Stalwarts Of Music with Aditya Veera

Rob Araujo’s artistic journey from a pharmacology graduate student to a pioneering force in the modern Jazztronica movement underscores a profound philosophical evolution where the empirical rigors of science are traded for the visceral, communal joy of sonic experimentation. At the core of his ideology is the absolute equivalence of sound design and composition; he argues that because music is fundamentally just sound, the specific texture of an instrument dictates its structural and emotional impact, making it a mistake to separate the two disciplines. He beautifully demystifies the romanticized notion of spontaneous genius, instead framing creativity as a process of combinatorial reinterpretation where the mind restacks internalized auditory memories into novel configurations. His modern workflow often begins by discovering a specific, inspiring sonic colour such as the tones found in Keyscape or shearwater piano plugins and letting that texture dictate the creation of the track. This experimental process constantly navigates the tension between the raw, vulnerable intimacy of analog performance which he likens to a nuanced, face to face conversation and the meticulous, heavily curated environment of digital production. He embraces this, describing the intricate blending of acoustic and electronic elements as a highly satisfying form of gambling, an unpredictable wager where experimenting with different sonic combinations eventually pays off into something cohesive and beautiful.Crucially, he advocates for the urgent modernization of Jazz’s timbral palette, noting that the genre risks complete cultural stagnation if it continues to pair advanced 21st century harmonic theory with antiquated 1960’s sound design. A pivotal moment in his development was witnessing a Black Radio epiphany; after seeing his peers remain largely unengaged by traditional Acoustic Jazz, he observed their immediate, visceral connection to Robert Glasper's fusion of complex harmony with heavy, relatable hip-hop textures. This realization fundamentally shaped his approach to the structural architecture of a mix, shifting the rhythmic focus away from the traditional jazz timekeepers of the ride cymbal and upright bass, and instead aggressively prioritizing the kick and snare drum to create an undeniable, modern pocket.Ultimately, by explicitly rejecting the superficial Smoke and Mirrors of the traditional mainstream industry which he believes is functionally dead and highly decentralized Araujo champions an independent paradigm. In this modern era, he emphasizes that direct, unmediated listener resonance and genuine, unforced human connections remain the most potent catalysts for both artistic legacy and professional success. This deeply humanistic philosophy is perfectly exemplified by how he landed a major international tour to India with elite musicians like Jack Gardner and Henrik Linder: not through calculated corporate networking, but entirely organically during a casual dinner at an Indian restaurant with his friend Porter Bliquez.

Legendary percussionist Bickram Ghosh outlines his multifaceted journey from rigorous classical roots to becoming a trailblazer of global fusion. Raised in a strict musical household by Patiala Gharana vocalist Sanjukta Ghosh and tabla maestro Pandit Shankar Ghosh who famously poured water on him to wake him for practice. He uniquely completed a Master's degree in English Literature before fully committing to his musical career. He explains his conscious rejection of the orthodox Pandit title, noting it contradicts his avant-garde fusion avatar, and instead cherishes the Prince of Tabla moniker affectionately bestowed upon him by George Harrison. Recounting the surreal experience of receiving a personal phone call to record on the album Brainwashed and being picked up in stretch limousines, he warmly highlights Harrison's profound humility in the studio. His core musical philosophy marries the strict, Staccato mathematics of his Carnatic training (which he began at age 13 under Vidwan S. Shekhar) with the poetic license and lyrical modulation of the North Indian Hindustani tradition. This transcultural fluency deeply informs his technical approach to acoustic engineering; he meticulously manages frequency margins by using separate microphones to isolate the high end transients of the tabla and the low end resonance of the Baya, capturing their distinct Yin and Yang sonic profiles without muddying the mix. Beyond his technical mastery, he acts as a passionate cultural custodian, elevating marginalized indigenous instruments like the Banglar Dhak and Shree Khol to mainstream stages in his Drums of the East project at the Mahindra Percussion Festival, while fiercely advocating for government financial support for the struggling artisan instrument makers who craft them. His compositional ambition is vast, demonstrated by his ability to seamlessly integrate complex mathematical rhythms like nine-beat cycles into mainstream pop collaborations with artists, alongside his historic endeavour to transmute Rabindranath Tagore's intimate poetry into a grand symphonic cycle for a 100 piece German orchestra. Ultimately, guided by his Guru Pandit Ravi Shankar’s advice that true global synthesis requires fully embracing foreign cultures without judgment (a lesson that turned Bickram Ghosh into a connoisseur of global cuisines), he views rhythm as a deeply spiritual, cosmic, and biological anchor. Through all of this, his defining desire is simply to be remembered as a fearless, relentlessly evolving artist who constantly pushed the boundaries of his craft.

Jack Gardiner's foundational musical style is deeply rooted in R&B, Funk, Soul, and gospel music, which drives his staunch prioritisation of live, unquantized human grooves over the sterile, algorithm driven perfection that dominates modern digital production. This commitment to authenticity is a central theme in his latest album, Kintsugi, a deeply personal synthesis of 1980’s and 1990’s Funk, Japanese music, and vintage video game sound design. He noted that this was the first time he wrote an album ignoring what social media algorithms or the market might expect from him. To keep his complex instrumental music accessible to non-musicians, he employs what he calls the Baby Shark approach. By establishing a highly accessible, pop style melodic or rhythmic hook early in a track, he anchors the listener's ear, allowing him to seamlessly introduce dense, advanced Jazz Fusion harmony without alienating his audience. He has consistently spoken out against deceptive editing practices rampant on platforms like Instagram and TikTok, where performances are routinely faked using time stretching software and MIDI mapped audio. He shared his own frustrations with content theft, detailing an incident where another artist stole his 2013 Luther Vandross improvisation, as well as the broader controversy of influencers like Giacomo Turra stealing and monetizing other artists masterclasses without credit. Candidly, he revealed that his efforts to expose these industry secrets in 2019 led to him being temporarily blacklisted. As an educator, this focus on reality translates to his critiques of modern pedagogy; he notes that many modern guitarists excel at fast scalar runs but fail to lock into a basic groove with a live band. Furthermore, he argues for the absolute necessity of playing through real physical amplifiers, asserting that the acoustic feedback loop and sympathetic string resonance created by pushing real air cannot be replicated by modern digital modelers or in ear monitors. Looking forward, he is highly anticipating his 2026 India tour, expressing a profound admiration for Indian culture and classical music ahead of his scheduled performances at premier venues like the NMACC in Mumbai, The Piano Man in New Delhi, and The Humming Tree in Bengaluru. He has assembled a fusion supergroup for the tour, featuring Henrik Linder on Bass, Rob Araujo on Keys, and Porter Bliquez on Drums, to perform expansive 1 hour and 40 minute sets. Ultimately, he hopes his legacy will reflect these core values, desiring to be remembered as an educator who breaks down barriers by demystifying complex music, and as an artist who constantly encourages others to remain true to their authentic selves.

Residing in the vibrant landscape of Miami while harbouring a steadfast devotion to Manchester United, Nic Collins has gracefully transcended the monumental, global legacy of his father, Phil Collins, to forge a fiercely independent and deeply profound musical identity. Navigating the delicate balance of growing up with a global icon who maintained a strict professional boundary while remaining deeply supportive at home, He embraced the immense pressure of his lineage, ultimately finding profound spiritual reward in earning genuine appreciation for his own artistry rather than his surname. His evolutionary journey is a testament to the belief that the drum kit is an expansive canvas for storytelling, functioning as a vibrant Garage Sale of collected inspirations from intimately mirroring his father's live touring setups and discovering the jazz-infused expressiveness beneath Phil's rock persona, to expanding his own toolkit by blending the foundational single pedal grooves of John Bonham with the complex, double-pedal mastery of progressive titans like Gavin Harrison and Danny Carey. His philosophy fundamentally champions raw, human emotion over sterile precision; whether he is honouring the improvisational, feel based legacy of Genesis by prioritising intuitive musical expression over rigid mathematical subdivision, or driving the untamed, collaborative spirit of his own band Better Strangers, he remains steadfastly committed to the song's organic pulse. This unwavering devotion required the immense courage to leave the commercially successful project, The Effect, allowing him to fully navigate the nuanced challenges of writing instrumental, narrative driven music and balancing technical prowess with musical storytelling alongside Better Strangers, where he channels the diverse influences of Jeff Porcaro, Larnell Lewis, and Mario Duplantier. He approaches every musical context with extraordinary reverence, preparation, and self critique, recognising that true mastery whether conquering his initial nervousness to adopt his father’s percussive piano style on the 'Not Dead Yet' tour, utilising electronic pads solely for specific textural enhancements on the Mike and the Mechanics tours rather than acoustic emulation, or seamlessly integrating linear and gospel drumming techniques into rock must always serve the band's comfort and the song's integrity above personal ego displays. He perceives music as a deeply spiritual, human dialogue where the flawless, mechanical execution dictated by a click-track often pales in comparison to the beautiful, connective vulnerability of a live, un-clicked performance; he notes that audiences often react most positively to spontaneous mistakes because they expose the artist's shared humanity. For Nic, learning labyrinthine pieces like Genesis’s "Robbery, Assault, and Battery" proved that while counting provides an initial structural map, true comfort and groove only arrive through immersive listening, just as navigating odd time signatures demands a natural, unforced physical response to the riff rather than feeling mathematically contrived or crossing the dangerous line into mechanical excess at extreme tempos. Finding deep emotional resonance in the sweeping arcs of Genesis’s Fading Lights and the melodic sincerity of Sara Bareilles's "Love Song," and fueled by the poignant, unforgettable memory of his final performance alongside his father, Nic’s ongoing mission alongside his dream of assembling an all-star prog rock lineup is a boundless endeavor to inspire the next generation of drummers to stay fiercely true to their personal musical intentions, allowing the spiritual, beating heart of the music to guide their every strike.

Brian Tichy stands as a towering rhythm architect in the modern rock landscape, seamlessly blending the raw, unquantized power of 1970s stadium rock with the rigorous technical precision of his Berklee training. As a premier drummer for legendary acts like Whitesnake, Billy Idol, and currently the Gene Simmons Band, Tichy fearlessly rejects the sterile, digitized crutches of modern music such as click tracks and in-ear monitors in favour of a visceral, highly reactive live acoustic experience. Beyond his thunderous, "no excuses" approach to the drum kit, which has seen him command massive tribute shows mere days after major collarbone surgery, he is a fiercely independent multi-instrumentalist. Whether he is laying down huge grooves for rock royalty, securing lucrative synch licenses, tracking guitars for his upcoming solo album, or driving the 2026 vinyl reissue campaign for his unfiltered original band S.U.N. (Something Unto Nothing), he remains an uncompromising guardian of authentic rock and roll.

Rakesh Chaurasia distinguishes himself as a curator of intent, breaking his usual silence to engage in a rare dialogue aimed specifically at listeners who value substance over spectacle. His artistic timeline is a study in fearless evolution; traversing decades of discipline, he has successfully grafted Western orchestration and fusion experiments onto the delicate stem of the Bamboo flute. Whether navigating the complexities of a Symphony or the intimacy of albums like Silent Flute, he emphasises that expanding the instrument's limited range does not mean abandoning its soul. He champions a vocabulary that remains robust even without the crutch of pickup microphones devices he critiques for diluting the instrument's character preferring a natural acoustic presence that demands the audience's full, undivided attention. His dedication to purity is matched by a rigorous physical fitness regimen, a hidden necessity for sustaining the demands of his craft. As he prepares to bring this multifaceted identity to the NMACC Grand Theater weaving symphonic grandeur, classical rigour, and Bollywood nostalgia into a single tapestry, he remains grounded. Despite his soaring cross-genre conquests and technical innovations, he anchors his ultimate legacy in a simple, profound hope: to be remembered not merely for his virtuosity, but for the humility and genuine goodness of heart that defines the man behind the music.

Ian Haugland defines his rhythm not by technical obsession, but by the feel, explicitly trusting producers with the mechanics while he focuses on serving the song with Bonham-esque grooves. His evolution saw him trade the complex precision of Neil Peart for a more melodic pocket, a style that ultimately fit him better than the ceremonial doom of his brief, slower-paced stint with Candlemass. The energy remains high as Europe prepares a new album to mark the 40th anniversary of The Final Countdown, a milestone celebrated amidst a busy festival schedule and fresh off a South American tour. He also recalled a striking experience performing in India, noting the surreal contrast between a rugged rural journey and the slick, modern festival stage at Meghalaya. Reflecting on the luminaries he has worked with, Ian contrasted the liberating leadership of Glenn Hughes, who offered creative freedom. Playing Deep Purple tracks with Hughes remains a career highlight, a dream realized for a lifelong fan. On the state of rock, Ian argues that authenticity is the only currency that matters, believing bands falter when they chase trends rather than artistic integrity. Off stage, his heart belongs to 70s prog rock specifically Yes and a sentimental connection to a wonderful track, the soundtrack to meeting his wife. His ultimate fantasy lineup remains a haven for legends, featuring icons like Bill Bruford, Phil Lesh, and David Gilmour.

Tony Ann delves into his visionary approach to composing music, particularly through his ambitious 360-degree Zodiac project, where he aims to capture the unique personality traits of each star sign through sound. Drawing from his deep-rooted exposure to structured compositions, where he naturally weaves intricate structural elements into his work. He reflects on the rewarding challenge of translating the essence of water signs like Pisces into music through delicate arpeggios.He explores the profound relationship between colour, mood, and music, grouping his compositions by emotional tone: blue for somber emotions, orange for optimism, and red for intensity. He explains how conceptual frameworks like the zodiac project shape his compositional choices, requiring a seamless blend of structured improvisation and thematic alignment. Visual storytelling are at the heart of his performances.He throws light on how visuals become a central pillar of his live shows, amplifying the emotional impact of his music. He dives into the use of motif-driven forms to sustain engagement, masterfully shifting dynamics, register, and structure. His compositions stand out for their melodic strength and expressive range, offering an experience far more dynamic than static background music.He describes how his rigorous classical training forms the bedrock of his technique, while his passion for pop infuses his melodies with freshness and accessibility.

Here's a very in-depth interview with Markus Kaarlonen and Tukiainen of Poets of the Fall.

In this enlightening episode, Aditya Veera engages with renowned musician Walter Trout, exploring his profound connection to music and its transformative power. From his early days with John Mayall to his battle with addiction and health challenges, Walter shares how music serves as his calling and catharsis. The conversation delves into the importance of personal interpretation in classic music, the energy exchange with audiences, and the healing nature of songwriting, illustrated by his album Battle Scars. As they discuss future plans, including Walter's new album Broken and potential collaborations, the episode highlights the evolving landscape of blues, the significance of community, and the shared human experience through music. Walter’s reflections on life, confidence, and destiny culminate in a heartfelt narrative of resilience and creativity that resonates deeply with listeners.

Here's an incredible interview ft. Mr. Boombastic a.k.a Shaggy.

Here's a very special interview with the Queen of Latin Pop music.

Dhruv Ghanekar's approach to creating Voyage 2 combines bursts of spontaneous inspiration with disciplined deadlines. Balancing his commercial media compositions with personal projects, he found setting deadlines crucial to completing the album. Despite the logistical hurdles of coordinating with multiple artists post-COVID, Ghanekar’s collaboration resulted in a vibrant project. Some tracks were omitted, not due to lack of quality, but because they did not align with the album’s intended celebratory and groove-centric theme.Ghanekar emphasizes the importance of momentum and sequencing in crafting an album, driven by both personal preference and broader appeal. He aimed for a fun, accessible sound suitable for festival audiences, prioritizing groove over complexity. An unexpected yet powerful outcome of the project was featuring only female vocalists—a decision influenced by his personal life, including the strong female figures around him. This unintentional celebration of women’s voices added a meaningful dimension to the album, blending Indian folk elements with a global collaborative flair, making the work both musically rich and socially relevant.Ghanekar reflects on his creative process, noting that music often evolves organically rather than through intentional decisions. The inclusion of prominent vocalists like Kalpana Patowary, Nandini, Srikar, and Ila Arun, each bringing unique voices, naturally shaped the album into a celebration of women and grooves. He blends Indian traditions with international influences, creating a dynamic global sound.His music’s complexity is driven by a desire to remain engaging for himself, influenced by a mix of jazz, fusion, and Indian classical music. His compositions serve as a counterbalance to his commercial projects, honoring musical heroes while exploring intricate ideas. Ghanekar often crafts multiple arrangements for each song, driven by intuition and validation from collaborators. An example is his reimagining of the traditional Suprabhatam with a drum-and-bass beat, seeking approval from percussionist Sivamani before finalizing it.Ghanekar stresses the importance of embracing new musical directions and trusting the process, emphasizing that if something doesn’t feel right early on, it’s worth reconsidering. While he values audience recognition, his primary focus is creating music that resonates with him. He describes his latest album as "global music," blending Indian and Western influences beyond conventional labels like fusion.The production of the album is more complex and adventurous than his previous works, incorporating textures and techniques with a subtle electronic edge. Influences from jazz, Cuban, and Balkan music are evident, with contributions from musicians like saxophonist Archer and a trumpet player from Boston. The album was designed as a groove-oriented experience for both musicians and audiences, enhanced by Dolby Atmos technology for an immersive listening experience.Ghanekar notes the importance of restraint with Dolby Atmos, recognizing that not all music benefits from such technology. His experience mixing in Atmos has been enlightening, with the album now vying for Grammy recognition in several categories, including Immersive Sound.Though some might view his work as non-mainstream, Ghanekar aims for it to resonate with a broad audience without elitism. His music, deeply rooted in Indian influences and global sounds, offers intricate details for listeners seeking depth. Ghanekar’s ongoing projects include a cinematic ambient collaboration with flautist Naveen and a singer-songwriter album, showcasing his diverse artistry.As for his legacy, Dhruv prefers not to take himself too seriously. He hopes that, in the distant future, people will listen to his music and think, Wow, this is intriguing and unique. For him, that kind of response is the ultimate reward.

In this episode of Stalwarts Of Music with Aditya Veera, Kavitha Jayaraman, a renowned vocalist, and Vainika discusses her multifaceted life as an artist, educator, and philanthropist.The interview begins with an exploration of Kavitha's journey into social media. She discussed her initial reservations about self-promotion, rooted in the traditional training of Carnatic musicians to focus on the art itself rather than self-projection. She delved into the historical roots of Carnatic music, distinguishing it from Hindustani music and emphasising the unique characteristics that have been preserved over centuries. She attributed the limited reach of Carnatic music in the past to the absence of mediums like radio, which now allows artists to showcase their music to a broader audience. She also acknowledged the role of contemporary musicians in adapting to modern trends while preserving the core principles of Carnatic music.The interview shed light on Kavitha's efforts to promote inclusivity in Carnatic music. She shared her experiences of reintroducing the Veena to audiences in the U.S., where it was often confused with the sitar. Her initiatives included performing at unconventional venues and offering Veena lessons to enhance appreciation for this traditional instrument.Kavitha, despite identifying as an atheist, expressed her view of music as a medium to connect with a higher power. She described how singing Kritis makes her feel a profound connection, akin to meditation.Acknowledging the challenges in the Carnatic music industry, particularly for female Veena players, She shared her experiences. While she personally did not encounter discrimination, she acknowledged the need to address gender biases and ensure equal opportunities for all musicians.She provided insights into different types of Veena, such as the Saraswathi Veena and the Rudra Veena, highlighting their construction materials and tonal characteristics. She also discussed the challenges of maintaining the Veena in different climates and expressed concerns about the diminishing art of crafting these traditional instruments.Addressing the economic challenges faced by Carnatic musicians, Kavitha emphasised the importance of creating new opportunities and including Carnatic music in mainstream festivals. She advocated for supporting local artists and expressed concern about talented musicians turning to teaching due to a lack of recognition and opportunities.She shared insights into the role of music festival curators, emphasising the need for a balance between preserving traditions and introducing new talent. She highlighted the importance of career management alongside talent development, drawing from her experiences at Berklee College of Music.The interview touched upon Kavitha's foray into fusion music, where she explored genres like blues on the Veena. She explained how her classical training provided a solid foundation for experimenting with different genres. Additionally, her pursuit of a master's in music business at Berklee showcased her commitment to understanding industry trends and leveraging that knowledge for her career.Kavitha's philanthropic initiatives through Kaladanam, an institution she founded, were discussed in detail. Her approach of providing free classes and encouraging students to contribute to NGOs demonstrated her commitment to Seva through Vidhya (Teach to Reach). She highlighted her efforts in raising funds for various social agencies, impacting the lives of special kids.In the concluding segment, Kavitha shared her ambitions for the future. She expressed a desire to create a global platform for Carnatic musicians, ensuring the accessibility and appreciation of classical music in an era dominated by short-format content.