Anjana Roy and Sanjay Ranjan Pal Ragas Live Festival # 8 (Podcast 31)


Anjana Roy (sitar), Sanjay Ranjan Pal (tabla)

4am-5am during our 24 hour Ragas Live Festival

Anjana Roy
 had her early education in music from her father Shri Rebati Ranjan Debnath, who was a senior disciple of Ustad Allauddin Khan of Maihar. She later had training from several other masters , including Professor erma of Jaipur, Pandit Debu Chowdhury of Delhi, and Pandit Manilal Nag of Calcutta.

Andrew Mendelson, Ehren Hanson Ragas Live Festival # 7 (Podcast 30)


Andrew Mendelson (Sitar),  Ehren Hanson (Tabla)

7-8PM During our ragas live festival

Counter to the ancient tenets of reincarnation, Andrew Mendelson attempts to live as many lives as possible simultaneously in the present. A devout student of Indian classical music, Andrew has been playing and studying the sitar for over 15 years. In 2005, Andrew won the grand championship gold medal at the Darshak Institute Music Competition in Jaipur, India–the largest music competition of it’s kind in the state of Rajasthan. He is a disciple of renowned sitarist Pandit Krishna Mohan Bhatt. Andrew continues to performed at venues throughout New York City and University campuses across the U.S. He is also a studio musician and recently composed the opening credit music for Mike Myers’ film The Love Guru.



Anirban Roy Chowdhury and Akshay Anantapadmanabhan with Indrajit Roy Chowdhury Ragas Live Festival # 6 (Podcast 29)


A Tabla/Mridangam duet with Anirban Roy Chowdhury (Tabla) and Akshay Anantapadmanabhan (Mridangam) / with Indrajit Roy Chowdhury keeping time on the Sitar.

5-6am during our 24 Hour Ragas Live Festival.



Anirban Roy Chowdhury, born in a musical family in Assam, India, is an able young representative of the Punjab gharana of tabla.

Anirban’s tutelage started at a very young age from his father Akhil Roy Chowdhury and brother Animesh Roy Chowdhury. Following a few years of training from the legendary UstadAllarakha Khan, he underwent intensive training in tabla of the Punjab gharana under his disciple Yogesh Samsi. Anirban also received intermittent guidance from world renowned maestro, Ustad Zakir Hussain. He holds a Sangeet Visharad degree (BMus) in tabla from Bhatkhande Sangeet MahavidyalayaLucknow & Sangeet Nipun (M Mus) from Bangiya SangeetParishad, Kolkata.

Akshay Anantapadmanabhan is an energetic mridangam and kanjira artist striving to create a sustained cultural impact through Carnatic percussion across the world. He began his mridangam training under T.S. Nandakumar and later learned from Dr. Venkat Natarajan. For the past twelve years, he has been a disciple of the world renowned percussion maestro Professor T.H. Subash Chandran.


Achyut Joshi, Stephen Cellucci, Andrew Shantz Ragas Live Festival # 5 (Podcast 28)


Achyut Joshi, vocal; Stephen Cellucci, tabla;  Andrew Shantz, harmonium. From our 24 Ragas Live festival

Achyut Joshi is a young emerging Hindustani vocalist.  Born in India and raised in New York, Achyut began studying with Shiv Shankar Pandey, of the Kirana Gharana, in Jaipur.  In 2005, he received a US Fulbright Scholarship to study vocal music in Pune with Raghunandan Panshikar, foremost disciple of renowned vocalist Kishori Amonkar, of the Jaipur-Atrauli Gharana.  In the US, he has received invaluable guidance from jazz vocal coach Richard Harper, choral director John Lewers, Hindustani vocalist Vishwanath Shrikhande, and Hindustani vocalist Shubhangi Sakhalkar of the SF Bay Area.


Ragas Live Fest # 4 Steve Gorn with Naren Budhakar (Podcast 27)


Steve Gorn – Bansuri;  Naren Budhakar – Tabla

Of all the Westerners who have approached Indian Raga, Steve Gorn has be considered to be the ones who has accomplished the most. We were very thankful he joined us for the raga festival.

Naren is a wonderful, versatile tabla player who has played with Shahid Parvez and Vishwa Mohan Bhatt on our show.

Here’s his bio from website:

Steve Gorn is creating a new idiom, a music that combines the essence of classical Indian tradition with a contemporary world music sensibility. The strength of this music is grounded in a virtuoso mastery, generating a vibrant fusion, alive and accessible to western ears. From Indian classical music to world music and jazz projects with Paul Simon, Jack DeJohnette, Paul Winter and others, Steve infuses great mastery with a haunting, lyrical sweetness to bring the healing breath of the sacred to our demanding contemporary lives.

Steve’s first steps on this path were taken as a young jazz musician studying composition at Penn State. He noticed how John Coltrane and Charles Lloyd had begun to incorporate aspects of Indian music into their playing. He investigated modal music and listened to Bismallah Khan who played the shenai, (Indian oboe), and to Ravi Shankar and Ali Akbar Khan who were then only beginning to become known to Western audiences. Drawn by these sounds, he followed the music east and found himself in Benares, India in 1969, in a boat on the Ganges with the famous sarangi master, Gopal Misra, listening to his classical raga float out over the water in the evening light.

I suddenly saw how this music went beyond notes, beyond what we think of as music. How it is, in truth, a yoga, a form of meditation, devotion, a form of love.


In Benares, Steve studied shenai with a local teacher and then traveled to Calcutta where he was invited to meet the Bengali bansuri master Sri Gour Goswami.




“We went to Hedwa in North Calcutta, passing through narrow lanes lined with sweet shops, tea stands and sari merchants. Bells were ringing from small neighborhood temples and the air was thick and pungent with everything from sandalwood incense to cow dung. We were directed to a doorway that led along a corridor into a small courtyard. A servant motioned to a room on the south end of the courtyard and we entered the stone compound.

Seated on the floor, in a circle, were six men all dressed in white. In the center of the circle was a robust middle-aged man, his feet tucked under his dhoti, his lips red from the betel-nut he was chewing. A cup of tea was at his side and a harmonium and flute case lay on the floor before him. This was the teacher I had heard so much about.

I was introduced in Bengali (although I learned later that these men spoke fluent English) and they proceeded to talk about me at length in a language I couldn’t understand. I stood there, grinning awkwardly, being discussed as if I were a specimen from Mars. Finally, the master looked at my flute case and said, “So, let me see your flute.” I took it out and gave it to him. He looked at it, shrugging his shoulders, “It’s not very good,” he said, “it’s not made right.” I started to say something but he continued, “Who did you learn from?” When I told him he let me know that I had learned from an insignificant person.

I was becoming annoyed at being so readily dismissed. I wanted to play for him and show him what I knew, but they continued to sip their tea, conversing endlessly in Bengali. Finally, they asked me to play a raga for them. I was very nervous by then but managed to play. When I finished, Gour Goswami said, “You have a good sense for this music, but you have not been taught properly.” He then took out his flute and played for me. The tone was deep, warm and velvety, utterly weightless. The raga unfolded and time stopped. It was breathtaking as the passages came faster and faster, ending in a flourish of cascading sound that reverberated through the stone room. And then it was over and everyone was once again drinking tea. I just sat there, stunned. I looked at him and stuttered, “May I come back?” He smiled and said, “Yes.”


Howard Levy, Glen Velez, Layne Redmond, John Clark, SGHOWARD LEVY, GLEN VELEZ, LAYNE REDMOND, JOHN CLARK, SG

Returning to the U.S. he continued his study of Indian music with Pandit Raghunath Seth, and brought his elegant bansuri sound to American pop music, influencing a wide range of musicians, recording with Paul Simon, Richie Havens, Paul Winter, Jack DeJohnette, Glen Velez, and many others. Deepak Chopra, Krishna Das, Coleman Barks, Jai Uttal, Jerome Robbins, and Julie Taymor are among those who have sought out his virtuoso bamboo flute. He has composed for film, television, dance and theatre, and performed in concerts and festivals throughout the world, drawing from classical Indian, jazz and world music to create a distinctive signature sound.



Badal Roy, Mike Richmond, SG, Nana VasconcelosBADAL ROY, MIKE RICHMOND, SG, NANA VASCONCELOS
Michael Cain, Jack DeJohnette, Steve GornMICHAEL CAIN, JACK DEJOHNETTE, STEVE GORN

His landmark world music recording, “Asian Journal,” and the unique “Wings and Shadows” have become cult favorites, and his acclaimed cd, “Luminous Ragas,” was named one of the top ten recordings of the year by Los Angeles Reader.


Describing his 1996 performance in Mumbai at the Sangeet Research Academy’s Indian Music and the West Seminar, SRA West Chairman, Arvind Parikh has said, “Steve Gorn’s concert was widely appreciated for its outstanding musicianship…. and has won him a host of admirers.” In 1998, Steve returned to India performing to enthusiastic audiences at The Nehru Center, NCPA, and the Dadar Matunga Music Circle in Mumbai.

Snehasish Mozumder and Nitin Mitta Ragas Live Fest # 3 (Podcast 26)


Snehasish Mozumder (Mandolin), Nitin Mitta (Tabla)

2 pm – 4 pm from our 24 hour Ragas Live Festival.

Snehasish Mozumder and Nitin Mitta performing at WKCR

In accordance with his family tradition, Snehasish Mozumder, born in 1967, started playing the tabla at the age of 4; first playfully, later conscientiously, he learned from his grandfather, Bibhuti Ranjan Mozumder until the age of 14. At the age of 10 (in keeping with family tradition), the mandolin was added as a second instrument. Here, his grandfather, his father, Himangshu Mozumder, his uncle, Ranjan Majumdar, and the latter´s son, Tejendra Narayan Majumdar, equally took care of instructions.

In 1983, Snehasish Mozumder was then to learn a “serious” instrument of Indian classical music, and so he began with playing the sitar under Pandit Ajoy Sinha Roy. Since Snehasish Mozumder never stopped imitating on the mandolin at home what he had learned on the sitar, Pandit Ajoy Sinha Roy agreed four years later to instruct him directly on the mandolin. After Roy´s passing, Snehasish Mozumder continued his education under Pandit Ajoy Chakrabarty.

As a mile stone in his decade-long struggle for acceptance of the mandolin as an instrument of Northern Indian classical music, in November 2002 Snehasish Mozumder received an invitation from Pandit Ravi Shankar to the Royal Albert Hall (London) to participate in the George Harrison Memorial Concert (Concert for George). The modifications undertaken on his mandolin by Snehasish Mozumder and his special playing technique are increasingly taken up today by following generations of musicians.


Nitin Mitta is one of the most accomplished and distinctive tabla players of his generation, with a reputation for technical virtuosity, spontaneity, clarity of tone, and sensitivity to melodic nuances.

Apart from being a dynamic soloist, he is a highly sought after accompanist who has performed with some of India’s most celebrated Hindustani classical musicians, including Pandit Jasraj, Dr. Prabha Atre, Pandits Rajan and Sajan Mishra, Pandit Vishwa Mohan Bhatt, and Ustad Shahid Parvez, as well as many Carnatic musicians, such as Lalgudi G.J.R Krishnan and Lalgudi Vijayalakshmi.

Nitin has also made a mark as a versatile collaborator in other spheres. He recently joined forces with 2010 Grammy Nominee Pianist Vijay Iyer and electric guitarist R. Prasanna to produce a studio album titled Tirtha that blends elements of contemporary jazz with the North and South Indian traditional ragas and compositions. Another collaboration with R. Prasanna can be heard on the soundtrack of the Oscar-winning documentary Smile Pinky. He has also performed and toured with singer and Juno Award nominee Kiran Ahluwalia.

Born in Hyderabad in 1975, Nitin received his early training in Hyderabad from Pandit G. Satyanarayana. Blessed with raw talent, he gave his first solo tabla performance at the age of ten. During his studies he won many accolades, including first prize in the All India Competition held in Calcutta. To expand his repertoire of tabla compositions, he sought the guidance of Pandit Arvind Mulgaonkar of Mumbai, one of the most highly respected mentors of his generation.

Under Mulgaonkarji’s tutelage, Nitin not only broadened his tabla vocabulary, but sharpened his understanding of how to bring the material to life in performances through interpretation, improvisation and respect for the dynamics between instrumentalist and rhythmic accompanist. Both of Nitin’s gurus are disciples of the late Ustad Amir Hussain Khan Saheb, legendary doyen of the Farukhabad Gharana.

After moving to the United States in 2002, Nitin received a grant from the Rhode Island State Council on Arts. He was a member of the faculty at the Learn Quest Academy of Music in Waltham, MA. He maintains a busy schedule of performances and tabla workshops, traveling throughout the U.S, Europe, Canada and India. He has performed at several prominent venues including the Metropolitan Museum of Art, the Weill recital Hall/Carnegie Hall, the UCLA Royce Hall, the Indian consulate in New York, the Smithsonian Museum in Washington, D.C, the Music Academy in Chennai, and the Habitat Centre in New Delhi.