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“India, like America, feeds and nourishes creative individuality. Just as Americans have been inspired by the archetype of the Cowboy, who wanders the open spaces in search of a dream, so Indians are inspired by the Yogi, who wanders inner spaces in search of realization,” claims The Cowboy and The Yogi, by Teed Rockwell. For those of you who don’t know, Rockwell wrote the India Current music column for decades and I carried on for a few years after him. Thus, it was an absolute honor and delight when we had a delightful conversation about his journey into India and Indianness.
Although rooted in Carnatic traditions, Jayanth has a unique sound that often traverses generic barriers, thanks to his early exposure to Hindustani and other forms of music and cross-cultural collaborations. Even when he is playing the most Carnatic-sounding ragas such as Bhairavi and Kamboji, the sound of his flute appears universal and cosmopolitan. It’s both pastoral and urban; and is peaceful, meditative and nuanced.
Among the younger generation, he is probably one of the most well-spoken and cosmopolitan artistes. His music has cross-generic influences, he performs across the world, does collaborative work and even have an un-Carnatic sartorial style.
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