Recently, the Jadavpur University Alumni Association Hyderabad Chapter (
) arranged a captivating musical event to highlight the nation’s rich cultural diversity in our city.
Ravindra Bharati auditorium served as the setting for the rhythmic mastery of tabla player Bickram Ghosh and his critically acclaimed group, Rhythmscape.
This occasion was merely one part of the yearly custom maintained by JUAAH, in which charity and music were well matched. They organise a music event with renowned classical virtuosos every year with the goal of raising money for charitable organisations! Renowned artists like Pandit Vishwa Mohan Bhatt, Vidushi Kaushiki Chakraborty, flutist Rakesh Chaurasia, and Santoor player Rahul Sharma collaborated with great success on this esteemed event, enthralling audiences with their spiritual performances throughout the twin cities.
Abhishek Mallick on sitar, S Pranav Dath on drums, Pulack Sarkar on keyboard, Nirmalya Roy on vocals, V Suresh demonstrating his skill on the ghatam, and Bickram Ghosh himself on tabla comprised the ensemble Rhythmscape. They created a tapestry of sound together that captivated the crowd and gave the music life!
There was a sense of awe and expectancy in the air as the evening’s cultural spectacular came to an end. The distinguished chief guest, Jayesh Ranjan, chief secretary for the Telangana Government’s Department of Industries and Commerce and Department of Information Technology, Electronics, and Communications (ITE&C), was positioned in the front. He was accompanied by Aniruddha Sengupta, President of JUAAH, who both carried the honour and humility befitting their distinguished positions.
The master of the tabla, Bickram Ghosh, took some time before each performance to explain the complex web of ragas, taking the listeners on a voyage of musical discovery. The evening’s symphony opened with a mesmerising performance of the “Shiv Dance” (Tandav), a devotional and dynamic work. This performance, which had its roots in the Jog Raga’s deepest regions, was more than just a musical arrangement; it was a spiritual voyage that evoked Lord Shiva’s cosmic dance.
Bickram Ghosh provided an insight into the creation of the second piece, “Zinc,” by narrating a story about how the busy streets of New York City served as inspiration. He tells us confidentially, “There’s this iconic Zinc Bar in New York. I had the amazing good fortune to hear some of the greatest jazz musicians of all time there. I called our performance “Zinc” in honour of it because of this. We included a little jazz because we wanted to convey the spirit of those special jazz evenings.”
The musicians in this musical composition expertly captured the sounds of nature with their instruments, creating a lovely ode to rain. They gave the impression that they were in the middle of a stormy symphony by mimicking the pattern of rainfall and the roar of thunder. Later in the show, the group’s next piece, “Little Krishna,” took them into the world of classical music. This composition, which made its premiere in 1999, was a masterpiece embellished with the imposing Charukeshi Raga, a melody that arouses strong feelings. The musicians integrated the complex rhythms of the Matt Taal into its elaborate structure, giving the musical story more nuance and complexity.
Suresh on the ghatam and Ghosh on the tabla performed an amazing duet. Speaking more with Jadavpur University alumnus and tabla player Bickram Ghosh about the worlds of classical and fusion music, he says, “I find myself navigating through contrasting landscapes like a blind man when I delve into the realms of classical and fusion music. Indian classical music has its ragas, talas, and rules to follow, just like a clearly defined road. It’s similar to walking forward, albeit symbolically blind, with a feeling of direction. However, fusion is akin to navigating new waters without a guidebook. I let my sense of aesthetics guide me through this huge expanse. Our goal with Rhythmscape is to remain faithful to rhythm. We don’t perform the protracted alaaps that are a defining feature of the classical tradition, but we do embrace the heartfelt and enjoyable elements of Indian classical music. Rather, we concentrate on the subtle rhythmic elements that propel our work along. I’ve always had a tendency to try new things, even if it meant receiving criticism in the beginning. I’ve taken chances that weren’t always well appreciated, like tossing my tabla into the air and using other practices that seemed out of the ordinary. But as time has gone on, I’ve seen a change in perspective. Irony and introspection creep into my path when I realised that what was formerly criticised is now hailed as iconic.”
Ghosh also discusses his background in music, who started out as a tabla player, sharing the stage with legends like Ravi Shankar Ji and Shiv Kumar Sharma Ji. “Engrossed in the opulent customs of Indian classical music, I worked closely with Carnatic musicians, refining my technique and broadening my repertoire. After studying under and performing with these legends for years, I finally dabbled in fusion in my mid-30s. As I thought back on my experiences, I realised that a deep comprehension of the musical elements being blended is necessary for true fusion. Many artists jump into fusion too quickly, failing to understand the core of both traditions. This strategy looked foolish to me. Rather, I decided to start my fusion efforts with a solid classical music background. I conducted a thorough investigation and searched to find a middle ground where various musical genres could coexist. This method was made clear by works like “Zinc,” which skillfully combined aspects from several traditions to produce something wholly original.”
He is now working on three film projects. The first is a Hindi movie called Band Of Maharajas, which is helmed by Girish Malik. “This is my first acting role in almost 20 years. I play an Afghan in the movie, which is different from any of my prior roles. The film’s main subject matter is music and fatwas. I’m also writing the soundtrack for the movie. Among other things, I’m working on Devi Chowdhurani, a Bengali movie. In addition to movies, I celebrated a wonderful milestone by releasing Hanuman Chalisa on Hanuman Jayanti to a warm reception. In addition, I founded my own music label, a large-scale endeavour with backers, putting out 200 tracks a
year on average across Bollywood, religious, classical, and collaborative genres,” he exclusively shares with The Pioneer.
