Ranjit Barot seems to effortlessly bridge the worlds of jazz, rock, fusion, and Indian pop music. He is the musical director for Oscar-winning composer AR Rahman’s Live Concerts.
His spectacular career spans over four decades of performances, recordings, and curation in India and overseas. He tours as drummer with jazz legend John Mclaughlin’s 4th Dimension Band. Ranjit has also curated music mega events such as the opening and closing ceremonies of the Commonwealth Games Delhi 2010, and the Mahindra Percussion Festival (MPF).
He was born into a family steeped in Indian classical music and dance, his mother being legendary Kathak dancer Sitara Devi. Ranjit started playing at the age of 12, and he would go on to play with Louis Banks and the Jazz Yatra Sextet, jazz maestros Don Cherry and Charlie Mariano, as well as Indian classical music greats U. Srinivas, Pandit Vishwa Mohan Bhatt, Pandit ‘Vikku’ Vinayakaram, and Selva Ganesh.
The renowned drummer-composer joins us in this chat on the flavors of percussion in Indian music, the joy of jamming sessions in music festivals, and tips for aspiring artists.
Edited excerpts below:
World Music Central [WMC]: How is Indian percussion viewed around the world? How can its profile be increased?
Ranjit Barot [RB]: Indian percussion is highly regarded around the world as a complete expression of rhythm due to the diverse nature of the country. South India is known for its complex forms of percussion and its ability to stretch time using mathematics.
As you move up the country, you encounter various tribal and folk percussion styles, leading to the tabla in North India, which has a more poetic representation of rhythm linked to singing and dancing.
Indian percussion has become a source of inspiration for percussionists worldwide, and it can infuse and meld with any culture, making India the rhythmic center of the universe. To amplify its presence, collaborations with international musicians can shed light on Indian identity and increase visibility.
For instance, working with John McLaughlin helped myself as a drummer with Indian roots gain more visibility in the jazz music scene. Overall, collaborations with international musicians can help Indian percussion gain more visibility and inspire people worldwide.
WMC: Jam sessions are a highlight of music shows, and particularly between different bands in a music festival. How are jam sessions being featured as a part of MPF?
RB: There are three segments to the show. The first segment features the Chemmeen Band, and there won’t be any cross-collaboration with them, as it is a complete act in itself.
The second segment is called Thunderdome, which features Shivamani, the Pulse Conversation, and the Ta Dhoom Project. Each artist performs for about 15–20 minutes, and then they collaborate with the next artist in the lineup for one piece before exiting the stage. Finally, all the artists return to do one small piece together as a collaboration.
The third segment, Awakening is similar in format, with flamenco artists like Arto performing alongside some of the musicians. The performance flows and merges with each other, with Selvaganesh starting the segment and inviting Paquito González, a Spanish percussionist, to join him on stage.
The artists collaborate with each other, and at one point, the musicians will perform their own set. Finally, everyone will come back for the finale, where they will play one piece written by the artists.
WMC: Will the festival also have follow-up workshops for those interested in percussion?
RB: At this point, there are no plans for follow-up workshops for those interested in person at the festival. It may not have been feasible due to logistical constraints, but perhaps future versions of the festival could include seminars leading up to and after the event.
Incorporating such aspects would be valid and important, and it’s something we’ve discussed. Although we couldn’t implement it this time, I hope the festival gains traction and becomes an annual event, allowing for these features to be included in the future editions!
WMC: What is your message to the audience?
RB: I believe the Mahindra brand has built a strong legacy through its blues and roots music, and that people already know that Mahindra is synonymous with great music and enjoyable evenings. You feel that the audience does not need to be explicitly told that they will have a good time at Mahindra-sponsored events.
Mahindra has established itself as a classy brand that celebrates life and music, and that people may already have certain expectations when attending their events. While it is true that attending a live event is a different experience than watching a movie at home, it is still essential to market and promote the event effectively in order to attract attendees.
By highlighting the unique aspects and benefits of the event, you can create a sense of anticipation and enthusiasm among potential attendees. Overall, clear and effective communication is key to ensuring the success of any event or marketing campaign.
WMC: What is your message to the aspiring musicians out there?
RB: As an aspiring musician, it is important to remember that you are always a student, no matter where you are in your journey. Good days and bad days are inevitable, but with the abundance of information available online, there is no excuse not to continue learning and improving your craft.
It’s also important to have a passion for what you do and to seek out those who inspire you.
WMC: What are some of your tips for pursuing music as a career?
RB: When pursuing a career in music, it is important to have a singular focus and not to rely on a backup plan. Having a safety net can prevent you from fully committing to your craft and achieving your goals.
However, it’s also important to remember that pursuing music as a career may not always be feasible or sustainable, and there’s no shame in having music as a hobby or passion alongside another job.
To improve your skills, seek out opportunities to learn from and play with other musicians, even if it means traveling or playing for little to no money. Find a balance between pursuing your passion and sustaining yourself financially.
And remember, the music business has little to do with music. So it is important to navigate it with caution and to prioritize your own happiness and well-being!
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.