Jazz Genre Guides, Indo Jazz

Indo jazz is a unique fusion that combines elements of Indian classical music with jazz. This amalgamation has produced a distinctive sound over the past six decades, characterised in no small part by its use of complex rhythms, improvisation and a blend of traditional and modern instruments.

Though traces of Indian music may seem ubiquitous in jazz today – its features routinely digested and repackaged under the term 'spiritual jazz' – the origins of this harmonious mixture show that it wasn't alway to be taken for granted. Many different wordly jazz genres are still thriving, but only in the post-war context could the music begin splitting off in these disparate directions. And, whilst people may accredit George Harrison as being one of the first Westerners properly to embrace Indian culture, the opposite, actually, is also true. In fact, jazz and other Western cultural imports had existed in India for decades in the form of touring bands who would visit the country to perform for European expats. It was only in the wake of India's independence struggle, as former subjects were striving for their own statehood, when a postcolonial fragmentation began that would also expand the creative range of musicians from around the world. 

In 1952, John Mayer came to England on a scholarship to study at the Royal Academy of Music. The Kolkata-born musician then worked professionally in London as an orchestral violinist for more than a decade, meanwhile developing an interest in finding common strands between jazz, classical music and the music of his homeland. Bringing his expertise to the collaboration, he teamed up with fellow Commonwealth citizen, Joe Harriott. The Jamaican alto saxophonist had become an instrumental figure during the British jazz explosion, and was known for his innovative work in the bebop and free jazz styles. The pair's first album together, Indo-Jazz Suite (1966), is considered to be one of the first popular examples of the genre. Originally released on Columbia as part of its visionary Lansdowne Series, the recording merges Western jazz with Indian classical music, featuring an arrangement of saxophone, violin, flute, bass, drums, sitar, tabla and other Indian percussion instruments. A stylistic novelty ‘crossover’ for the time, it grew into a lhealthy lineage of cross-cultural interaction, combining the improvisational nature of jazz with the structured ragas of Indian music.

The next prominent figure in this story is John McLaughlin, the English guitarist best known for his virtuosic playing and pioneering fusion projects. Often described as the fastest, most versatile six-stringed practitioner of his generation, he starred on some of the most progressive jazz recordings of the sixties, before ending up as a vital component at the onset of Miles Davis’ electric period; the Prince of Darkness even went as far as naming a track on Bitches Brew (1970) in the Yorkshireman’s honour. Already interested in Indian music, McLaughlin had suggested sitarist Khalil Balakrishna and tabla player Bihari Sharma to Davis during sessions for the album, and their ‘exotic’ contributions were incorporated into longer takes more reminiscent of Eastern styles.

During his time at the helm of the Mahavishnu Orchestra, a group known for its complex, intense sound world comprising Indian classical music, jazz and psychedelic rock, McLaughlin's spiritual journey began to impact his music and life more than ever, and would lead him to pursue deeper connections with Indian culture. As an artist constantly seeking new experiences and growth, he eventually felt the need to move beyond the Mahavishnu Orchestra's framework and explore different musical landscapes. The Mahavishnu Orchestra faced internal tensions and conflicts, partly due to the demanding nature of the music and the strong personalities within the band. These challenges each contributed to McLaughlin's decision to seek new musical directions.

Meaning 'power' in Sanskrit, he went on to form Shakti, a group dedicated entirely to Indo jazz. Unlike the electric sound of Mahavishnu, Shakti was primarily engaged in an acoustic set-up, renowned for their seamless integration of jazz improvisation with the intricate rhythms and melodies of Indian music more deeply than on McLaughlin’s previous projects. Amongst its lineup, its original members included violinist L. Shankar and tabla virtuoso Zakir Hussain, who went on to release several esteemed recordings on ECM in both classical and contemporary idioms. In fact, the pair’s collaborations for the label would help bring Indo jazz to a broader audience, culminating in collaborations with Jan Garbarek, Jon Christensen and other mainstays of the Nordic scene. 

More recently, Indo jazz has gone from being shaped by Indian musicians and their close admirers to members of diasporic communities, reflecting on their heritage in the modern age. For instance, Vijay Iyer is an acclaimed American jazz pianist, composer and bandleader of Indian descent. Born in 1971 in Albany, New York, to Indian Tamil parents, he initially studied mathematics and physics at Yale University. Having earned a degree in mathematics and physics before pursuing a PhD in technology and the arts from the University of California, Berkeley, his passion for music ultimately prevailed. Largely self-taught as a pianist, Iyer also studied under influential figures such as Indian-American saxophonist Rudresh Mahanthappa and Indian classical violinist L. Subramaniam. 

Meanwhile, British-Indian drummer and percussionist Sarathy Korwar's music is characterised by its dynamic blend of Indian classical rhythms and melodies with jazz improvisation, electronic textures and hip-hop beats. Born in the United States but raised in India, he moved to London to further his musical education and career, studying at the prestigious SOAS (School of Oriental and African Studies).

Both these musicians are fine examples of artists whose influence extends beyond their recordings as a bridge between cultures and musical forms in the Indo jazz lineage. Through a multicultural upbringing and education, they have been equipped with unique perspectives on marrying disparate musical traditions that have profoundly shaped their approaches to composition and improvisation. Their work stands out as an up-to-date extension of the fusion experiments that began with early pioneers more than half a century ago, not only honouring this legacy but also propelling the genre into new and exciting directions.