The Raymond MTV India Music Summit is back in its 3rd Edition at The Fairmont, Jaipur from October 4th to October 6th, 2019.
The India Music Summit which started in 2017 is a congregation of music lovers and musicians who come together not just to listen to but to engage with music. The Summit is a deep dive, going beyond the surface offering an immersive and incredible musical journey to all music aficionados.KNOW MORE
The Raymond MTV India Music Summit is back in its 3rd Edition at The Fairmont, Jaipur from October 4th to October 6th, 2019.
The India Music Summit which started in 2017 is a congregation of music lovers and musicians who come together not just to listen to but to engage with music. The Summit is a deep dive, going beyond the surface offering an immersive and incredible musical journey to all music aficionados.
From early morning baithaks to evening concerts, from workshops and lec-dems to late night performances, from chat shows with musicians to debates and panels, the India Music Summit is truly a music lovers delight.
2019 promises a gallery of the best and most talented artists in the country. Classical, rock, Sufi, devotional, semi-classical, Indie, and Bollywood form the most mind-blowing musical content that has never been experienced under one roof.
Pt Shiv Kumar Sharma, Ustad Rashid Khan, Rajan Sajan Mishra, Ustad Shujaat Khan, Ustad Aslam Sabri and troupe and many more, will present their music in new formats and collaborations. The Summit talks to Bollywood legend Asha Bhosle and also to the young diva, Sunidhi Chauhan and many many more. The India Music Summit in 2019 promises a Musical Journey like no other at the Fabulous Fairmont Jaipur.
Asha BhosleVIEW MORE
Shiv Kumar SharmaVIEW MORE
Vikku VinayakramVIEW MORE
Aruna SairamVIEW MORE
Aslam Sabri & TroupeVIEW MORE
Venkatesh KumarVIEW MORE
Rajan & Sajan MishraVIEW MORE
Shujaat KhanVIEW MORE
Rashid KhanVIEW MORE
Uday BhawalkarVIEW MORE
Prasoon JoshiVIEW MORE
Taufiq QureshiVIEW MORE
Shashank SubramanyamVIEW MORE
Sunidhi ChauhanVIEW MORE
Javed AliVIEW MORE
Ajay PrasannaVIEW MORE
Rahul SharmaVIEW MORE
Purbayan ChatterjeeVIEW MORE
Kaushiki ChakrabortyVIEW MORE
Radhika ChopraVIEW MORE
Sunanda SharmaVIEW MORE
Prabh DeepVIEW MORE
Mohammed AmanVIEW MORE
Lydian NadhaswaramVIEW MORE
She is the queen of pop and possibly the only one with a Guinness world record for recording 11,000 solos and duets and chorus backed songs in 20 languages.
Born in Sangli, Maharashtra, Asha Bhonsle has been the voice for generations of Bollywood heroines, from Madhu Bala to Rekha, Kajol and Madhuri Dixit, with an unparalleled playback singing repertoire. From film songs to ghazals her evergreen numbers like Dum Maro Dum, Mehbooba Mehbooba, Piya Tu Ab To Aaja and Chura Liya live eternally on our lips. She worked with some of the best directors of her time, from her husband RD Burman to OP Nayyar. Her duets with Mohammed Rafi were a string of unforgettable hits.
Her voice held a perfect crystalline tone, extraordinary range and it carried, as The Guardian once put it, "an ineffable otherness, like a sense of India itself". She received the Padma Vibhushan award in 2008.
Although she has been the first Indian singer to be nominated for a Grammy award and has collaborated with Robbie Williams, Michael Stipe, the Kronos Quartet, and lent her name to Cornershop's Brimful of Asha, one of the landmark hits of the 1990s, her only regret is not having had the chance to sing English numbers. Knowing Ashaji, at 86, it’s still not too late!
If the Santoor has anyone to thank for its journey from being a sufi folk accompanying instrument in Kashmir, to a Hindustani solo one garnering the nation's centre stage spotlights, that would be Pandit Shivkumar Sharma.
At a tender age of five, Sharma began learning the instrument from his father, Uma Dutt Sharma, an accomplished Hindustani vocalist and tabla player from the Benaras Gharana.
But the Santoor had a flaw. Its rigid structure meant that it could not produce the meend — the leap from one note to a higher one, while lightly touching all the notes in between. Without this, it would be forever relegated to the sphere of the folk, not classical. Sharma set about increasing the melodic range of the instrument, changing the arrangement, tuning of the strings and reworking his playing technique to produce a tone that carries the flexibility of the human voice.
Classical apart, Sharma even made the Santoor's presence felt in Bollywood. Among Sharma’s most memorable contributions are the soundtracks of the films Silsila, Darr and Lamhe, which he composed in collaboration with flute virtuoso Pandit Hariprasad Chaurasia, one of the many maestros he has worked with.
For his unparalleled prowess over the instrument, he received the Sangeet Natak Akademi award in 1986, the Padma Shri (1991) and the Padma Vibhushan (2001).
Sharma considers silence, not applause, to be the deepest praise for his craft. When the audience sits moved in a trance-like state, that to him is his biggest achievement.
During one of his earliest performances in the US, Thetakudi Harihara Vinayakram was stopped by the airport authorities and asked what a Ghatam was. He tried to explain it to them but failed. Then he just took out his instrument and started playing for them. They were awestruck by the sound a mere earthen pot could make.
Today, he is affectionately called Vikku Vinayakram, and at his hands, the Ghatam can reproduce an astounding range of complex human emotions.
In his long-standing career, he has played with the stalwarts of music from MS Subbulakshmi to Zakir Hussain and tenor sax sage George Brooks. With performances around the world, he's most credited with taking the Ghatam out of the vestiges of pure Carnatic percussion and moulding it into a world instrument.
His accolades include a Grammy Award in 1991, the Padma Shri in 2002 and the Padma Bhushan in 2014.
“Hail a new queen of soul,” said the London media in 2011 after Aruna Sairam became the first Carnatic vocalist to have performed at London's Royal Albert Hall in the 116-year history of the BBC Proms.
Vidhushi Aruna Sairam's first guru was her mother, who was coached by the famous Alathur brothers. By the time she reached Vidhushi TV Brinda, her first guru outside home, a ten year old Sairam, born and raised in Mumbai, could sing compositions in 150 Carnatic ragas and each varanam in six progressively geometrical speeds.
There is almost no genre Aruna Sairam hasn't tried and tested. Whether it is Carnatic classical, Hindustani, folk, abhangs, bhajans, jazz, rhythmic chants or MTV Coke Studio fusions; whether it is singing in Tamil, Telugu, Gujarati, Hindi, Marathi, or Punjabi, she has made each melody her own, mesmerising audiences with her dexterous vocal timbre and zeal to conquer new ground.
With a string of prestigious national and international awards and honours to her credit, including the Music Academy's Sangita Kalanidhi award (2018) Padma Shri (2009) and the US Congress Proclamation of Excellence (2008), Sairam is a musical ambassador spreading the reach of Carnatic music to the world.
Born in Saharanpur, Uttar Pradesh, to Sufi Abdul Suwan Sabri and Rehmat Illahi, Haji Aslam Sabri was a child playing in the dargahs near his home when the sounds of the evening qawwali drew him to the euphoric art form. He realised early in life that his voice was meant to carry the tradition of his ancestors far and wide. Nurtured by the performing qawwals, he began singing Faarsi qawwali, a rare form, at the age of eight. Largely self-taught, Sabri believes that nobody can pursue qawwali for a stable career or economic returns. One can only be in it for love of the divine.
His voice became the talk of town. Eventually, his fame spread across the country and gave him opportunities to perform in several parts of the world. Through the years, he has always preached equality and religious tolerance through his music.
Dheen dharam ki jab baat aaye, dharam mera insani likhna (When there's a talk about dharam, make sure you write mine as humanity)
When he's not performing, Sabri spends his time teaching and spreading the art of true qawwali wherever he goes.
Venkatesh Kumar’s fans describe a listening experience that can be likened to bathing in a waterfall or getting drenched in an evening drizzle.
One of Dharwad's treasures, Kumar began training as a 12-year-old, under the revered Veerashaiva saint Veereshwara Punyashrama in Gadag. For 12 years, he trained in the Gwalior and Kirana styles of the Hindustani sangeet tradition but was encouraged by his guru to learn from other Gharanas and Carnatic traditions as well. It took a long time for fame to catch up with his brilliance. It was only in 1993 that he got a telegram from Pandit Bhimsen Joshi, asking him to sing at the Sawai Gandharva Sangeet Mahotsav in Pune. There was no stopping him after that.
Even today, what distinguishes Kumar from other vocalists is his trademark style of blending traditions by beginning a bandish in the Gwalior style and then moving forth to do the vistaar in the Kirana style, with Carnatic embellishments along the way, maintaining a sparkling clarity of each swar's enunciations. Kumar received the Sangeet Natak Akademi award in 2012 and the Padma Shri in 2016.
The brothers first performed at a Haazri (a musical ritual at temples) in 1967 at the famous Sankat Mochan temple in Banaras. Rajan was 10 and Sajan five. They soon became regular performers at temples. “That is how we developed a spiritual connection with our music, since the performances were an offering to God," they say. Trained by their grand-uncle Bade Ram Das Ji Mishra and their father Hanuman Prasad Mishra, the brothers soon developed their own style, through their innate ability to complete each other's musical phrases and imagination.
Today the brothers are amongst the foremost celebrated vocalist duos in the sphere of Hindustani Khayal. They have performed all over the world – from South East Asia to the U.K, North America and Europe. They were awarded the Sangeet Natak Akademi award in 1998 and the Padma Bhushan in 2007.
"Your music should have the capacity to tug at people’s heartstrings... like the gentle waves of the Ganga," they say.
He has more than 100 CD releases on a variety of international labels. Son and disciple of the great sitar legend Ustad Vilayat Khan, Shujaat Khan belongs to the Imdadkhani Gharana of the sitar and his style of playing sitar, known as the ‘gayaki ang’, is imitative of the nuances of the human voice.
Born and raised in Kolkata, in 1995, Shujaat Khan came up with a folk and Sufi album ‘Lajo Lajo’, which had him singing along with playing the sitar. This unique approach ascribed to his individual expression and creativity.
He has collaborated with different genres of music. The Rain, an album featuring Shujaat Khan and the Indo-Persian ghazal ensemble with Iranian musician Kayhan Kalhor, was nominated for a Grammy Award in 2004 for ‘Best Traditional World Music Album’.
“Gharana is a beautiful thing as long as you enjoy the beauty implicit in the style and not use it as a pillow or a couch, constantly using it for self-aggrandizement,” he says.
When his voice flows through badhats into well-knit sargams, his spellbound audience call it molten gold. Ustad Rashid Khan is an extraordinary Hindustani vocalist belonging to the Rampur-Sahaswan Gharana. Growing up in the '70s in Badaun, a sleepy town of Uttar Pradesh, it was his illustrious grand-uncle and guru, the late Ustad Nissar Hussain Khan, who changed the course of his life after discovering his raw talent. Training was tough. There were days under his tutelage devoted to just mastering 'Sa'. A little tremor would attract punishment.
Years of rigorous training paid off – he earned the Padma Shri in 2006 and the Sangeet Natak Akademi Award the following year, among a clutch of other national awards.
Referring to Rashid Khan, Pandit Bhimsen Joshi once said, "There is now at least one person in sight who is an assurance for the future of Indian vocal music".
Ustad Rashid Khan believes in reinventing himself constantly, and his fans follow him through each of his avatars. Bollywood has welcomed him with open arms. His rendition of ‘Aaoge Jab Tum Sajna’ in Jab We Met continues to live on fresh in our collective memories.
Dhrupad – a Hindustani musical form, known to be the oldest living tradition of North Indian Classical Music, is believed to have emerged from the earliest sounds in the universe. This art form still continues to flourish, due to the contribution and efforts of the practitioners of the unbroken legacy of this amazing music.
Uday Bhawalkar is one of the foremost exponents of this tradition. After spending over 12 years studying and living in the traditional guru-shishya parampara with Ustad Zia Fariduddin Dagar (Vocal) and Ustad Zia Mohiuddin Dagar (Rudra-Veena), the towering pillars of the Dhrupad tradition, he decided that one way to spearhead a resurgence of the music form would be to take it outside its home turf and make it engage with the rapidly changing world.
Uday Bhawalkar has widely performed in Europe, USA, Canada, Mexico, and Singapore. He has collaborated with many contemporary international musicians of the likes of dancer Astad Deboo, the Ensemble Modern Orchestra-Germany and others. Bhawalkar has also contributed to the soundtracks of international art films including Mani Kaul’s ‘Cloud Door’, Aparna Sen’s ‘Mr & Mrs Iyer and Amol Palekar’s ‘Anahat’.
An ITC Sangeet Research Academy guru since 2012, he also teaches Dhrupad across the world and enjoys a devoted fan following.
Having published his first book of prose and poetry at the age of 17 and working on his fifth, his way with words stood him through varied avatars from that of an internationally acclaimed advertising professional to a prestigious National Award winning film songwriter as well as a columnist and author.
His lyrics for films like Rang De Basanti, Hum Tum, Taare Zameen Par, Delhi 6, Neerja, Manikarniak differ from the usual cacophony of clichés and forced rhymes in their essential, simple beauty.
The soul, warmth and sparkling humor that Prasoon brings to his work, whether through iconic campaigns or through his feature film work that has moved hearts and molded popular culture.
For his varied talents and the far-reaching impact of his work on the literary and social landscape, he was also honored by the President of India with the Padma Award - one of the most prestigious civilian honours.
The universality of Prasoon’s virtuosity lies in the fact that he recognizes, in his own words, that human emotions are the same all over the world — it is their expression alone that is different.
Ace percussionist. Acclaimed composer. Son and disciple of legendary tabla maestro Ustad Allarakha. Djembe exponent. World musician. There is no single way to describe Taufiq Qureshi.
Taufiq's fervent sense of rhythm stems from his roots in traditional intricacies of Indian rhythm interwoven with his command over new-age world percussions. He took up the western drum kit, bongos & batajon, and eventually the African djembe, pioneering a distinct technique of adapting the djembe using patterns of the Punjab Gharana of tabla playing. Over the years, he not only made the instrument his own but inspired a whole new breed of djembe percussionists in India. He was a performing artiste on the 2009 Grammy Award-winning album 'Global Drum Project' and has won global accolades for his unique rhythmic compositions.
It's going to be two decades since Taufiq released his debut album Rhydhun — An Odessey of Rhythm, that pushed the boundaries of drumming. He’s still pushing it in unimaginable ways.
Shashank Subramanyam was six years old when he gave his first flute performance for the general public, in 1984.
Born in Rudrapatna to Hemalatha and Prof. Subramanyam, his forefathers belong to Tirunelveli in Tamil Nadu. He was trained in Carnatic Music foremost by his father and later by vocalists R.K. Srikantan, Palghat K.V. Narayanaswami. He also trained in Hindustani music under Pandit Jasraj.
He has performed internationally and worked on collaborative performances that range from pure classical to symphonies, film music and crossover projects with musicians around the world such as The New Jungle Orchestra and John McLaughlin, for which he won a Grammy nomination. He brought his Carnatic ragas to Persian and African compositions, played with Japanese and Iranian musicians, and free-styled with jazz maestros. He is also part of a band called Shashank meets Lelo Nika – a quartet with him, a Swedish bass player, Serbian accordionist and a Roman cimbalom player.
“Notes are your alphabets, you take them and go off conversing,” he says.
She is the pied piper of Bollywood, whose music and live performances have captivated millions under her spell. With hits like 'Beedi Jalai Le', 'Sheila Ki Jawani', 'Bhage Re Mann' and 'Ae Watan', Sunidhi Chauhan is not just the queen of item numbers, but an artiste who can make you feel emotions that range from the sensual to the euphoric from patriotism that tugs at the heartstrings to melancholia that hangs like a cloud.
She also made her presence known in the international circuits by collaborating with Latino pop icon Enrique Iglesias on 'Heartbeat' (India Mix), which featured in his album Euphoria.
This staunch fan of Michael Jackson and Mariah Carey was a child artiste who shot to fame through a television talent hunt show Meri Awaz Suno. Today, she is one of the highest-paid singers in Bollywood. The world is tuned into Sunidhi's smoky voice, waiting with anticipation for the next hit number!
For Javed Ali, music is all about experimenting. Be it with his vocal quality or with different genres that he takes on ranging from Bollywood to sufi and regional cinema. Delhi born and son of qawwali singer Hamid Hussain, Javed started his vocal training from a young age. While he debuted into Bollywood in 2000, the songs that made him a household name include ‘Ek Din Teri Raahon Mein’ from Naqaab (2007) and ‘Jashn-e-Bahaaran’ from the movie Jodhaa Akbar (2008), ‘Arziyan’ from Delhi 6 (2009) and ‘Kun Faya Kun’ from Rockstar (2011) among a slew of hits. He has worked with a lot of music composers such as AR Rahman, Pritam and Shankar-Ehsaan-Loy.
Bollywood apart, Javed Ali has sung in various regional languages — Bangla, Kannada, Malayalam, Marathi, Odia, Tamil, Telugu and Urdu. He has been a popular choice for judging singing reality shows such as Indian Idol and Superstar Singer.
Ajay Prasanna was a toddler when he was first given the flute by his father and guru, renowned flautist Pt Bhola Nath Prasanna, who was also guru to Pt Hariprasad Chaurasia. At age six he performed at the All India Music Competition in Allahabad and stood first. Belonging to a long lineage of musicians from the Benaras Gharana, Ajay is easily one of the finest flautists today.
The three time Grammy nominee straddles both modern and traditional worlds seamlessly, sharing the world stage as easily with Pt Ravi Shankar, Amaan & Ayaan Ali Khan and Ustad Zakir Hussain as with musician Sting. His strength is the deep roots he holds in both the gayaki and tantrakaari styles of playing the instrument. He has performed all over the world from Kenya to Russia and enjoys a devout fan following.
If Pandit Shivkumar Sharma spread the echo of the santoor beyond the depths of the Kashmir valley, his son Rahul Sharma made the 100 strings a world instrument. Rahul began learning the santoor from his father at the age of 13. As he grew up, with more exposure to different genres of music, he began to wonder why his santoor couldn’t be a feature of the kind of songs Pink Floyd composed.
Today Rahul collaborates with some of the finest musicians in the world – from Richard Clayderman, Grammy-winning band Deep Forest, and Kenny G with whom his album topped the US Jazz Billboard charts. Sharma’s album The Rebel is a first of its kind Santoor-Rock work. This quintessential ’Bandra Boy’, who is known to be reclusive, has recorded over 60 albums till date, half of which are purely classical. He says that he is still discovering the endless possibilities of melody that the santoor has to offer.
One of India's best-known sitar players, belonging to the Senia Maihar tradition, Purbayan Chatterjee wanted to do all the things he had never done. So, he played the sitar standing up, holding it like a guitar, played electric music, shunned his kurta pyjama and then came back a full circle, back to pure classical concerts. His endeavour a few years ago, Classicool, was a movement that proclaimed that ‘classical is cool’, where Purbayan played pure ragas and talas using a contemporary soundscape with instruments such as drums and bass.
He draws his wide-ranging musical influences from his father Partha Prathim Chatterjee, Pandit Nikhil Banerjee, Ustad Ali Akhbar Khan, Ustad Vilayat Khan and Pandit Jasraj among other musicians.
Today, if anybody best embodies the style of Pandit Nikhil Bannerjee, it is Purbayan. He is the recipient of the President of India award for being the best instrumentalist of the country. He believes that, “who you are is a result of all your cumulative musical experiences; music is about finding yourself”.
The story goes that Kaushiki Chakraborty was a child so musically gifted that residents of Kolkata’s Sangeet Research Academy, where she grew up, recall how her baby cries would be attuned to the scale of the strumming Tanpura. Daughter of acclaimed Hindustani vocalists Chandana Chakraborty and Pandit Ajoy Chakraborty, Kaushiki is a torchbearer of the Patiala Gharana and one of the leading vocalists of India today. One of her distinctive styles is an elaborate fulsome taan that she opens her performances with. She likes to call her thumris emotionally driven that come from the heart and her khayals more technique oriented. She has also experimented in collaborative music by singing for Gulzar, Shankar-Ehsan, Bollywood films and MTV Coke Studio.
She has the classical poetry of Ghalib, Seemab and Momin on her tongue, modern poetry of Faiz and Sahir Ludhianvi too, chaste Urdu or lyrical Hindi put her equally at ease, her dulcet voice even glides from ghazal to dadra to thumri.
Born and raised in Jammu, Dr. Radhika Chopra is a versatile musician. Having learnt from Smt. Shanti Harinand, the renowned disciple of Begum Akhtar, Chopra mastered classical music and started performing at the All India Radio, Jammu. She joined the faculty of music and fine arts in Delhi University from where she completed her MPhil and PhD in Hindustani Classical Music. With performances across the globe, she is most famous for her renditions of the golden voices of the yesteryears — Geeta Dutt, Noor Jahan, Jagjit Kaur, Mubarak Begum and of course Begum Akhtar.
Her voice has the combined effect of the refreshing breeze from Himachal and the soft lapping waves of the Ganga ghat. Sunanda Sharma and her mellifluous rendition of the Benaras Gharana style of gayaki carries forward the legacy of her guru, Vidushi Girija Devi.
Belonging to a musical family in Dah, her native village near Pathankot, Sunanda started training when she was barely five, under the guidance of her father Pandit Sudarshan Sharma. She earned a gold medal for her masters in Indian classical vocal from Punjab University. It was during one of her earliest performances at the Hariballabh Sangeet Sammelan at Jalandhar that Girija Devi spotted her talent and took her under her wings. That was the beginning of a nine-year training period in the Guru Shishya Parampara where Sunanda lived, served and learnt music from her guru in Benaras and Kolkata.
Though her forte lies in Khayal, Tappa, Thumri, Dadra and Chaiti, Sunanda has expanded her repertoire to include Punjabi folk, Sufi and other devotional styles. She has been a visiting faculty at SOAS and the Royal Academy of Music in London.
The story of Prabh Deep, the 25-year-old rapper who has taken the Indian hip-hop scene by storm, is the story of Delhi-18 — an underbelly of crime, poverty and gully life.
A high-school dropout, Prabh Deep's debut album, Class-Sikh, that released on iTunes in 2017, has been reviewed by music buffs as one of the most exciting, aggressive and self-assured albums to emerge from India’s independent music scene in recent history.
Rapping in slang-infested Punjabi with a smattering of Hindi and English, his tracks pick socially weighty themes that address rampant drug addiction, student suicides and the Sikh riots of 1984 among other realities. His tight verse, great rhythm and dynamic tone that swings from languid old school to rage laced cutting edge has won him die-hard fans from Tilak Nagar to the entire Indian diaspora.
Reality show success can build a person. Mohammad Aman's story is one such. After shooting to fame since becoming a finalist at the Zee TV show Sa Re Ga Ma Pa 2012, the nation remembered the 20-year old who was the only one to have impressed the judges and audience with his classical renditions. For the grand finale, it was Pooriya Kalyan he chose to do, accompanied by Taufiq on the Djembe.
Originally hailing from Jaipur, Mohammad's training began at age five. His grandfather Mir Mohammad Khan and his father Ustad Zafar Mohammed were his prime inspirations. Even today, he is usually accompanied by his father on the harmonium wherever he performs. To make a career in music, the knowledge of raags is most important, he believes. Mohammad Aman is a musician to watch out for.
When Lydian's fingers run over the piano keys, sparks fly. The 13-year old Chennai boy has been steadily gaining international acclaim, not just for his renditions of western classical pieces, but also for the highly entertaining manner in which he plays — blindfolded at times, playing two pianos simultaneously and sometimes, enthralling his audience by playing compositions at the speed of light.
In March this year, Lydian won the CBS talent show The World's Best after flooring the judges with Nikolai Rimsky-Korsakov's Flight of the Bumblebee and earned the million-dollar cash prize. The little maestro has fans around the world: Billionaire Michael Novogratz sent him a Steinway grand piano last year and Ellen DeGeneres and AR Rahman are among his ardent admirers. Lydian is home-schooled and practices the piano for six hours a day under the guidance of his father, Varshan Satish, a Chennai-based music director. His dream is to play the Moonlight Sonata… on the moon!
Inspired by Rajasthan’s royal past and the Pink City’s rich heritage, Fairmont Jaipur’s elegant architecture, evoking a royal haveli, becomes the perfect setting for MTV India Music Summit. Its many courtyards and outdoor spaces, its large auditorium, the beautifully designed lobby all add to the spirit and feel of the summit – your musical journey, in fact, starts right at the entrance, with the nagaras that the hotel’s resident musicians play to welcome your arrival at the gorgeous hotel.
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