After the lull of the pandemic, Ravi Chary’s Crossing is back and ready to create a symphony of Indian classical rhythms with Western harmonies
(Clockwise from left) Gino Banks, Sheldon D’Silva, Sangeet Haldipur, Ravi Chary and Satyajit Talwalkar of Crossing
The word fusion is often thrown around carelessly in musical composition. For those in the know, it is a product of control and prowess over multiple forms and the ability to juggle chords between them. Few groups do it as well as Ravi Chary’s Crossing. Over the last decade, the group has grown and endeared itself to fans who love their synchronised playfulness.
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Chary is an unlikely sitarist to emerge from Goa’s landscape, he has travelled with Trilok Gurtu, Pandit Suresh Talwalkar, Ustad Zakir Hussain and Louiz Banks, to name a few. This diverse musical internship spurred the idea of starting a collaboration with like-minded musicians — christened Crossing by Hussain in 2012.
Ravi Chary and Crossing at an earlier performance
Since its founding, the band has brought together a blend of Indian classical with world music styles. “We learned from the best. Whether it is Taufiq Qureshi, Trilok Gurtu, Hussain, or Louiz Banks, they love to talk, learn and play music with each other. To be on the stage is the greatest gift for a musician,” Chary exclaims. Time builds a bond between the performers, he adds.
Today, the bond between the musicians in the group — Gino Banks (drums), Satyajit Talwalkar (tabla), Sangeet Haldipur (keys) and Sheldon D’Silva (bass) — has grown only stronger. The key is their love for music, he admits. “Music, for us, is divine. It feels refreshing to return to the stage after the pandemic,” he admits. But how do these different styles come together, we ask. “They come from the world of Western classical, while I belong to the Indian classical traditions. Yet, our synchronisation is possible because our foundations are strong,” Chary elaborates. It has to be, he adds; unless one is constantly listening to music from their traditions and beyond, they cannot create good music. “Fusion does not mean simply jamming together to create a random harmony. It requires a careful understanding,” he says, delving into a passionate explanation about the musical form.
“We are doing songs from Crossing, Dhvanika [Chary’s album]. We are doing a jugalbandi between trance and tabla. There is the use of konnakol [vocal percussions] and solos for each member to take away,” he says. One thing that is assured is the joy that they still possess about the art form. Perhaps, that is what keeps them going
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