A special thanks to Uma and Anagha of AID for making this Interview happen.
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LiB: Hey Palash ! We know you’re on your way to the airport, heading back to India, so thanks for finding the time to speak with us!
Palash Sen: No problem. I must say I like what you guys are doing.I did check out your site and its definitely a nice idea. Good work!

LiB: Thanks! So tell us, How did this tour happen?
Palash Sen:The idea came from Sriram who contacted us 2 years. We had a lot going on then and its took a while for this tour to materialize. We’re really glad that it worked out eventually because its been a fascinating tour. It was initially set to be a six city tour but it didn’t work out that way so we stuck to three. I must say that AID (Association for India’s Development) has been instrumental is making this tour a success.

LiB: This is third tour of Euphoria in the US. How different has this tour been?
Palash Sen:Its been fascinating. The first time around, we were the only invited band to the Memphis Beale Street festival and after that, it was a performance with Junoon at the UN General Assembly. But the last ten days have been something else only. This tour was more about connecting with our fans and they have showered a lot of love on us.

LiB: How is it different performing internationally? Do you see a difference amongst the audiences?
Palash Sen: Surprisingly, It was much better here! I didn’t expect it! The turn out was excellent and they all just came together and it was one big party. We became one with the audience. What I think is that its not only about the Indian music and band, it was about euphoria and our celebration.

LiB: Where do you go from here?
Palash Sen: Vinay, we the kind of band that lives in the moment and its really about the journey. We’re still sinking in this trip and tour and just enjoying the moment

LiB: What’s lined up for Euphoria next?
Palash Sen: We’ve been working on a new album and starting January right through the year, we have lots of concerts lined up!

LiB: Euphoria has reinvented itself in past few years. How is Euphoria different now compared to what it was earlier?
Palash Sen: Well, for starters, some band members changed and that changed or rather altered things between the band and more so, it was attitude change. To be frank, there was some issues and some work needed to be done and I taking on the role the leader, had to do something about it! I’m happy how things are now. The reshuffle sparked off the change. Keeping all this aside, its really about what Euphoria has achieved and its unbelievable! We’re taking the ownership of being the kind of group who plan to take it to the next well. We’re looked upon as the people who will continue to do quality work. and so coming back to the question, we’ve been around for 12 years now and there’s definetly a lot changed and we will only continue to evolve!

LiB: Okay, so on the lighter side of things, which was the best US destination till now and Why?
Palash Sen: None! ‘coz all of them rocked! The crowds were awesome and mind-blowing everywhere so its really hard to tell!

LiB: So Euphoria does plan to be back to perform in the US?
Palash Sen: Yes, very soon! and I must say that the next time we come to the US, it would have to be through and for AID. Their hospitality and generosity has left a mark on us.

LiB: Awesome! When do we expect you guys to be back?
Palash Sen: There’s nothing finalized but we’re looking at June or July next year and this time, it would be bigger and better and few more cities! The tour will support our new album

LiB: Palash, Thank you so much for talking to us – It was real fun!
Palash Sen: No worries brother. Keep up the good work!

LiB: Thanks and have a safe trip back home
Palash Sen: Cheers!

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Live concert pictures by Niranjan Ambhore

LiB: Salman, thank you for speaking with us…
SA: No worries. I really like what you are doing. Trying to bring together our cultures is always a good thing and I’m happy to Support you. I think the way forward is to viral the idea out and meet with people who love music & culture to connect with them to spread the word out.

LiB: Let’s talk about Rock and roll Jihad. What is the idea behind Rock and roll jihad?
SA: The idea of writing the book has come much earlier because in my journey where I chose passion over profession, music over medicine, this resonated a lot with the young generation of Pakistan who want to follow their passion. This was due to the elders and seniors in the family telling them to always pursue engineering or medicine; you need to make money, and so on and so forth. There had to be a break in this.

I just thought I need to tell this story and so, got down to writing the book. It took me almost 3 ½ years to write the book and my focus was really about my Musical journey. Once I was done with the book, it just came naturally to me to release the album which really complemented the book and it, all in all, made a lot of sense. The book released in January while the album launched this June.

LiB: Your top 3 reasons someone should read the book?
SA: Well, firstly, if you believe in listening to the whisper in your heart and want to follow your passion, you have to read the book. Secondly, if you love Junoon, you should read the book and lastly, if you love how culture and politics go hand in hand and make a world of difference, you should read the book.

If you want to know about a boy who never touched a musical instrument growing up and was never into music, whose family wanted him to become a doctor, all of a sudden dropped it all and decided to pursue music, follow his heart and found his true calling, you should read the book.

And I can’t really summarize the idea or inspiration in a sentence because there’s so much build up and backdrop the book has that it just doesn’t seem fair. This is the first time an artist from the subcontinent has told a story. Musicians release albums all the time but I’m not sure too many musical artists tell the story. I’m sure at least no artist from Pakistan has done this before.

LiB: How do you connect the book with the album?
SA: The album has 5 studio tracks. David Cole (Record producer and studio mixer for artists such as Melissa Etheridge, Tina Turner, Richard Marx, Bob Seger) got a chance to listen to them and said he’d love to Produce the album and mix them. One of them is a funk version of Bullesha/Lonely Heart, which has done very well. Coming to the question though, for people who read the book and who aren’t familiar with my work and who want to get an understanding of my influences, my culture and style, the album fills that gap. It’s about how I’ve grown up listening to Led Zeppelin, The Beatles, Santana and I wanted to write songs which would reflect that style and influence. The music depicts the culture, the struggle and the passion which also comes through in the book. That’s how they connect.

LiB: And how has the album faired so far?
SA: It’s been doing really well and it’s gotten some positive reviews. In fact, A R Rahman got a chance to listen to it. He really likes it and he did mention that when he comes to New York this summer, he would love to get in touch with me. I’m a huge fan and colleague of Rahman and I would love to collaborate with him.

LiB: Your favorite track from the album, if you had to pick one
SA: So I really like the new version of Bulleya. The other song that I have to mention is ‘Love can you take me back’ which has some nice Poetry to it. It sounds like a good rock song which has elements of Beatles meet U2 with an obvious layer of Junoon in there. I really like the mix and what we’ve achieved with the song.
And I also believe the live version of Sayonee deserves a mention here. This was performed at the UN General Assembly Hall in September ’09 to raise awareness of Refugees in Pakistan.

LiB: Coming to the lighter side of things, what’s keeping Salman Ahmad busy these days? We read that you teach at Queens College?
SA: Yes I do. I teach at Queens once a week. I teach Islamic Music, Poetry and Culture of South Asia. I really didn’t know if I had a teacher in me when I was asked by a colleague of mine at Queens. This was 3 years ago. Now, I have one of the biggest classes at Aaron Copland Music School at Queens! The best part of the course is its diversity. We have students from almost every race, nationality and faith, and that’s how it should be. That’s the power of Music.

The rest of the week, I’m busy writing music, shooting for music videos and spending time doing Social work at SSGWI Organization – The Salman and Samina Global Wellness Initiative

LiB: Any upcoming tours and Collaborations?
SA: Right now I’m preparing to leave for a concert in Alexandria, Egypt. Here I would also speak about my work and my book. I just got back from UK where I was on a book tour. I tell stories, play my acoustic guitar and generally have a good time spreading the word. I’m going to continue to go around and continue by book tours for the next 6 months at least. And if all goes well, I’m hoping to setup a Junoon tour across the United States, sometime September or October.
Regarding Collaborations, Faisal Kapadia (of Strings) got in touch with me recently and we’re talking of performing together sometime in the near future. It could be at end of July. I’m also hoping to continue my talks with A R Rahman and we’ll see how it goes on that front.

LiB: Salman Ahmad, Thanks a lot for speaking with us. It was truly a pleasure to get an insight into the world of Salman Ahmad and Junoon and we’re looking forward to hearing more from you!
SA: Thanks and Peace!

For regular updates from Salman, Catch him on Twitter: Sufisal

LiB: Hello Zakirji, How are you?
ZH: I’m doing very well, Thank you.

LiB: How’s Mumbai? Are you there for a concert series or just visiting?
ZH: Usually in India the music season begins around Mid November and continues till the end of February. so this is the time when all the Indian musicians gather in India, back from their world tours, to learn from each other, tell stories, share new experiences, practice and jam. Basically, back in India its when concerts are galore. There are almost 15-20 concerts in every major city!

Artists come together just to plug in , relax and rejuvenate, connect with their musical peers and gurus, etc. and then go back after April-May for their concert season. I personally have concerts everyday till the tail end of February and after that, I fly out to Seattle for Masters of Percussion starting on March 3rd.

LiB: Speaking of Masters of percussion, we’ve read that you believe ‘Masters of Percussion’ is a unique and different experience. What is unique about this series/group?
ZH: Masters of Percussion was initiated with the idea that there are over 200 different percussion instruments spread all over India with a number of Indian legends who are great exponents of the same. People outside of India rarely get a chance to hear much of that. So in 1999, we started this bi-annual series bringing in different drum traditions from remote corners of India and giving them a chance to be heard and thus giving the audience a fresh sound every time. So that’s what makes it unique. The different combinations of rhythms and a varied lineup in this kind of a setting. Some of these artists have never interacted with each other before and in fact, some them haven’t even left their village and so its interesting to bring them out here and have an extempore on stage and showcase their talent. So in that sense, it’s very unique.

Also, it isn’t about Zakir Hussain with Shiv Kumar Sharma or Amjad Ali Khan. This is a whole different ball game. I’m a small part of this concert, that’s all. Each musician in this series is a master in his own right and they each deserve a concert series of their own. I’m thankful that they have consented to perform and I get a chance to sit back and enjoy their performance and learn something more about drumming, expand my repertoire and get inspired.

LiB: Yes I agree that there’s loads of talent on that stage. From Sridhar Parthasarthy to Taufiq Qureshi and Sabir Khan – all wonderful percussionists…
ZH: I have to mention that we have great melody players along with our percussionists too. Sabir khan is one of two best young Sarangi players we have from India and what he brings to the table is not only his training in traditional music but also a flavor of Rajasthani folk music. It just amazing to tackle that music and those rhythms and bring those sounds out. Kumaresh and Ganesh are great violinist from south India. They provide south Indian melodic structures and also some contemporary styles to work with.
So we as drummers get so much inspiration and support from the best Indian musicians around. This helps us to give the audience, especially the western audience, a bird’s eye view of what India and its core music is all about

LiB: Recently you toured with Bela Fleck and Edgar Meyers? What distinguishes Indian from international artists? What is it that you do or think different to adapt?
ZH: First of all Vinay, I forget that there is something different. We have the same melody notes in India as they have abroad. They have Do re me fa and we have Sa re ga ma. Similarly we have rhythms, whether it is 4/4’s or 6/8’s which are common and universal.

The musical instruments across the globe play the same notes and so in the basic core sense, there is no difference. If anything at all, the difference may come through in how we package it. When we’re working with musicians who are not from India, the main thing is to understand their way of life, more importantly their culture, their social scene and how they interact with each other. Similarly they have to understand what it means when I get on stage and bow to my drums and what it means when I touch my Guru’s feet. Once we understand the social backgrounds, it becomes clear the kind of reverence being put forth towards the art form, the respect and honor one bestows to their elders, etc and this is what reflects in our music. For instance, in an orchestra, I need to know that the only person who is called maestro is the conductor and so when I know that I know how to interact with him.

When this understanding is in place, hearts meet, minds meet and there’s no question of egos or anything else and so this gives way to beautiful music. Forgetting any differences, we need to relate at different levels and this makes the music very multidimensional.

LiB: Anybody in particular you’ve wanted to collaborate with? What can we see in the future with respect to collaborations?
ZH: Well Vinay, I’ve been lucky that I’ve somehow ended up in situations where I’ve gotten the opportunity to work with the big names around and people who I’ve always wanted to work with. I’ve been at the right place at the right time.

For instance, When John McLaughlin was looking for a Tabla player, I just happened to be there. When Mickey Hart wanted to learn Indian rhythms, experiment and showcase this on stage, I just happened to be there around available to work with. Of course, it finally comes to the point where one needs to deliver when given the chance but when all these interactive elements begin to work for you; something special is definitely to come about.

It really all began in the bay area in California where all the world musicians were hanging out there and they were wondering ‘Okay, so what’s next’. That brought about the fusion revolutions and I just happened to be there. I got a chance to perform with Santana, Miles Davis, Mickey Hart, John McLaughlin, Jefferson Airplane and many more.

A quick anecdote if I may – I was playing once at a Jazz fest in South of France and a friend, Chris Jagger swings by and invites me to his brother Mick’s birthday party. I reach the house and there he was – the birthday boy Mick Jagger. There were a lot of stars and musicians there that evening. Slowly and surely, they all wanted to jam and play some music. Coincidentally, I was the only drummer there and that was my chance to jam with Mick and many other musicians.

All in all, I can’t complain about any artist in particular who’ve I’ve always wanted to collaborate with. I’m just thankful to god for the chances I’ve been blessed with.

LiB: Any Shakti reunions we can look forward to?
ZH: In fact, I just spent time with John McLaughlin in Monte Carlo some months ago. I was invited to write music for the 100th year celebration of the Ballet of Russia and they were housed in Monte Carlo and it was premiered there. This is when I got a chance to hang out with John there.

I keep meeting and playing with Vikkuji (“Vikku” Vinayakram) and L Shankar so it’s not like we’re over or anything of that sorts but just that we make smaller and coupled performances.

As Shakti, we might come together in 2011 as John has commitments till 2010 after which we prepare for it in 2011. Just the other night we have having dinner and just reminiscing about the music movement that took place during the 60’s and 70’s. Now that just gets us all excited about Shakti!

LiB: And what about Tabla Beat Science (TBS)?
ZH: It’s around. It’s around (laughs). TBS played in India not too long ago and it was a fun time. Karsh Kale has a lot of projects going on now and Bill Laswell has been producing some Jazz music and he’s busy with that. We’re hoping Sabir Khan can contribute and fill his father, Ustad Sultan Khan’s shoes. Ustad Sultan Khan’s is currently not well these days.

Incidentally, Shakti actually sparked this idea of world music and the coming together of these artists to form TBS and I was just lucky that they made me a part of it.

LiB: The ever modest Zakir Hussain…
ZH: No way. There were a lot of great artists around at that time when this was all came together. L Shankar, John, Vikkuji, Ravi Shankar, only to name a few. So there were a lot of great names behind any success that I’ve had.

LiB: Three Indian representations for Grammy nominations this year is incredible and something that has never happened before. You’ve yourself won in 1991 and 2009 and now A R Rahman in 2010. Is the world finally standing up and recognizing Indian art? How do you see the future of world music?
ZH: It’s a natural flow of things and it had to happen eventually. India has been one of the premiere forms of music in the world in the last 20 years and it was important that the western world needed to recognize that there was something significant there. And well its happening now and it’s only going to get bigger. It’s important for the western world to understand India and for that matter Asian influences because this will give the western audience exposure to a whole new dimension in music and culture and this will only do a world of good for both worlds.

See how ‘Crouching Tiger Hidden Dragon’ became famous thus recognizing artists like Ang Lee. Similarly Hollywood has accepted so many artists from China like John woo and Chow Yun-Fat which helped them gain a whole spectrum of Asian viewership.

Rahman being nominated last year and winning will only boost the western worlds viewership amongst the Indians. This is tremendous and they’re starting to see that Asia (especially South East Asia) cannot be ignored

LiB: We believe in encouraging people to go out to concerts, encourage the artists and have a good time. What do you think of our initiative? Advice and direction?
ZH: I think it’s important to have this one stop shop for concerts. Supermarkets do very well in the Western world and so it’s great that your taking this approach. The growth of non western music in the western world is key and it’s good that now people can go online and actually see’s who and what’s out there from Asia

This is only going to help promote Asian culture and Art form.

LiB:Thank you very much Zakirji for your time. It was a pleasure and an honor talking to you.
ZH: The pleasure was all mine Vinay. Now get a beer and take it easy! (laughs)

Samir was very kind to speak to us quite candidly about his collaborations and more. Below is an excerpt.

LiB: You recently performed with Salman Ahmad. How was the experience? How was the audience’s response?
Samir: There was a lot of positive energy and tremendous amount of warmth within and around the Auditorium. We had a lot of supporters and well wishers attend the concert and it was a wonderful evening of fusion music.
The concert was a fund raiser for Chhandayan and we always appreciate the support we have received for this nobel cause and institute.

LiB: Do you do a lot of Fusion music and International Collaborations?
Samir: Living in the heart of New York City (right opposite Times Square), one cannot ignore or shun away the presence of a huge global village here. It’s a wonderful place to be in and New York just acts as the perfect catalyst of fusion of artists and lays a wonderful platform that benefits Fusion music.

I have over the past years collaborated with numerous International artists. There is a lot of Islamic Sufi music/rock ventures like with Salman Ahmad and with Jewish music composers with Klezmers, etc. I worked with the renowned Vishwa Mohan Bhatt too.
Similarly, I worked with Indo-Flame, a beautiful blend of Indian and Flamenco dance and music.
There’s ‘Dawn to Dusk and Beyond’ which depicts the correspondence and influence of music on physiology and environment.

So there’s a lot of collaboration I’m doing and I believe we will see a lot more mixtures in the future.

LiB: Anything new that you’re working on? What can your fans look forward to in the near future?
Samir: I have worked with Sanjay Mishra and Jerry Garcia (of Grateful Dead) in the past. It gives me immense pleasure to simply mix up the flavors of Indian Music along with some Blues based guitar and interesting sounds the create a wonderful fusion. I will constantly be collaborating and working with new artists.

I’m currently travelling to Calcutta right now to work on some collaboration and experiment with new music. We’ll see how it goes

I’m also working closely on ties with Afghanistan and making trips there to the music departments and in talks with the Radio and TV shows to see how we can work together and bring about something beautiful and peaceful from our cultures.

LiB:Tell us a little about Chhandayan
Samir: Chhandayan offers classes of Indian music (vocal and instrumental) supplemented by periodic workshops, seminars and lecture- demonstrations throughout the year in Manhattan and Jackson Heights (Queens) in New York, Nutley, Edison and Kendall Park in New Jersey, Potomac in Maryland, Ashburn in Northern Virginia and Cheswick (in Pittsburgh area) in Pennsylvania.

Chhandayan has operated out of New York for the past 14 years and has grown to be a wonderful organization for artists to experience the philosophy of Chhandayan and Indian music.

LiB: And what is the philosophy of Chhandayan?
Samir: Chhandayan strongly believes in the power of music, particularly that of Indian music. This venture is directed towards the growth of understanding and appreciation of Indian culture. It is perhaps the most ancient tradition that is still alive and vibrant.

We’re focused on music which eliminates personal pride and division of nationality, ethnic backgrounds and achieve a higher goal to benefit man-kind as a whole. Chhandayan is representation of the true experience of Indian music.

LiB: And finally, What do you think about our venture, Liveisbetter.com?
Samir: I will definitely think of you when we want to reach out to numerous avid concert lovers out there and you can always contact me for concert information and would be more than glad to talk to you.
You’re doing a good job and keep it up.

Ten minutes later, you can see Rahul Ram, Indian Ocean lead singer and bass player along with Sameer (the tour sound engineer) across the street looking at the venue trying to sum it up. Once inside the hall, Rahul sees the hall still occupied, steps out and calls up to find out where the rest of the band is. Once Sushmit Sen (lead guitars), Amit Kilam (drums and flute) and Ashim Chkravarthy (part vocals and also the tabla force behind Indian Ocean) arrive, you can see the mood setting up. There’s just under two hours remaining before the concert begins, with stage setup and sound check remaining. However you can get a sense of something good building up and there’s a peace and calm about the way they went around with their stage setup.

Staying calm and patient is how they grew during the initial years of bands formation too. For the first 6 years there was no Indian Ocean. Just, Sushmit, then a budding guitarist who had forged a firm friendship with Ashim and a slew of other musicians. Most notably Shaleen Sharma (drums), Indrajeet Dutta and Anirban (Bass). “They hung around for a little while and then left. In the mean while me and Ashim would just keep on practicing”, says Sushmit, remembering those formative years. “We officially formed Indian Ocean in 1990. Both of us (Sushmit and Ashim) had been playing together since 1984. Probably even before that. We had our first show in 1986. After that show our confidence level raised and I thought this could be going somewhere. I never thought I would become a professional musician. A conscious decision was taken in 1994 only when I gave up my job and professionally took up music. We did around five shows in the first six seven years, In contrast to almost seventy a year now”. Popularity rose to a new level with the soundtrack to the movie “Black Friday”. Fame and fan-base earned with such dedication and hard work somehow justifies the zeal with which the band protects its individuality and its music. “There was never a conscious decision to get into Bollywood. We kept playing for the love of music. Even when Anurag Kashyap (Director of Black Friday) approached us for Black Friday, we did it because he gave us the artistic liberty to compose the music our way. We had the creative freedom and that is what got us all the way through”

Anyone who has heard Indian Ocean before will instantly agree that much of the credit for their distinctive sound goes to Sushmit’s guitar work. Almost all the time during their live shows you will find Sushmit fixed at a spot, smiling and enthralling the audience with his axe-work. It’s a sound Sushmit can very well call his own creation. Sharp, silky and crisp. When asked about the creation of this sound and whether it was a deliberate effort to have this distinct sound, Sushmit both agrees and disagrees with the notion. “It just developed on its own over a period of time. There was a conscious effort too. I started learning the guitar mostly to play Indian classical music. So that sound just developed on me. More than the sound it is the style of playing. I play the same guitar as everybody else. It’s just the style that is different.” With almost 2 decades of live performances behind them there ought to be some memorable performances, which have a special place within the band. “There are so many performances that its hard to pinpoint on any single one. We have had some amazing collaborations with Japanese and Chinese Jazz bands. We also had a memorable collaborations with Shubha Mudgal and Kailash Kher”. As the show drew nearer I asked Sushmit about set-lists for each show and the nature and level of improvisations done during each show. “Songs do get eliminated as and when your catalog increases. Our songs are long and so we cannot have all the songs in one set list. We shortlist a bunch of songs for a tour and then we pick and play during each show. Plus improvisation is always there”, says Sushmit. When asked about the length of the songs, “Our songs are not extended jam sessions. Our compositions require it. They are very well structured. We keep on improvising till everyone is content with the output.”

One thing that anyone would vouch for, even with the near cult status that they now command in India, is the ease with which you can approach the band. Rahul looks like the Mr. Nice Guy in the band and will always accommodate you. Which explains how he came about joining the band too. Having a PHD in Environmental toxicology from Cornell University, Rahul returned to India and started working in the Narmada valley as a Narmada Bachao Adolan (NBA) activist. When asked about pursuing music in US while studying, he was quick to point out the lack of enthusiasm in doing so during the same time. “100% attitude and 0% competence” is how he described fellow student musicians at Cornell. “All they had was conceit. Everyone seemed to have a question ready for me. What do you call your style of playing? What would you say the genre of your music playing is? The only time I played at Cornell was when I went to a party and the bass player passed out. I stepped up and all they were playing were 12 bar blues. So that was simple. Rest of the time was spent practicing with an acoustic guitar.” On a break from his NBA duties, once back in Delhi, he met Sushmit. “Sushmit and I knew each other from school. I used to play at that time and Sushmit was just starting off. So this time when he came and said he has a band, I didn’t take it seriously. The next time I came back from the valley, Sushmit had left 3-4 messages asking for me. So I met him, heard the demo tapes, liked them and from there it was scheduling more and more practice and jam sessions”. I compliment Rahul over his amazing voice saying “It’s pure. It doesn’t thrust anything down on me. It doesn’t make me feel like its trying to teach me something. It is what it is, a pure singing voice.” To which he cheerfully replies “I don’t think I can teach anyone anything either” and lets out a small giggle.

In the mean while Ashim sets up his array of tablas for sound check. Traditionally, the tabla player performs sitting down. However, due to the absence of a raised platform on the stage, Ashim decides to go for a standing performance. He sets it up and mentions “This would be the second time I will play standing up in my entire career”. When asked about the old struggling days he always looks back at those days and asserts “Fate! I am a strong believer in fate. Fate, along with hard work. We never started off with an ambition to make it real big. For us it was always the joy of playing music. During those initial few years, Sushmit always had a hunch that what we had was pretty good. I never thought about how far we would make it. Its just amazing that we have been playing for these many years.” Many people don’t know that Ashim had collaborated with Peete Seeger back in 90’s when Mr. Seeger made a pit stop in Delhi for his world tour. “It was back in 1995. I just happened to meet him at my friend Sushmit Bose’s farmhouse. There we spent around 4-5 hours talking about music. The next thing I know is that he asked me to perform with him in his Delhi shows. I was stunned. Here’s a world-renowned artist whom I met a few hours back and here he is asking me to collaborate with him. So I went and met him at the International Sheraton where he was staying the next day and practiced for a few numbers. The greatest moment for me came when he said to me: Ashim, I know you have a band and you are an upcoming ‘great’ musician. So instead of you just coming as a part of the band, let me introduce you during the concert before our number is played. And during the concert he did introduce me with some amazing gracious words. That just stunned my friends in the audience. They were just dumbstruck”. Ashim is the only tabla player in the world who can sing whilst playing. And to his credit he has an amazing voice that deserves an audience. When I question the folk roots in his singing he says “Coming from a family of musicians, my inclination towards folk music comes more from my mother. She was a folk singer. Plus I have always personally been interested in folk singing too.”

A huge applause erupts as the band members come on stage. As the band assembles itself below a portrait of Che Guevara and very apt revolutionary remarks, Rahul who does most of the talking on stage starts talking about trying new songs. And from there they dive into “Bula raha hai” a new composition for the movie Bhoomi. From there on they put on a super charged, jam heavy show for two and a half hours that managed to combine tracks of the instrumental heavy “Desert Rain” and the key tracks of “Kandisa” and “Jhini”. “Bula raha hai” promises to be the next sing along song from Indian Ocean exploding in Bollywood. Hearing it for the first time, I was already hooked to it and wanted sing along every time they chanted “Paon zameen par, aasman pe nazar”. “Bula raha hai” was followed by “Leaving Home” (great guitar duels) and “Melancholy ecstasy”. The band then introduced “Darte ho”, a dark which they have composed for an upcoming Amir Khan production. Lyrics for the song have been penned by the great Urdu poet Noon Meen Rashid. They closed the first set with “Jhini” and an amazing rendition of “Hille le” (Watch the video below. Here the crowd joins in for the sing-along with the band early on) during which it was hard to miss the excitement with which the crowd jumped in the air singing along to the catchy lines of the song.

From the onset there was a heavy demand for “Bandeh” and it was performed in all its acoustic glory immediately after the encore. “The break helps the venue sell more beer” is how Rahul described the break. Sushmeet did an inspired acoustic take on the guitar lead in the original song. (jump to 4:40 below if you want to see an inspired take of Bandeh by Sushmit).

Indian Ocean considers itself primarily a Live Band. And so do the fans. They swear by the bands live performance. And if you have been to one, you will know that the music is pitch perfect, note by note. The epitome of that performance reaches when they break into the very popular “Bhor”. Ashim always requests the crowd to abstain from making any noise during the intro to “Bhor”. Many musicians would do so out of the need of preventing their concentration from failing them. Not Indian Ocean. When asked about why Ashim calls for some quiet during “Bhor” he mentions, “We are a live band. We enjoy audience participation. We would never ask them to curb their enthusiasm. Its primarily because the intro of Bhor is so melodious and we want that melody to be felt by the audience.”

They close the night with their staple live numbers “Boll Wevill”, “Ma Rewa” and “Kandisa”. The crowd is reluctant to let them go. The concert might have ended, but the night carried on when the band, after almost 3 hours of amazing music, willingly mixes with the crowd for CD/DVD signing and photographs.

Although Sushmit did leave me with a tip which would completely be a fan’s delight. A new documentary portraying the energy and the story that is Indian Ocean, will soon hit the screens. There have been a couple of them out already. Check out Leaving Home which was screened at the Indian Film Festival of Los Angeles last year and also Beware Dogs (check out the video below) which was shown at a couple of film festivals in 2008.

P.S: At the time of publishing of this interview, Ashim had a heart attack during the bands trip back from the US and is in coma in Doha, Qatar. Here’s hoping and praying a speedy recovery for him from all his fans at LiveIsBetter.com and around the world.