Tabla Player, Drummer, Producer, Composer, Remix Artist and D.J. Karsh Kale combines the music of ancient India and cutting edge electronica. His solo work is an expedition into the uncharted sound of South Asian America. Being an Indian born in the U.K and brought up in the United States the fundamentals of jazz, rock, hip hop and modern electronica play as much a role in Kale’s style as Indian classical and folk music does.
It is this amalgam of sound that is Kale’s trademark “Classical Science Fiction From India… The Urban Raag”. Numerous artists from all over the world have employed Karsh’s hybridized styles. In a few short years Karsh has worked and performed with artists such as Bill Laswell, Sting, Paula Cole, Hassan Hakmoun, Sussan Deyhim, Gigi, Talvin Singh, Ustad Nishat Khan, Ryuichi Sakamoto, Ustad Sultan Khan, Arto Lindsay, Will Calhoun, Rakesh Chaurasia, Ramesh Misra, Clevland Watkiss, Shankar Mahadevan, Jojo Meyer and many others.
Karsh’s Bi-weekly event Futureproof finds him pleasing the New York City underground with his DJ and live electric tabla sets. Indian classical dub drum and bass jungle reggae and ambient influences come together to create the Futureproof aesthetic. The event features a live band led by Kale which has been recognized as one of the leading live drum and bass events in New York.
Karsh has transplanted his sound to other arenas as well. He has produced remixes for artists ranging from Paula Cole to DJ Spooky and can be heard performing on works by Sussan Deyhim, Talvin Singh, Amel Larrouex, DJ Logic and Ming & FS. He has composed scored and performed for film theatre and television including works for Paramount NBC and Seneca Falls. The breadth of Karsh’s performance abilities is wide. In addition to performing on both drum kit and electric tabla in Europe and Canada he has toured the country with DJ Spooky and EBN.
Aware of the effect of live music as well as DJing Karsh has performed at many festivals. In 2002 Kale visited Paris performing alongside Iranian vocalist Sussan Deyhim and did a string of dates with the breakbeat jam band Sound Tribe Sector 9.
In 2011 Karsh Kale released Cinema his fifth and most ambitious album to date. Kale’s forays into scoring films for India’s growing Bollywood film industry provided the greatest influence to hisusual palette of progressive electro-rock and Indian classical music. In the two years of writing the album on piano and guitar Karsh challenged himself to write songs with a Western ear, further blurring the boundaries between rock world and electronic music.
There are some CDs that are remarkable easy to review. These are the ones filled with a musical joy and a mastery that goes beyond just mere proficiency. Times of Maharajas by the Dhoad Gypsies of Rajasthan out on the ARC Music label is just one of those recordings.
With the 2005 Dhoad Gypsies: From Rajasthan” under their belt, more than a 1000 concerts in more 100 countries in the last 18 years, performances for the likes of Queen Elizabeth II, India’s Prime Minister Narendra Modi, former President of France Francois Holland and gig for The Rolling Stones’s Mick Jagger’s birthday, Dhoad Gypsies of Rajasthan are again taking us into the rich and colorful musical traditions of the north west Indian state of Rajasthan on Times of Maharajas.
Overflowing with harmonium, sarangi, kartal, dholak, tabla and some truly extraordinary vocals, Times of Maharajas is extravagantly lush and infectiously joyful. Seriously, who wouldn’t enjoy a recording that has a song entitled “Romantic Peacock?” Musical director and tabla player Rahis Bharti intent on keeping alive the musical and dance traditions of Rajasthan lends his own tabla to Times of Maharajas along with Sanjay Khan, vocalist and harmonium player, sarangi players Ustad Sabri Khan and Ustad Lyikat Ali Khan, singer and kartal player Bilal Khan, dholak player Yakub Khan, singer Moinuddin Khan and tabla players Teepu Khan and Amrat Hussain.
Times of Maharajas is a delight from the opening strains of “Sona ra button banna (The Prince Is Born)” as the courtly life of the maharajas takes on life through each track.
Carefully crafted and intricately worked, Times of the Maharajas expresses a pure musical joyfulness by way of the syncopated vocals against harmonium on the opening before taking shape into “Breathing Under the Water,” and on the happy groove conjured up on “Janwariyo (Romantic Peacock),” or by way of the sweet saranji lines on “Lullaby.”
And the delights just keep coming with “Dhanra Saheba ji (Dream Wedding),” “Nagar bele (Never Let You Go)” and simply fabulous “Royal Dance of Rajasthan Ghoomar.”
Listeners get a real treat by way of a four minute thirty-two second tabla solo with a deliciously threaded harmonium for company on “Tabla Solo” before Times of Maharajas closes with the exotics of “Begha ghara ayo (Maharani Longing for Maharaja).”
This album is intended to evoke some of the
grandeur and romantic aura of the Taj Mahal, widely regarded as the
“Eternal symbol of Love.” The music is symphonic, and blends Indian
sounds along with Arabic and other world influences.
Instruments like sarangi, flute and sitar
dominate the sound. The 8 tracks stretch to about 50 minutes, and our picks
include the two pieces Taj Bazaar and Streets of Agra.
This CD, composed by Abhishek Ray, is one
of twelve albums in the Amazing India Series, targeted at the tourist market.
This is an album for the more spiritually
inclined. The 9 tracks are renditions of sacred Hindu mantras, blended with an
acoustic fusion of flute, piano and guitar. Not as electric or percussion-heavy
as other fusion artists like Prem Joshua, this CD is decidedly more mellow and
Our pick is the piece Guru. This album is a
good listen early in the morning, particularly for foreign listeners not well
versed with Indian devotional music. The artistes named Freedom and Leela have
presented their fusion works at performances in a number of countries around
Music is universal and is the life line of sublime expression.
Carnatic music is basically an application in complete expansion within given restrictions. An artistic uniqueness is created within a grammatical limits. Rules of grammar in Carnatic music have not prevented the great writers from producing creative, beautiful works of literature.
A sentence in any language is a collection of words that conveys sense or meaning and is formed according to the logic of grammar. Similarly, Sruti and Laya are the main grammatical aspects which makes music melodic. Sruti and Laya are like mother and father in Carnatic music.
Music gets the identity as art form with the imbibing of the highest values of Lakshaya and Lakshana. Lakshaya and Lakshana of art form are like Sruti and Smriti relationship of sacred Veda, Upanishad, Brahma sutra etc. Lakshana defines and establishes the form. Abstract nature compelled Lakshana formation for the ease and comfort of practitioners, teachers, students and performers and also for the connoisseurs and discerning listeners.
The Music of India is one of the oldest unbroken musical traditions in the world. It is said that the origins of this go back to the Vedas. During the Sangam literature, music and dance were the main attraction or entertainment among the mass. Legend has played significant part in shaping and promoting the role of music in Indian culture. Silappadikaram is the first and foremost a treatise on music. The Puranas were written to elucidate the truths preserved in the Vedas and present them in capsules and modules to the music aspirants.
There are 22 Srutis well
known in the Carnatic music arena. Creation of raga is made easy with these 22
Srutis and to differentiate one raga from another. Swara is an essential aspect
in a Varnam, Kriti, Keertana and other forms of music. Saptaswara is the universally known syllables
in music. Sa and Pa being Achala Swaras, out of 5 remaining Swaras, Ma has two
variety and other four i.e. Ri, Ga, Dha and Ni have 3 varieties each. Thus
there are 16 Swaras. Composition in
Carnatic music is required to follow prosodic order. In so far as Tala there are 10 Pranas known
as Tala Dasa Pranas. This gives detail characteristics of a Tala structure.
Music too has diversified into different genres. There are classical Music like Carnatic and Hindustani. Carnatic music is one of the few musical systems of the world blending a fine technical structure to a profound aesthetic value. It is a melodic system based on fundamental sounds known as Srutis, which form the basis for the definition of notes, known as Swaras. Particular sets of Swaras are used to construct melodies known as Ragas.
Each of the innumerable ragas of Carnatic music is defined by rules of usage of its note called Raga Lakshana including the permissible and forbidden manners of ascent, the Arohanam and descent, the Avarohanam, the aesthetics of transition between notes, the Gamakas and their relative importance. Shift of tonic is the process by which new Melas can be evolved.
Compositions in Carnatic
music possess multiple dimensions. The
aesthetic element refers to the melodic value extended by the raga and its
intensive usage with the lyrical aspect. The prosodic dimension describes the
technical or grammatical value associated with the poetic meter. The rhythmic
element captures the association of the Sahitya and prosody according to the Tala
to which a composition is set to. The grammatical aspects in Raga, Tala and
compositions are briefly discussed below:
aspects of raga alapana:
We are aware that the raga alapana has undergone
organized expansion from time to time. However the raga alapana paddhati now in
vogue is as per the Matanga’s raga paddhati. There are three main stages of
alapana- 1. Akshiptika (introduction) 2. Raga Vardhani (main content of
alapana) and 3. Sthayi and 4. Makarini , the concluding part of alapana.
In Akshiptika a succinct form of raga is presented by
the musician for making a clear identification of raga by the listeners.
Raga Vardhani which is the second stage of Alapana,
has 4 stages – Eduppu (commencement) and Muktayi (conclusion) for every stage
i.e. Vidari I-IV.
In the concluding part of Alapana the Arohana Sthayi
and Avarohana Sthayi is maintained and Sthayi Sanchara is done with
madhyamakala sanchara and in higher octave sanchara and finally concluding with
avorohana karma. In some ragas it is concluded in higher octave Sadjam also.
Again while analyzing the aspect of grammar in raga Alapana,
the exposition of a raga sung before a kriti is different from the one sung
before a Ragam, Tanam, Pallavi. In both
the situation the raga Swarupa has to be shown maintaining the grammatical
aspect of raga alapana. But in for a
Pallavi singing the raga Alapana is slightly expanded than singing before a Kriti.
This in itself is a full topic for discussion with proper examples. Its quiet
amusing that some raga give scope for elaborate exposition whereas some have
very little scope. It is observed that the present day artists have made a
research even to sing such ragas elaborately giving importance to each swara
sancharas within the permitted scope.
The variety of Tala as in Carnatic music is not found
in any other musical form. When we discuss about Tala it has 10 pranaas to be
followed. Tala is the strength for a composition. As a hand of clock moves according to a time
sequence (rhythm) so also in Tala which has a time frame, moves around set to the letters. We have
variety of Talas like Sapta Tala, 175 Talas, 108 Talas, Navasanthi Tala etc., each
has different parts and style of presentation.
Each Tala has angas- Anudrutham, Drutam, Lagu, Guru, Plutham
and Kakapadam. These are taught to the
students at the initial stages of learning. Alankaram lessons are very apt to explain
these aspects. But all these Angas are not used in a normal Tala. These are
more applicable for dance where every small variation can be explained with an
There are several ways of
doing a Tala. Here we count time, and several gestures are involved like
joining two hand, counting the fingers, lifting the hands up, turning right and
left etc. etc.
Yathi pattern is adopted
in the Kalpana Swaras by musicians which adds beauty to the composition and
also the Tala kattu. Similarly different Chaapu Talas have its own attraction
and added value to the composition.
of a composition
A composition has three parts: Padam, Prasam and
Padam refer to the
sentences in the composition. For e.g. Marukela ra O’Raghava in Jayanthasri
Ragam or Sri Saraswathi in Arabhi raga. The compositions are usually set to
Adi, Rupaka or chapu Talas.
Prasam – 3
kinds of Prasam – Adiprasam, Anuprasam and Antyaprasam. The pattern of words in
the sentences must be uniform. Prasam and Yati both are important.
In Adiprasam the second letter of the first word will
e.g. Seethapathe naa manasuna
Vaathathmaja dule chenda (Anupallavi)
Anuprasam : the words sound similar in the sentence.
e.g. Balakanakamaya chelasujanapari-
Balasri Rama Lola vidruta sara
In Antyaprasa there will be similar sound at the end
of the sentence.
kriti in Anandabhairavi –
Manasa Guru Guharoopam Bajare –re
Mayamaya Hrithithapam Thyajare- re
the word pattern in a composition. It will be similar to that of Anuprasam in
Similarly for a Pallavi, Vilomam, Anulomam and
Pratiloman should be maintained.
Thus it is seen that Carnatic music has grammatical
rules which needs to be followed. From
the basic lesson (Abhyasagana) to the kriti singing the set pattern of grammar
is required to be followed in order to give an esthetic sense and also to add
embellishment in rendering.
The acoustic music on this CD was
spontaneously improvised by musicians from the Adidam Sacred Music Guild in the
presence of “The Avataric Great Sage,” Adi Da Samraj, during his visit to the
United States in 2005. The musicians’ backgrounds include Indian classical,
Western classical and jazz.
The 10 tracks have no specific names other than Improvisation. The ones which stand out include Improvisation No. 3 with its fine blend of sarod, piano and flute, and Improvisation No. 10 woven around a bhajan.
Sheila Chandra, the Anglo-Indian singer who released a number of synth-pop albums in the 1980s, is in a more experimental mood in this album. Her earlier releases include ABoneCroneDrone.
This album is rather intriguingly named,
and our picks on this album include the three tracks briefly titled This,
Sentence and Is! The sound is ambient, but less sensual and more fragmented.
Her vocals are mixed with percussion, piano riffs, guitar riffs and crackling
The album may come across a bit jarring or
even dissonant to some listeners, especially those used to more rhythmic
arrangements, and the 7 tracks barely stretch beyond 45 minutes.
Sheila Chandra – Out on my own (Indipop, 1984, reissued by Narada//EMI in 2000)
This is a slender album by today’s standards, with 10 tracks just stretching over 40 minutes. But it is an important milestone in the musical path of Sheila Chandra, leading UK-based Indian-origin fusion artist from the 1980s.
As the liner notes explain, this was Sheila
Chandra’s declaration of independence from pressure from her first label, after
scoring a U.K. hit with the group Monsoon and the song, “Ever So
Tablas, keyboards, guitar and sitars provide the backing for her strong experimental vocals. Our picks include the title track and the ambient ‘Prema;’ also check out the dreamy ‘From a Whisper.’
Last night, March 21, sitar phenomenon, composer and world music star Anoushka Shankar performed at Fletcher Hall in the Carolina Theater of Durham, North Carolina. Anoushka charmed the audience with a remarkable mix of Indian classical music ragas, contemporary world fusion material rooted in Indian traditions and cinematic music.
The concert started with two spectacular ragas that showcased Anoushka Shankar’s talent as a sitarist and her equally impressive ensemble. Later, she performed material from Traces of You, her remarkable collaboration with Nitin Sawhney. The concert ended with excerpts from her first film score, the soundtrack to a silent epic film called Shiraz from 1928. The music for Shiraz reflected the intrigue and passion that occurs during the film.
Throughout the concert there were abundant examples of
virtuosity with enthralling call and response interactions between the sitar,
tabla, mrindangam and bamboo flute.
The ensemble included Ojas Adhiya (India) on tabla,
Pirashanna Thevarajah (UK) on mridangam, Ravichandra Kulur on flute (India),
Danny Keane (UK) on cello and piano, and Kenji Ota (Japan) on tanpura. For this
concert, Anoushka invited a young Durham woman to join the ensemble on bass
Anoushka Shankar will be performing in Washington DC tomorrow,
March 23 at Sixth & I Historic Synagogue. She will later cross the Atlantic
to perform in Dublin on Saturday, April 6 at The National Concert Hall; the Royal
Festival Hall in London, United Kingdom on April 9; and she’ll fly back to the
USA to perform at Campbell Hall in Santa Bárbara, California on April 17.
Special thanks to Eric Oberstein and King Kenney at Duke Performances for their support.
Anoushka Shankar was born on June 9, 1981 in London, England. Anoushka is the daughter of the late Indian sitar master Ravi Shankar, and she is the first and only sitarist in the world trained completely by him.
Growing up in London, New Delhi and, later, Encinitas, California, Anoushka at first resisted the legacy of the sitar, a complex and ancient instrument with between 17 and 21 strings. Anoushka learned her first Indian songs and dances from her mother, Sukanya, and she became her father’s student at the age of nine. Her initial dislike of the specially built “baby sitar” on which she cut her musical teeth gave way to a love of the instrument and the music. She made her performing debut at age 13.
Ravi Shankar guided his daughter through her emergence as a performer and as a recording artist, writing and producing the five works she plays on Anoushka, her debut album. For Anourag, her second recording, Anoushka once again performed music written and produced by her father. This time, Ravi Shankar also joined Anoushka as performer.
When Ravi Shankar’s friend and protégé George Harrison first worked with Anoushka in 1997 — when she conducted on the Chants of India album — he saw that she had inherited not only her father’s virtuosity but also his musical soul. “Most people are musicians simply because they play a certain instrument when they play that instrument, the music appears,” Harrison said. “But Ravi — to me, he is the music; it just happens to be that he plays the sitar. And it’s like that with Anoushka. She just has that quality. She could play the banjo, and it wouldn’t matter – she is the music.”
The release of Anourag coincided with the extensive “Full Circle” tour of the United States, in which Anoushka and Ravi Shankar performed together in concert in celebration of Ravi’s 80th birthday and the 70th anniversary of the beginning of his career in music. On August 15th, India’s Independence Day, Anoushka performed alone in New York at Summerstage in Central Park. Throughout the tour, she shared the stage with her father, performing his Sitar Concerto No. 1 and conducting master classes.
Anourag continued the Shankar family’s extraordinary presence in the world of Indian classical music. The recording’s six tracks feature traditional ragas that reflect Ravi Shankar’s influence on both the composition and performance of sitar music. In his first new recording as performer in several years, Ravi Shankar joined Anoushka on “Pancham Se Gara,” the final track on Anourag. In addition to her father, Anoushka was joined on the recording by Bikram Gosh on tabla and mridangam, Tanmoy Bose on tabla.
After graduating from high school with high honors in 1999, Anoushka decided to delay her entry to college to tour the world once again with her father. Highlights of their 1999 schedule included performances together at London’s Barbican Theatre and at the Evian Festival in France, where Anoushka joined the world-renowned cellist Mstislav Rostropovich in playing the world premiere of a new work for cello and sitar by Ravi Shankar.
In 1998, the British Parliament presented Anoushka with a House of Commons Shield in recognition of her artistry and musicianship — at 17, she was the youngest as well as the sole female recipient of this honor. She toured extensively with Ravi throughout her cultural homeland of India, as well as Europe, Asia and the United States. In 1998, Anoushka played at Peter Gabriel’s WOMAD Festival in Seattle, at Carnegie Hall and in a special concert at New York’s Town Hall. Anoushka also joined her father in London in March 1997 for a historic performance of his Concerto No. 1 for Sitar and with Zubin Mehta conducting the London Symphony Orchestra.
Rise, Anoushka Shankar’s fourth album for Angel Records, marked a defining moment in the career of the young musician in 2005. Having previously recorded strictly in the classical tradition, Anoushka emerged as a potent creative force. “It’s very much my own music and my journey and who I am right now,” said Anoushka, who turned 24 in June of 2005 “I felt that on a personal level, Rise signifies growth.“
On Rise-which was composed, produced and arranged by Anoushka-she collaborated with a select crew of virtuoso Eastern and Western musicians wielding a variety of both acoustic and electronic instruments often engaging in unexpected ways to create tantalizing new sounds.
Having toured almost non-stop since her adolescence, in addition to attending school until her graduation from high school in 1999, Anoushka felt that she needed a break and elected to take 2004 off. But her vacation quickly became a working one as concepts were planted for the album that ultimately became Rise.
“I was going to go disappear for a while but wouldn’t you know it, I made an album,” she says “The sabbatical gave me the space to take risks. It was really an organic, natural experience. I was traveling from India to the States and meeting friends and adding people along the way. It was really beautiful.”
From the first notes of “Prayer In Passing,” which opens Rise, it becomes instantly clear that Anoushka is on to something inspiring and uncommon here. The track features Vishwa Mohan Bhatt, a renowned Indian slide guitarist alongside the flamenco-style piano of Ricardo Miño, Pedro Eustache’s bansuri flute and duduk (a Middle Eastern wind instrument) and Anoushka’s sitar. “This one’s very languid,” says Anoushka. “It’s just nice and dreamy-it’s set in a morning raga that’s very moody and simple. It was lovely to have so many different things that shouldn’t go together but seemed to flow really nicely.”
“Red Sun,” the second track, features Anoushka on keyboards and is highlighted by the percussive Indian “bol” vocalizing of Bikram Ghosh and Tanmoy Bose, her longtime tabla players. “We’ve always incorporated that into my shows when they play with me, and I definitely wanted to feature that-they’re improvising on that,” says Anoushka.
“Mahadeva” is based on a four-line song by Ravi Shankar that was re-composed and arranged by Anoushka. “He never developed it into a piece of music,” Anoushka explains. “It was just something that I sang as a kid and it came into my head while we were in Calcutta recording. It started developing into a really strong rhythmic, dark-feeling track, which I was really excited about. Mahadeva is another name for Shiva, and one aspect of Shiva is that he’s the destroyer. This sort of brings out that feeling of anger and insanity.“
“Naked” turns the mood around completely-Anoushka, all alone, on sitar and keyboards. “It was a very conscious decision to add a little pretty track with sitar being the focus,” she says. “We’d gone very mysterious and heavy and it seemed nice to have something light.”
“Solea” was co-written by Anoushka and pianist Ricardo Miño. The luminous background sounds, Anoushka explains, were all created on the piano. “I’m holding the piano strings muted while he’s playing one of the other background synth sounds. It was really creative and fun for me, and very physical, too, because of the rhythm, the flamenco approach.”
The album’s other sitar-less track, “‘Beloved,'” says Anoushka, “was my first experience writing lyrics from scratch and fitting it to a melody. It was flute-focused and I thought it would be nice to have it be about Krishna because he’s always associated with the flute. The lyrics are from the viewpoint of Radha, who’s his eternal lover. She’s searching for him everywhere and then she understands that the reason she hasn’t been able to find him is because she’s not looking within herself.”
The intriguingly titled “Sinister Grains,” like “Prayer In Passing,” is another instance where Anoushka juxtaposed seemingly incongruous ingredients, here using Indian shehnai and vocals, didjeridoo, South American vocal percussion, bass and electronic elements, including her sitar which was fed through a filter to create some of the track’s ambient effects. “It’s just a funky little mysterious track,” she says. “The song is in a Sufi-sort of mood where he’s talking about the pain of living, and the music is also very moody.”
Anoushka compares “Voice Of The Moon,” which matches the Western cello and violin to the Eastern sitar, tabla and santoor, to her father’s collaborations with the late violinist Yehudi Menuhin. “It’s very much composed within an Indian raga yet the fact that the cello is there gives it a smoothness,” she says. The Indian percussion is amended with an electronic HandSonic drum pad as well, “to give it a little more depth,” Anoushka explains.
Finally, “Ancient Love,” the longest track on Rise is “my favorite one by far,” says Anoushka. “This is the one closest to my heart. It was also the easiest track because it constantly flowed. Every time someone added to this track, it would get more beautiful. We ended up taking out a lot, too, to retain a bit of simplicity. It’s got a nice mix of the electronics and several flavors.”
The sequencing of the tracks on Rise, adds Anoushka, is hardly random. “Each one is in a certain raga, and it flows from morning to evening through the course of the album, which is a pretty unique feature. It’s not something that happens very often or that can be made to work, but if you do believe that ragas have moods and have significance it does enhance the overall flow.”
In 2007, Anoushka collaborated with world music innovator Karsh Kale, combining Indian classical music with electronica and other influences.
After releasing several experimental, fusion and crossover albums, Anoushka released Home in 2015. It’s a pure Indian classical album that showcases the meditative and virtuosic qualities of the Indian raga. Home includes two ragas, one of which is a creation of Ravi Shankars.
Land of Gold (2016) is Anoushka Shankar’s whole-hearted response to the trauma and injustice experienced by refugees and victims of war. The music was inspired by recent news images of people fleeing civil war, oppression, poverty and agonizing hardship. “The seeds of Land of Gold originated in the context of the humanitarian plight of refugees,” Anoushka recalls. “It coincided with the time when I had recently given birth to my second child. I was deeply troubled by the intense contrast between my ability to provide for my baby, and others who desperately wanted to provide the same security for their children but were unable to do so.”
Hang virtuoso and co-writer of many of the album’s ten pieces Manu Delago joined Anoushka Shankar. Other guests included Sanjeev Shankar, a master of the spellbinding Indian reed instrument, the shehnai, who studied with Anoushka’s father Ravi Shankar.
Land of Gold also includes guest appearances by singer-songwriter Alev Lenz, jazz bassist Larry Grenadier, dancer Akram Khan, cellist Caroline Dale, rapper and refugee advocate M.I.A., and actress and political activist Vanessa Redgrave. All-girl children’s choir Girls for Equality makes its debut on the album’s closing song, “Reunion.”
“Everyone is, in some way or another, searching for their own “Land of Gold”: a journey to a place of security, connectedness and tranquility, which they can call home,” said Anoushka. “This journey also represents the interior quest that we all take to find a sense of inner peace, truth and acceptance – a universal desire that unites humanity.”
“My instrument,” comments Anoushka, “is the terrain in which I explore the gamut of emotional expression – evoking shades of aggression, anger and tenderness, while incorporating elements of classical minimalism, jazz, electronica and Indian classical styles.”
In 2019, Anoushka Shankar released Reflections, a compilation featuring including Anoushka’s favorite tracks, with pieces from Land of Gold, Traces of You, Rise and other albums.