If you think sitar and tabla are stuck in the past, Ravi Chary is here to rearrange that notion—string by string, beat by beat. A master who grew up drumming rhythms before plucking melodies, Ravi doesn’t just play the sitar; he lets it dance, converse, and occasionally flirt with percussion. Whether trading improvisational winks with Zakir Hussain or fusing ragas with flamenco fire, Chary has made it his mission to prove that tradition and innovation aren’t rivals—they’re duet partners. In this exclusive conversation, he unpacks the pulse of rhythm, the soul of melody, and why Goa’s beaches and global festivals both echo in his music. Raised in a home where tabla patterns and raga scales were the daily soundtrack, Ravi’s musical DNA carries equal parts discipline and daring. His early training under his father and Ustad Abdul Halim Jaffer Khan built the solid classical foundation, but it’s his instinct to color outside the lines that keeps audiences guessing. From Bollywood soundtracks to Grammy-nominated jazz projects, Ravi doesn’t approach the sitar as a relic—it’s a passport. As we dive into his thoughts on rhythmic interplay, the evolving role of classical instruments, and the subtle art of blending Indian traditions with global grooves, one thing becomes clear: Ravi Chary doesn’t just play music. He listens for the spaces in between and fills them with possibilities. View this post on Instagram A post shared by Ravi Chary (@ravicharysitar) Here are the excerpts: As a sitarist, how do you experience the relationship between melody and percussion, especially in light of Zakir Hussain’s unique style of accompaniment? The relationship between melody and percussion is deeply symbiotic. Zakir Hussain’s tabla does not just accompany; it converses, creating an intricate dialogue that enhances both rhythmic and melodic dimensions. Zakir Hussain has been a role model for all musicians of my era. He has redefined the role of tabla, making it an equal partner rather than a supporting element. When playing with him, his dynamic phrasing and spontaneous rhythmic interplay pushed me to explore new melodic expressions. His ability to anticipate and complement my phrases makes every performance a unique experience, blending structure with improvisational brilliance. Zakir Hussain often elevated percussion to an equal partner in jugalbandis. How has his approach influenced your collaborative performances? Zakir bhai’s approach has inspired me to treat rhythmic interplay as an essential element in collaboration, ensuring the sitar responds dynamically to percussive phrasing rather than just leading the performance. His philosophy of jugalbandi as a conversation rather than competition has deeply influenced my collaborative approach. Whether playing with tabla or other rhythmic instruments, I now listen more actively, allowing space for improvisational dialogues where rhythm and melody shape each other organically. What role do you think festivals like this play in inspiring young musicians to explore the rhythmic intricacies of classical music? Music festivals expose young musicians to live, interactive experiences with rhythm, melody, and improvisation, encouraging them to appreciate and experiment with complex rhythmic structures. The Mahindra Percussion Festival is a melting pot of ideas and inspirations. Watching masters perform intricate rhythmic cycles in real-time inspires young musicians to delve deeper into classical structures. Beyond just passive listening, these festivals also offer workshops and informal interactions that demystify complex rhythms, making them more accessible to the next generation. Your early training under your father, Pandit Prabhakar Chary, and Ustad Abdul Halim Jaffer Khan shaped your understanding of both rhythm and melody. How did this dual foundation influence your approach to the sitar? I grew up in a strong music culture and environment and my initial training was in Tabla under my father late Pandit Prabhakar Chary. It gave me a holistic perspective—understanding rhythm from a percussive viewpoint and melody from a deeply emotive space, allowing me to blend both seamlessly in my playing. My father instilled a strong sense of discipline and technique, while Ustad Abdul Halim Jaffer Khan introduced me to a highly expressive style of sitar playing and a unique style of playing the Jafferkhani Baaj. Their combined influence helped me develop a balanced approach, where my phrases are rhythmically precise yet fluidly melodic. This foundation enables me to interact freely with percussionists while maintaining the lyrical depth of Indian classical music. Starting your musical journey with the tabla before transitioning to the sitar is quite unique. Do you think your rhythmic background gives you an edge in interpreting compositions differently from traditionally trained sitarists? Absolutely. It allows me to internalize rhythmic structures more intuitively, leading to more dynamic phrasing and interactions in my performances. Having started with tabla, I developed an instinct for rhythm, which influences my approach to sitar compositions. I often think in terms of rhythmic phrasing rather than just linear melody. This background helps me anticipate and react to percussive elements more fluidly, making my playing more interactive and engaging, especially in jugalbandis. How did your exposure to Goa’s rich cultural tapestry, which embraces both Indian and Western music, shape your early musical sensibilities? Growing up in Goa exposed me to a wide range of musical styles, which broadened my approach to blending Indian classical music with other genres. Goa’s vibrant musical heritage, with its mix of Indian classical, Portuguese folk, jazz, and Western classical influences, shaped my ability to appreciate diverse soundscapes. This exposure made me comfortable navigating between different musical traditions, which later helped me in fusion projects with global artists. Your collaborations with Trilok Gurtu resulted in some groundbreaking fusion projects. What was the creative process like when blending the sitar’s melodic depth with Trilok’s intricate rhythms? It was an organic process of exploration where both instruments responded to each other rather than following predefined roles. Trilok Gurtu’s approach to rhythm is highly fluid, making collaboration both challenging and exciting. We would often start with a simple melodic idea and let the rhythm guide its evolution. His unconventional rhythmic cycles pushed me to rethink traditional sitar phrasing, resulting in fresh and unexpected musical dialogues. You’ve worked with global icons like Salif Keita and Angélique Kidjo. How do you adapt the sitar’s traditional vocabulary to genres as diverse as Afrobeat, jazz, and electronic music? Whenever I play, I am always focusing on the sitar’s natural expressiveness while adapting its phrasing to fit the rhythmic and harmonic structures of different genres. When working with Afrobeat, jazz, or electronic music, I approach the sitar as a voice that can complement and enhance the existing musical texture. This involves adjusting microtonal bends to align with non-Indian scales, modulating attack and sustain to match the groove, and experimenting with tonal effects. The key is to respect the sitar’s traditional essence while making it relevant in a contemporary global setting. While performing alongside legends like Ustad Zakir Hussain and Kishori Amonkar, did you find yourself approaching the sitar differently compared to when you collaborate with contemporary or Western musicians? With legends like Ustad Zakir Hussain and Kishori Amonkar, there’s a deep focus on raga purity, emotional nuance, and classical structures. In contrast, working with Western musicians often involves adapting to harmonic frameworks and exploring new textures. While classical performances emphasize precision and tradition, contemporary collaborations allow for greater experimentation with phrasing and tonality. Projects like “Ravi Chary Crossing” and “Sitar Symphony” beautifully bridge classical and world music. How do you ensure that the essence of Indian classical music remains intact while embracing modern influences? By maintaining the core principles of raga while creatively blending them with global elements, I ensure authenticity in the structure and mood of the raga while allowing flexibility in instrumentation and arrangement. Whether incorporating jazz harmonies or electronic textures, the raga’s soul remains intact. Additionally, improvisation—central to Indian classical music—becomes the common language that connects different musical traditions. In your album “Ravi Chary Crossing,” you explored jazz and flamenco alongside Hindustani music. What were some of the challenges and surprises you encountered while merging these distinct musical languages? Jazz and flamenco have their own improvisational traditions, but their harmonic structures differ from Indian classical music. The challenge was finding a common thread—whether through rhythm, phrasing, or mood—that allowed the sitar to blend naturally. One surprise was how well flamenco’s intricate percussive elements aligned with the taal structures in Hindustani music, creating exciting rhythmic dialogues. How do you decide when a composition should lean towards classical purity versus when it should explore experimental fusion? It depends on the intent—if the composition’s emotion is best conveyed through pure classical form, I preserve it; if a fusion approach enhances it, I explore new directions. If a raga’s depth needs to be fully explored within traditional frameworks, I maintain its purity. However, if an idea calls for broader textures or rhythmic explorations, I integrate fusion elements while ensuring the raga’s integrity remains intact. It’s about finding a balance that serves the music rather than forcing fusion for novelty’s sake. You’ve worked on iconic Bollywood soundtracks like “Bajirao Mastani” and “Munnabhai M.B.B.S.” How does your creative approach differ when composing for films compared to performing live or working on solo projects? Film music is more structured and designed to serve a narrative, while live and solo performances allow for more improvisation and personal expression. In film scoring, the sitar is often used to evoke specific emotions or cultural settings, meaning the compositions must fit a precise cinematic context. This contrasts with solo and live performances, where I have the freedom to explore improvisation and interact with fellow musicians in real time. While film work requires discipline and adaptability, live music offers spontaneity and deeper creative expression. In film scores, the sitar often evokes specific moods. How do you navigate the challenge of balancing traditional techniques with the emotional demands of modern cinematic storytelling? Film music requires a balance between authenticity and accessibility. While classical techniques like meend (glides) and gamakas (ornamentations) bring traditional depth, I sometimes simplify phrases to make them more cinematic. Additionally, using effects like reverb or layered textures helps integrate the sitar smoothly into contemporary film soundscapes. Do you feel that classical instruments like the sitar are being underutilized or typecast in contemporary film music? How can composers push the boundaries further? The sitar is often limited to traditional or exoticized roles in film music. However, its expressive range goes far beyond that. Composers can push boundaries by exploring unconventional time signatures, experimenting with electronic processing, or blending them with unexpected genres like ambient, hip-hop, or rock to bring out fresh dimensions of the instrument. Your contribution to the Grammy-nominated album “Miles from India” demonstrated how Indian classical music can intersect with jazz. How did you approach interpreting Miles Davis’s jazz motifs through the sitar? Miles Davis’s music thrives on improvisation, much like Indian classical music. I approached his motifs by maintaining their essence but adapting them to raga phrasing, using sitar techniques like meend and gamakas to add a new dimension. The biggest challenge was syncing with jazz harmony while preserving the sitar’s microtonal depth. When performing at festivals like WOMAD and Glastonbury, how do you tailor your repertoire for an audience less familiar with the nuances of Indian classical music? At international festivals, I focus on creating an immersive experience rather than strictly adhering to traditional formats. I often start with a melody that is universally appealing, then gradually introduce deeper raga elements. Collaborations with other musicians also help bridge cultural gaps, making the sitar more relatable to diverse audiences. How do you approach adapting complex Hindustani ragas to non-Indian genres without compromising their core structure? The key is to maintain the raga’s core identity while allowing flexibility in phrasing and instrumentation. Instead of altering the raga’s essence, I focus on adapting its rhythmic cycles and note progressions to align with non-Indian frameworks. This allows the sitar to integrate seamlessly without losing its classical depth. Do you find that Western harmonic frameworks, which differ from the melodic purity of ragas, present challenges when integrating the sitar into fusion projects? Yes, but careful phrasing and modal adjustments help create smooth transitions. Western harmony operates on chord progressions, while Indian classical music is melody centric. The challenge is ensuring that ragas don’t lose their essence when placed in harmonic settings. I often use modal scales that align with raga structures, allowing the sitar to interact harmonically without compromising its melodic purity. What role do you believe classical instruments like the sitar will play in the future of world music? With advancements in digital production and global collaborations, classical instruments will find new roles in contemporary soundscapes while retaining their deep-rooted traditions. Indian Classical instruments will continue evolving through fusion, electronic adaptations, and experimental collaborations while maintaining the sanctity and core melodic structure and manodharma.