Pt Abhiman Kaushal, who recently performed in Hyderabad, opens up to us about his journey

From collaborating with many great Indian maestros to working with renowned international musicians, Pt Abhiman Kaushal’s journey as a tabla artiste is nothing short of extraordinary. His unique ability to blend traditional tabla rhythms with diverse musical genres has not only earned him acclaim in India but also positioned him as a prominent figure on the international music scene.

Additionally, White Sun II, an album in which Abhiman was a featured percussionist, won a Grammy award under the New Age Music category. Currently serving as an Adjunct Professor of Ethnomusicology at the University of California, Los Angeles, Pt Abhiman Kaushal shares his inspiring journey with us as he takes the stage at Saptaparni.

Can you share your experience in Hyderabad?

I’m in Hyderabad to perform at a beautiful venue called Saptaparni. I performed there last year and really enjoyed it because of the venue’s ambience it’s very tastefully, artistically, and ethnically designed. They invited me back, and I’m here for a short trip to perform a tabla solo concert today.

Tell us about the concert.

The concert was a traditional tabla solo; where I shared different compositions with the audience. As you know, the tabla serves two prominent roles — as an accompanying instrument for music, dance and other instruments, and as a solo instrument. This time I showcased the full range of tabla compositions.

How did you first encounter the tabla, and who were your mentors?

I come from an artistic background. My mother, Sumathy Kaushal, was one of the most prominent kuchipudi gurus in Hyderabad. My father RB Kaushal, originally from Uttar Pradesh, served in the Indian Navy but his passion was playing tabla. He learned from a great master called Ustad Amir Hussain Khan from then Bombay. When I was born, my father had retired from the Navy but practiced tabla every day at home. As a child, I was drawn to the sounds and he began teaching me. Eventually, he felt I needed more structured discipline, so he put me under the guidance of a great tabla maestro Ustad Shaik Dawood in Hyderabad. Later, I continued my training with Pandit B NandKumar.

How did their guidance shape your approach to music?

I was fortunate to receive not just technical training but also unconditional love from my teachers. This support was crucial because in the world of music, there’s always anxiety about whether you’ll get enough opportunities or how you will sustain yourself. But my gurus always encouraged me, assuring me that if I chose to pursue music as a career, they were behind me. Their encouragement gave me the confidence to take up music professionally.

You represent both the Farukhabad and Lucknow styles of tabla. Can you share a brief overview of these styles?

In tabla, we have about six gharanas or schools, including Farukhabad, Lucknow, Delhi, Punjab, Ajrada and Banaras. I primarily represent the Farukhabad gharana but I also learned from a master in the Lucknow style. If you attend a concert, you might notice that Farukhabad compositions are intricate, almost like poetry. In contrast, Lucknow compositions have a certain swing and lift to them, which is ideal for accompanying Kathak dance.

You’ve collaborated with many renowned musicians. Could you share some memorable experiences?

I’ve had the privilege of performing with legends like Pandit Ravi Shankar and great international musicians like French flutist Jean-Pierre Rampal. One memorable collaboration was with Philip Glass, the composer, on an album called Passages, which became a big hit. I also had the opportunity to play with Aerosmith for MTV and have worked in several Hollywood movies. Each collaboration brings something unique and has contributed to my growth as a musician.

Could you share your experience working with Pandit Ravi Shankar?

I went to him in the late ’80s to improve my skills in accompaniment. Soon after, I began touring internationally with him for his concerts. I was barely 21 or 22 years old then, and I was touring with a legend, so every concert was a learning experience. Watching him connect with audiences of over 5,000 people and seeing how beautifully he transported Indian music to an international audience taught me so much.

What are the guiding principles or philosophies in your music?

My philosophy is simple: Do music for music’s sake. It means, don’t have any exaggerated expectations. For example, I practice regularly, whether there is a concert coming up or not. For me, practice is not a means to an end but has become a part of my system. I want to become one with my music and it’ll happen where there are no conditions with your music. So, music for music’s sake.

How do you approach diverse international audiences?

I always tell new audiences that before trying to understand the music, they should feel it. Understanding is a very intricate process, that can come later. Music is an emotional experience, and you don’t need to know all the technicalities to enjoy it. Just sit with an open heart, feel the music and the rest will follow.

White Sun II was the album that won the Grammy Award, and you were a part of it. How did it impact your career afterward?

If you're on a Grammy-winning album, you get international recognition, and it opens up new opportunities. That’s the fun part: you definitely get more attention! But the beauty of White Sun II was that it had no retakes; everything was recorded in one go. That natural flow is what made it special, and I feel truly honoured to have been a part of that Grammy-winning album.

What draws you to cross-cultural collaborations?

These collaborations open up creative avenues and expose me to different approaches. While my foundation in classical tabla remains the same, working with jazz, rock or other genres adds new dimensions to my music.

How do you balance innovation with tradition in your music?

A collaboration must have depth and meaning. It’s like a conversation in different languages — there needs to be a common subject. As long as there is musical sense and logic, a collaboration can thrive while retaining its essence.

You currently teach at the University of California. How is your teaching approach different there?

Unlike the traditional Gurukul system in India, where students don’t question the guru, in the US, students are encouraged to ask questions. I realised that I needed to have precise answers, which led to my growth as a teacher. It’s been a mutually enriching experience.

Do you have any advice for the younger generation?

In today’s world, there are many distractions but our music has a depth that can’t be matched. Stay connected to your roots; even while exploring the modern world. If your foundation is strong, you won’t waver.