My Journey

Roots

My first memories of music take the form of the lullaby of Neelambari, the soft tone of my grandmother's lilting voice lulling me to sleep. Every family car ride was accompanied by the familiar and motherly voice of M.S Subbulakshmi, the lion's roar of Pt. Bhimsen Joshi, the buttery sweetness of Pt. Jasraj, the flow of Hari ji's or Ronu ji's flute, or one of the other legendary representatives of the vast world of South Asian Classical Music.

With such exposure to South Asian tonality at an early age, it was no surprise that I developed an inclination towards music. Captivated by the mythological stories from my South Asian heritage, of Shrī Krishna playing the flute, I was drawn towards the instrument, but was dissatisfied with the rigid beauty of Eurocentric classical music.

It was in 2007 that I met my guru Pt. Ronu Majumdar and my life changed forever. I was drawn to his brilliant playing in concert, and I received the opportunity to take my first lessons on the Bamboo Bansuri from him... I fell in love instantly.

Ronuji tested my musicality and determined that I had some potential as a student, and from that point on, my journey truly began. I committed to daily practice (with some support from my parents initially), and began to develop my skills in the Maihar Gharana of Hindustani Classical music. In 2009, he accepted me as his shishya.

Gurukul

Ronuji's teachings left me with much to practice, but I only had the opportunity to spend time with him while he was on tour in the US each year, and when I visited him in India. For the bulk of each year, my parents helped to arrange learning opportunities with as many quality musicians as they could find.

While Chicagoland features a diverse and robust music scene, with many opportunities for young musicians from different global styles of music to perform in front of critical public audiences, the same is not true for the local representatives of Hindustani music. Each of the teachers was highly proprietary about their students, and seldom came together to provide any sort of joint platform for talented students. While I received one annual opportunity to perform at the Sadhana School of Music, run by Nirmita Dholakia, lack of other classical opportunites led me to find my own avenues for growth. I started playing for Bhajans, Carnatic music, and classical dance, all in an effort to develop versatile musicality. Because of my unconventional musical upbringing, I treat each performance as an opportunity to practice and learn to this day.

Growing up, I felt that there were many 'teachers' but very few serious musicians to learn from. I learned vocal from a number of teachers, most notably Shri Ganesh Desai, who developed my voice via a systematic and rigorous practice routine. I had some years of training with Shri Dhananjay Kunte, a scientist and tabla player firmly established in Chicagoland, who showed me the basics of tabla performance, and the role of tabla in music. In 2009, I had the fortune of meeting Vikas Falnikar, a self taught musician, with a deep, rounded perspective on life and music. In our regular 'jam' sessions, he imparted performance poise and a creative thought process developed from a lifetime of listening and learning.

Through Vikas ji, I met Pt. Shyam Kane, the first and foremost disciple of Ut. Zakir Hussain, and a brilliant tabla performer in his own right. Shyamji's life is a lesson in Sādhanā, as his daily practice has brought him unparalleled skills on his instrument. While Shyamji never formally taught me any tabla, countless hours of practice with his accompaniment brought me perspective on how to balance my performance with the skills of a percussionist. Shyamji wouldn't call himself my guru; nevertheless I am grateful to him for his significant contributions to my music.

After my Sangeet Visharad in 2014 I took a recommendation from Ronuji to study vocal music under Dr. Vikas Kashalkar in Pune, Maharashatra. Vikas ji is an ocean of knowledge, deeply rooted in the Gwalior, Agra, and Jaipur Gharanas of Hindustani Classical music. Beyond the brilliant training I receive from him, he helps shape my understanding of music to this day. My annual trips to India always include many intense training sessions and insightful musical discourse with him.

Through Dr. Vikas Kashalkar, I met his brother, Pt. Arun Kashalkar in 2019. Arun kaka is a prolific and energetic vocalist with a specialization in the Agra gharana of Hindustani music. I started attending his classes in 2019 and continue to gain perspective on methods of improvisation from him.

Artist Statement

I am a bansuri player and classical vocalist, and I live to spread the peace that music has brought me.

Growing up, all I ever felt was pressure. My family is full of people who are esteemed and established within their fields. Growing up surrounded by them, I believed I could impact the world somehow, but never knew how I was going to set myself apart. National merit scholar? My cousin did that. A perfect SAT? Another cousin already hit that score. Ivy league (or equivalent) education? In my family, that was the norm. Needless to say, academic achievement was always congratulated — with a grain of salt.

It was when I discovered the Bansuri in 2007 that I saw my chance to shine. Not only was the instrument unique and rare, but I had some affinity towards it. My guru emphasized that practice was the only path to success, and urged me to study many forms of music. I studied vocal, tabla, and dance music, listened to every recording I could find, and practiced voraciously. ‘Practice’ meant not only working on basics at home, but also exploring music in as many musical settings as possible. Soon, the performances started flowing in, and the applause grew.

The stresses of life increased, in the form of academic goals, navigating relationships, body image, etc. My music gradually grew from being a source of external validation to an essential coping mechanism.

However as my path continued, my relationship with music evolved. My gurus always nudged me to ‘sing through my instrument.’ Through reflection, I observed that the greatest musicians draw from the depths of their being, expressing beyond ego, and bringing their audience on a journey inwards and upwards. Turning the critical eye on itself, my music transformed from a source of solace to an extension of my inner voice.

Singing and playing the flute are not only exercises in musicality, but require an intense focus on the breath. The air coming into the lungs is aggressively maximized, while the air going out is measured and carefully controlled. This cycle of breath is the focal point of almost every form of meditation. I always found it humorous that people exchange copious amounts of money to learn these breathing techniques, while I practiced them freely. It’s no wonder that music brings a glimmer of light in the endless storm of the material world.

Music has brought me recognition, calm in trying times, and a fulfilling way of life, but my journey is far from over. I strive to improve my musicality daily, through practice, study, and reflection. My artistic journey is a lifelong commitment, and I envision my music as a means to foster understanding and harmony in the world.