (with others and the divine) and service – to spread joy and bring meaningful experiences to myself and others. The actual technique, vocabulary and style are just incidental and a result of my past experiences.
Just as I strive to move beyond judgment, the music I offer is intended to transcend judgment and invoke a response from the heart.
How does this album differ or continue from your earlier ones?
One of India’s major contributions to the world (if not the biggest one) is in the spiritual realm. This album is a result of my delving into Yoga and Mantra as part of my spiritual practice. Music has always been (especially in India) a divine form and I ♥ India is my way of reaching for the divine thru music.
John Coltrane has always been my greatest influence in jazz and how his music became a vehicle for divine connection during the later part of his life. It’s common knowledge that Indian spirituality greatly influenced his life and his path greatly influenced my own. Being Indian, I’m fortunate to naturally have access to the world of Indian spirituality and music to fuel my music.
Even my instrumental jazz albums (I recorded one in New York this January, and will release it next year) is a reflection of this evolution.
How did you form the band in the lineup for your album?
For me, the rhythm section is the most important aspect of the music. A great rhythm section makes for great music. Because of the stylistic range of the album (from pop to hardcore jazz fusion), I wanted to have a grooving rhythm section with musicians who had extensive experience playing different styles – funk, progressive rock, jazz, odd-time meters and pop.
Since I was recording in Los Angeles, my research led me to choose Joel Taylor – one of LA’s top drummers. Joel plays with a lot of heart and has an incredible command over the musicality of the drum set, having worked with legends such as Allan Holdsworth, Al DiMeola and Yanni. Ernest Tibbs is one of LA’s top bass players and is one of the well known modern voices in Funk, jazz and fusion bass playing, and has worked with such luminaries as Allan Holdsworth, Andy Summers and Lee Ritenour. Since Joel and Ernest have worked on many projects together as a rhythm section, I decided to get them to record on I ♥ India as the backbone of the music.
And of course, I like to stretch my guitar solos and Joel and Ernest were right there with me.
Since this is an album with Sanskrit chants, I also needed a backing vocalist who could sing in Sanskrit, but had a background in Funk, Jazz and pop as well because of the global style of I ♥ India! I was lucky to find Tulasi Devi – a wonderful singer and violinist who was perfect for the project.
The tracks ‘Purity’ and ‘Clearing the Path’ really jump out – tell us how you composed them.
‘Purity’ is a funk-fusion track essentially with a Ganesha Mantra on top and an Indian guitar solo followed by a jazz guitar solo. It’s always good to start with a Ganesh mantra so this is the first song on the album and it features my guitar playing.
‘Clearing the Path’ is also a Ganesha shloka and mantra. In this one, I have more ambient textures in the first part and it moves towards become a groovy, energetic song under the final chant. Melodically, there are elements from Indian music and jazz. This track is intended to connect listeners on a body/dance level. What better way to remove obstacles than by singing and dancing!
The track ‘Transformation’ seems very different from the others – what’s going on behind the scenes here?
On a musical level, the intro of ‘Transformation’ is kind of like a Indian music meets (guitarist) Bill Frisell thing. The next part is groove and rhythm heavy (African influences) to bring out the dancing Shiva energy of the chant. And then it moves into a Indian melodic segue arranged with a string section and ends with a climax of the chant and a konnakol.
Stylistically, I tried to make this more of a world/dance track to bring out the energy of the chant and also dynamically flow thru different sections to reflect the process of transformation from negative to positive – the meaning of the chant.
What are the challenges you face as a musician and composer?
I strive for my music to speak my truth – it’s an authentic expression of my experiences and my life. In life, society runs on conformity to expectations of others. In context to expressing who you are through music, the reality largely is that people like you when their expectations are met – or they can judge you, and sometimes very harshly.
On its own, music is pure energy – when we listen to it, we superimpose our likes and dislikes on it. Some of my biggest challenges as a musician and composer are to remain true to myself, neutral in how my music is received by listeners (whether they like it or don’t!) and to keep trying to get people to resonate with it regardless! Of course, everything takes time and doing what is needed with patience, regardless of the fruits, is the greatest challenge.
Who would you say are the leading influences in your career?
John Coltrane, Miles Davis, Pat Metheny, Charlie Mariano, John McLaughlin, George Benson, U Srinivas, R A Ramamani, Ravi Shankar, Prince, James Brown, James Taylor…… it’s a never ending list!!!
How are you able to blend Indian and jazz music so effectively, i.e. create fusion without confusion?
I grew up with Indian and Western influences in equal part – my thinking, attitudes and lifestyle reflects that as does my music. It’s effective because it is based on authentic experiences.
What is your vision of what music can do in this age of turmoil?
Music is a very powerful medium in helping people experience uplifting and positive states of being, regardless of physical realities and/or what they may be going thru. It has great healing power and is a unifying force to humankind, connecting us with the essence of our being – one that is peaceful, calm and joyous. The world today needs a great deal of healing, oneness and a reality check. My vision for music is to do just that – heal wounds, and bring more peace and joy to the world.
What have been your previous highlights in playing across India? Overseas?
Some performances that remain special to me:
Berlin Jazz festival with Charlie Mariano, Ramamani and the KCP
Performances with Louiz Banks, Ranjit Barot, Karl & Keith Peters, Sanjay Divecha, Shankar Mahadevan, U. Srinivas, Selva Ganesh in India
Performance with Zakir Hussain in Chicago
Performances with Trilok Gurtu – Montreal Jazz Festival, Paris Jazz Festival, Rome World Music Festival, and many more
Performances with Salif Keita, Angelique Kidjo, Robert Miles, Jabu Kanyile
Performances with my original jazz group with Matthew Garrison, Marko Djordjevic, Matt Renzi, Lester Menezes, Rudresh Mahanthappa in India and the US
Performance with my group at the World Social Forum in Brazil with a 100,000 + audience and sharing the stage with Gilberto Gil.
Do you compose on the road as well while traveling, or only in a studio?
I compose mostly at home or in nature.
Do you also teach workshops?
Yes.
How has the music industry changed over the years, and how has that affected your work?
The biggest change is that the music industry has moved online to a great extent. As an artist, this means that there are more options to reach your listener directly and more potential for sales all over the world. The flip side is that it requires a lot of time and energy and some ingenuity to be noticed (if you don’t already have a following) in the clutter of the internet. It’s mainly the marketing and distribution aspects of the industry that have changed and it’s fairly new – I’m learning on the fly, so to speak.
What can we expect to hear at your next performances?
It depends on the setup I’m playing in. It could be songs from I ♥ India or my Indian jazz set. I will be doing some gigs in December with flautist Ravi Kullur, Ranjit Barot and Turkish American pianist Osam Ezzeldin – the tour is still being put together.
What message do you convey through your music?
My message through music is one of oneness, bridging humankind and celebrating existence.
Author: Madanmohan Rao
Madanmohan Rao is an author and media consultant from Bangalore, and global correspondent for world music and jazz for World Music Central and Jazzuality. He has written over 15 books on media, management and culture, and is research director for YourStory Media. Madan was formerly World Music Editor at Rave magazine and RJ at WorldSpace, and can be followed on Twitter at @MadanRao.
