Percussion connoisseur Ranjit Barot is a well-known figure in India's music industry, where for many years he has written film scores, produced Indie pop music including an album ‘Bada Boom’ and has performed with some of India’s best musicians in the country and overseas. This evening at the Experimental Theatre, NCPA, he is all set to take his music to another level with Converging Streams — Best of World Music, a meeting of the ancient with the now.
Excerpts from the interview:
What is Converging Streams — Best of World Music, ‘Heart of Drums’ all about?
Heart of Drums is really exciting for me. It features such unique talents. Sounds that I can harness to create something truly beautiful. As for the show, it’s a multi-disciplinary show, featuring music, visual arts and dance.
How did you come up with the concept for the concert?
It’s part of an ever-evolving landscape in my mind. If you’re curious and creatively restless, there are countless ideas to be explored. This one is a manifestation of some such dreaming.
With whom are you also working on this concert?
I have Ashwin Shrinivasan on flute and keyboards, Nastya Saraswati on violin and vocals, Gulraj Singh on keyboards and vocals, along with Emmanuel Simon and Sanket Naik on percussion.
What music can one expect at the concert?
Vocalists from India to the Balkans, percussion styles from Indian to Latin and beyond. This performance will also pay tribute to the humble drum which will be accompanied by melodic instruments and lush soundscapes on the keyboard.
How would you describe your music?
I’m chameleonic in a way. I enjoy expressing myself through many kinds of music. Jazz, rock, funk, film scoring, arranging and producing. It’s a rich tapestry of sounds that I like to immerse myself in. There’s so much to be enjoyed, and why shouldn’t I?
How do you go about mixing Western fusion scales with Indian music?
It’s a duality that exists within. The east and the west. Being born in the UK, growing up in India under the watchful eye of my mother, the late great Sitara Devi, I had information from both cultures, hence the cohesive sound. I don’t perform anything half-baked as the music you play should originate from an organic place within you, nothing should be contrived.
You have played with world-renowned guitar legend John McLaughlin and The 4th Dimension band way back when you were just starting off. How did this meeting happen and how has his influence been on your music and career?
Actually, I only started playing as a permanent member of his band in 2011. We did a recording called Floating Point in 2007, but that was a one off, and it came off the back of our meeting at the Abbajibarsi that Ustad Zakir Hussain used to hold on the 3rd of February every year. We jammed together and then Johnji expressed a desire for me to play on his album. We kept in touch over the next few years and he inducted me into the band in 2011. It’s been a life changing experience for me. Not just playing with him but also my brothers Gary Husband and Etienne Mbappe play a large role in my musical evolution. I’m grateful for their company and music.
You have worked with AR Rahman on most of his live concerts. Can you share a few memories of working with him?
Ah, there’s too many to list here really. One thing that really blows my mind is that with such a vast repertoire, he manages to remember every chord change, music section and rhythmic pattern that he’s created. He’s a phenomenal composer and a great friend.
Did you play any other musical instruments before taking up the drums?
No, drums are my primary instrument and then I naturally transitioned to singing, composing and producing. It’s a natural extension of my musical persona.
Did you have any formal training learning the drums?
No, I’m self-taught. Having said that, I’ve learned from and been inspired by countless drummers who I’ve had the good fortune to see and hear.
You have done a lot of work for Bollywood, but since the last few years we haven’t heard you being associated with any film projects?
I’ve outgrown them and it seems they have no need of me.
Apart from being a percussionist, you have donned the hats of a composer, arranger, and producer. How do the three roles differ?
They’re all connected in some way. Being a drummer is a great springboard for rhythmic ideas, but I was always fascinated by the orchestra, by melodies and the harmonic content that would provide the underlying context to a song.
You’ve been playing for a while now, what changes have you gone through as a musician?
I suppose after 40 odd years of being a musician, I’m starting to understand what it means. It’s all starting to make some sense now. I’m still a student, very inquisitive and want to learn as much as I can while I still have cognitive abilities to do so.
What new projects are you currently working on?
I’m currently releasing a solo album which is a collaboration with some of the leading singers in India. Featuring songs that are off the beaten path yet highly relevant in today’s world.
Do you have any Indian or overseas artists that you want to collaborate with, anything like a wish list?
I have a trio called Contraband with my dear friend and brother Gary Husband on keys and the mighty Tim Garland, saxophonist par excellence, from the UK. We’re currently recording an album and plan to tour Europe next year.
Do you think technology has made it easier to learn the drums with kids now looking at the computer and learning the techniques?
I think tech can get you only so far. We live in an Information Age. You still need wisdom, and for that you need a mentor.
(Venue: Experimental Theatre, NCPA; Date: September 3, 6.30 pm)
