Hindustani Jazz turns 'Oz-some'

In 2013, genetic researcher Irina Pugach established how Indian adventurers had settled into indigenous Australian culture a whopping 4,230 years before the white man arrived in Australia. Four years later, Bridge of Dreams (BoD), an intercultural collaboration exploring the dialogue between jazz from Down Under and Indian music, is reaffirming that bond. Think of this project as a big fat international jam, not only a collaboration between artistes but also two far-flung schools of music! BoD features Indian musicians Shubha Mudgal, Aneesh Pradhan and Sudhir Nayak, along with saxophonist Sandy Evans, tabla player Bobby Singh and the 18-piece Sirens Big Band from Australia. Composed by Evans, Mudgal and Pradhan, the attempt is the first in the world to combine Hindustani vocals with big band jazz.

"The title, BoD, is a metaphor for intercultural collaboration, whereby the bridge represents a place for the two-way exchange of ideas," explained Jessica Dunn, double bassist, composer and co-band leader of Sirens Big Band—an active member of Sydney's jazz scene. "The creative rationale for the project comes from imagining the possibilities suggested by these rich musical palettes: Shubha and Sudhir's soulful, richly nuanced raga expositions answered and supported by Sirens' warm and luscious horn section; Aneesh and Bobby's fiery tabla solos weaving in and out of jazz rhythm section ostinatos; and breathtaking improvisational exchanges between saxophone and harmonium!" she explained.

Sandy Evans, who composed a musical piece called Testimony about the life and music of Charlie Parker, is interested in Indian music, and collaborates regularly with Indian musicians Sarangan Sriranganathan and Bobby Singh. "I've worked with Carnatic mridangam virtuoso Kaaraikkudi Mani and Sruthi Laya, and vocalist Hariharan for a concert (2011)." Evans, a member of Ben Walsh's Orchestra of the Underground, performed in Walsh's original score for the Bollywood classic Fearless Nadia (2012) with Pradhan. Two years later, seeds for BoD were sown when Sandy came to India on a Churchill Fellowship. "Aneesh, Shubha and I spent a lot of time sharing each other's music, felt a connection and wanted to formally collaborate. But finding funds was a challenge."

Funding finally came through from various Australian governmental and non-governmental sources last year, kicking off a flurry of exchanges across continents to create 12 compositions for BoD. "While most of it was done on Skype and email, often something inspiring would occur to me or Aneesh and we'd instantly record and send it across on WhatsApp," says Pradhan, adding, "we have to credit technology for helping us create music across time and space."

As Mudgal laments the lack of funding for artistes to collaborate and grow in India, Evans and Dunn point out how support for the arts is on the decline in their country too. But there's hope still—especially with artistes of this ilk emphasizing the role of music in prompting unity and inclusion. "We live in strange times when the idea of the world as a global village is being turned on its head. Exclusion and cries of 'go back where you belong' are on the rise. If we can use music to hold on to the inclusive idea of compassion, love and empathy, we must continue finding ways to do so," smiled Mudgal.