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In the metropolitan cities of the world, stranger amongst strangers, people of different cultures, with different roots interact, exchange and mix together. In the musical dimension, this new situation means an open gate to universal music, or let us say to what is now called “world music”. This open gate to exchange beyond the barriers of culture…is it possible, or are we too different? Are we able to create something beautiful and coherent out of our diversities? Can we keep our roots, our own ways, but still learn how to be together? Will we stay each of us in our own ghetto, our own community, separated, or can we, in an act of love, create something new together out of our urban and global exile…. There is music, the spirit of music, which is one. Musicians know that they can communicate together beyond the barrier of language—they have a universal language. Yet there are musical traditions, and each one is trained to play through a peculiar, very precise idiom. How the spirit of music transcends all such peculiar idioms is precisely the magic of music….. Formed out of the union of two of the world's most evocative string instruments, The Srishtii Project plays lilting, poignant music from the traditions of India & Greece on a bed of world rhythms. …..
HINDOL DEB It started when he was all of five and his father Sri. Panchanan Sardar made him hold his instrument and taught him the initial lessons of the most beautiful language. Since then, his world has been full of experience and realization, which he constantly tries to express through his music. After learning in the Rampur-Maihar tradition of music—known for its elaborate Dhrupad alaap—Hindol came under the guidance of Sri Gaurav Mazumdar and more recently, has learnt with Pt. Deepak Choudhury. With an open mind and ever-broadening ideas, he has worked closely with musicians of contemporary genres, bringing out a fine synthesis of Indian Classical music with electronic, jazz, folk music etc. He has composed and played his music for various plays and ballets. Even after all the experimentation, he feels that it is only his firm base in the spiritual philosophy of music that inspires him to keep his playing pure and uninfluenced. CLIO KARABELIAS While being in her final course of classical studies of Harp in Paris, Clio discovered free jazz improvisation with her teacher Helene Breschand. She used to improvise at home, on her instrument and with her voice, but never knew it is acceptable. The Revolution which started then drove her towards free jazz experiences, as well as towards the study of traditional music, through her own Greek tradition, as well as the Turkish one ( she learned Saz and singing for sevan years with Talip Ozkan in Paris). The musical journey took a special turn when she started interacting with Indian music, which drove her to India. She feels especially attracted by the importance of improvisation in Indian and Turkish or Greek music. While she is experiencing how to play with her own touch this ancient instrument which has been played all over the world -in India and Africa too- and while interacting with oriental music new ways of playing, new sounds arise. Clio plays harp, sings her Greek roots, and enjoys creating music with others in an oriental or free jazz spirit. She has played with several musicians from oriental and world music, in Greece, France and India, and has played for several theatre plays as well as for music directors as Sir A.R Rahman. SUCHET MALHOTRA Suchet is a disciple of Ustad Chhamma Khan of the dilli gharana, with whom he studied tabla. What began then was a journey into the percussion of the world, and a series of musical travels that write themselves. He has worked with drums from all the major cultures of the world, absorbing what he could of the techniques and repertoire, and adding his own understanding of the techniques and thought of the Hindustani tabla tradition. A formidable collection of instruments—each with its own unique texture & sound—has built up, and the experimentation continues…. He recently dived into latin-jazz, which compelled him to set up a hybrid of percussion and drum-kit that offers him a dynamic range of sound and occupies his hands. He continues to experiment, compose, record and perform, and plays a wide variety of percussion from India, Africa, Egypt, Iran, Peru, Spain and Australia.
SOMESH PURY Somesh Purey has been learning Tabla since the age of four. His initiation into Tabla began at home with his father Pt. RamaKant Purey. He continued to learn Tabla with his father’s guru, Pt. Srikrishna Savaner of Indore for eight years.
Somesh is presently learning tabla with the legendary Tabla maestro of ‘Delhi - Ajrada Gharana ’, Ustad Akram Khan. He is also a student of India’s leading percussionist, Taufiq Quereshi with whom he learns other percussion instruments
Somesh has been performing in classical and light classical concerts as a tabla player and a percussionist. In 2001, Somesh toured USA for three months, to participate and perform in a spiritual retreat with focus on music. Somesh has also written lyrics and composed music for children and teenagers.
Somesh also holds a post graduate diploma in clinical music therapy from The Music Therapy Trust, London, UK. Somesh offers his services as a music therapist in Delhi, helping children and adults deal with various emotional, mental and physical issues.
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