Jazz in India sounds quite different to Western jazz because of the deep influence of Indian classical music in this region. Indian Classical music and jazz both share a common pillar that supports the foundations of these musical styles and traditions and that is improvisation. So, the fusion of these two was just a matter of time, and it happened in the last century with some of the greatest musicians we have ever seen. This trend of fusion turned the music into a new genre called Indo Jazz.

Pandit Ravi Shankar, John Mayer, John Maclaughlin, and L. Subramaniam lighted the torch of jazz in India and over the past decades, this fusion of Indian classical music and western jazz has evolved and mesmerized listeners all over the world. As one of the contributors, India has seen a whole new evolution in its music industry as well.

Today, many jazz bands and groups in India completely drive inspiration following the norms of Western jazz. But, we are in search of the true identity of Indian music with the influence of jazz these days. Here, we have listed five important albums of the 21st century by contemporary Indian musicians who have inherited the spirit of both Indian music and jazz.

Now that we have passed the first quarter of the 21st century, this "Jazz in Around the World" series of articles aims to highlight key releases from specific countries by artists or groups who did not release albums under their own names during the 20th century. Our goal is to ensure that new talents are not overshadowed by legends and to offer you the opportunity to discover amazing new musicians and albums.

If you wish to contribute to this series for a specific country, feel free to contact us.

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5 Key Indian Jazz Releases of the 21st Century

The following selection is listed chronologically by release date:

Virtuoso sitar player Anoushka Shankar with her third album Rise departed from her earlier works and carved out a unique identity as a sitar maestro, and as a musician in general. Traditional music still dictated the structures and courses of the songs, there is no question about that. However, the experimentation on sound and style do point to a conscious attempt to incorporate global influences 

What would initially amaze listeners is the copious use of modern electronica music and the ensemble of ethnic instruments like the Australian didgeridoo, West African djembe, and instruments from Western Classical music as well as the Latin style of vocal work. And when that subsides, what comes next is the harmony among traditions from different and distant places on Earth. 

Rise inherits marks from both ancient and modern aural aesthetics; it is like a New Age Interpretation of Hindustani Classical Music. Anoushka has found a new path to take their music and this album was like a premonition of that.

Anoushka Shankar: sitar, keyboards, vocals; Vishwa Mohan Bhatt: veena; Rajendra Prasanna: shehnai; Barry Phillips: cello; Pedro Eustache: bansuri, duduk; Ajay Prasanna: bansuri; Pedro Ricardo Mino: piano; Pulak Sarcar: keyboards; Kevin Cooper: bass guitar; Jesse Charnow: drums, percussion; Tanmoy Bose: djembe, tabla; Sanjeev Chimmalgi, Ritesh Mishra, Rajneesh Mishra: backing vocals

Discover next: The 10 Best Indo Jazz Albums

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Released in 2012, Circle of Sound is a collaboration between British-based Bengali sarod player Soumik Datta and the British-based Austrian percussionist Bernhard Schimpelsberger. Both are winners of the Songlines Top of the World Award and they toured the world as ambassadors of the British Council. During this tour, from Madrid to Sydney, they won over audiences.

Sarod, a 19-string instrument, is one of the quintessential elements of Indian classical music just like Sitar and this album showcased exactly what sarod is capable of and how, despite being distinguishable, it can fit perfectly in the modern and contemporary landscape of music. Also, what makes this album work has to be accredited to Schimpelsberger as well; his Indian and Western style of improvised drumming on a “hybrid drum kit” shapes each track.

Aside from Soumik and Schimpelsberger, Talvin Singh plays the tabla in the opening track “Orion,” a phenomenal album-opener. From here the album picks up its intensity as the album progresses. Being an electro-acoustic album, the ambience effects are impeccably refined which heavily accentuates the other instruments in a more natural and organic way. And the last track, “Eclipse” just might be the essence of this album at a spiritual level. This eight-minute-long track is flawless in every aspect from the musicianship to production. 

Soumik Datta: sarod; Bernhard Schimpelsberger: percussion; Talvin Singh: tabla.

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Nico is the debut album by Drift the trio, a Bebop and contemporary jazz trio, based out of New Delhi. They started their musical journey at South Delhi pubs in 2009. And since then, their eclectic fusion of classical and modern jazz has caught the “ear” of their yet-to-become fans and an album was long overdue by the time this record was released. 

The title Nico is Drift’s token of love and appreciation for ex-band member, Frenchman Nicolas Giordani (sax), who influenced the band in many ways but sadly passed away at an early age. Nico is the real representation of Drift as a band. When they started they brought something new to the Delhi music scene. It goes without saying that, with the experience they have accumulated over the years, they have surely given us something unquestionably new. All three members have imbued each track with the soul of classic jazz standards.

From their tone to their groove, everything stems from their love for Miles Davis, John Coltrane and Wayne Short among many others. But, that does not imply a lack of originality. Throughout the album, they deliberately shape the emotions that they invoke in their listeners. From ominous “Tune Tarantino” to minimal and catchy “Ten One,” it is a roller coaster ride.

Reuben Narain: drums; Pranai Gurung: guitars; Sahil Warsi: double bass.

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My East Is Your West is a collaborative album by London-based Indian percussionist Sarathy Korwar. This album features an array of talented contemporary musicians and their spectacular display of skills and creativity. 

On this record, the lineup is kind of a “double quintet”, with a jazz quintet and five Indian musicians. It is a true coalition of the East and the West both in terms of the artists involved and their style. Korwar is the leader of the UPAJ Collective- a collection of Eastern and Western musicians formed to play a residency at London’s Jazz Cafe who share his passion for jazz and Indian music. This album was recorded live at London’s Church Of Sound in Clapton, London.

Korwar, at the age of 10,  began playing tabla and also, during this period, he was drawn to American music, especially jazz. This album is a homage to the Indian and jazz musicians; it features timeless tracks of Alice Coltrane, John McLaughlin, Ravi Shankar, Pharaoh Sanders, and Joe Henderson. The other Indian musicians apart from Korwar are well versed in the language of jazz already and likewise, the jazz musicians have been enchanted by Indian classical music. With such mutual appreciation and reverence for music they were able to create a superior blend of two different traditions of music in this album.

Sarathy Korwar: tabla, drum kit; Domenico Angarano: double bass, electric bass; Aravindhan Baheerathan: bansuri; Giuliano Modarelli: acoustic guitar; Al MacSween: keys; Tamar Osborn: baritone sax, flute; Jasdeep Singh Degun: sitar; John Ball: santoor, table; Jesse Bannister: alto sax; Aditya Prakash: vocals; B C Manjunath: mridangam, kanjira

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The album Refuge by Indian pianist-composer Aman Mahajan is the result of his syncretic approach to music. Improvised music that explores nostalgia and the ever-evolving but fleeting sense of ‘home’. Mahajan’s contemplative set of compositions on this album is an invitation to listeners to a world of personal and retrospective storytelling.

There is an unmistakable mark of Mahajan’s vision and sensibility of composing music that draws from millennium-old Indian folk and classical traditions and blends with jazz. Thus bridging the gap between modern jazz with folk, Mahajan created something that transcends the very notion of genres. Refuge, from top to bottom, invokes the urge to set off on an inward journey to discover and reinterpret what we truly are.

This philosophical endeavour nailed the hammer to Mahajan’s belief that improvisational music is a medium of interaction, expression and exchange. But, on this album, interactions take place on one instrument between the left hand and right hand, between harmony and melody in every single one of the songs.

This album is an estuary where the improvisational style of the East meets that of the West. Take the song “More Than You,” this composition is an interplay between bits of Raag Des and fragments of gospel music and celebrates learning to be independent far away from home. Or take “Where Is It (reprise) // Refuge” which explores the idea of “home” and how the notion of home might be another barrier to transcend.

Aman Mahajan: piano

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Jazz in India: The Best Releases of the 21st Century

• Anoushka Shankar – Rise (Angel Records)
• Soumik Datta, Bernhard Schimpelsberger – Circle Of Sound (Baithak Records)
• Drift the Trio – Nico (OKListen Media)
• Sarathy Korwar And Upaj Collective – My East Is Your West (Gearbox Records)
• Aman Mahajan – Refuge (Subcontinental Records)

So, there you have it—our take on jazz in India, in the 21st century. Sure, this list might feel a bit short, but it’s only the beginning. We will continue expanding our selections here and to other countries, celebrating the first quarter of this century as it deserves.

Have we missed an album you love? Is there an emerging artist we should know about? Drop us a line in the comments—we’d love to keep the conversation going. In the meantime, just immerse yourself in these five outstanding Indian jazz releases.