The other album, Bossa Raga, pushes the boundaries of the timeless bossa nova by blending Brazilian music and Indian ragas. Charu will collaborate with the legendary bassist, maestro Ron Carter, on two tracks for this album.
A single from Raga Etudes is slated for release mid-July. This track features the world-famous South Indian percussion player, V. Selvaganesh, who plays the kanjira, and is also well-known for his konnakol expertise (konnakol is a vocal percussion technique).
Charu says, “I am just so excited to be able to work with music giants like Mr. Ron Carter and V. Selvaganesh on my upcoming projects. I have heard them perform numerous times, both live, and of course on numerous records in my household from the time I was a child, so collaborating with them is a gift.” Selvaganesh gained world fame through tours with John McLaughlin's group, Shakti. The first track from the Raga Etudes album will drop at the end of July.
Charu’s first single from her album, Raga Etudes, also features GRAMMY® nominee Max ZT, a virtuosic hammered dulcimer performer fluent in blending the music of the East and West.
The piano prodigy known for weaving Indian RAGAS into her music, Charu Suri received a nomination in - Best Contemporary Instrumental Album, "SHAYAN" – and Co-Producer for "Sounds of Kumbha", in the Global Music Album Category, in the 68th GRAMMY® Awards, this past February. She was so honored by all of the accolades involved in this nomination and just returned from a sold-out show in Mumbai.
Charu was so eager to debut her new album at The Jazz Forum Arts in Tarrytown, this past Sunday June 14 - and introduced this new sound to the world. Later this year she will be performing at Carnegie Hall for her record 6th time on November 13.
When anyone hears the name Charu Suri, they know that her brand of music is fresh, inventive and relevant, she has become very popular with both die-hard jazz fans as well as Indian classical music afficionados.
Her philanthropy runs deep. Charu is a Steinway educator, she teaches at her own academy, Charu Suri Music Academy, and is starting a non-profit wellness jazz series-helping stressed individuals through music therapy. Suri says, “Ragas are Indian modal scales meant to be performed at a certain time of day, so they are very healing, but a lot of people don’t necessarily think of jazz and wellness together. I’m hoping to change that.”
She has been making waves in the jazz scene for many years, having performed over the past year in Italy, London, Blues Alley in D.C., Boston Jazz Festival and beyond. In 2024, she was awarded a Jazz Roads Grant to enable her to bring her unique sound to many venues across the United States.
One of the few female jazz composers and pianists to emerge from India, Charu has blazed a new sonic identity and has performed in world-renowned venues from the GRAMMY® Museum, Lincoln Center, Birdland, NCPA Mumbai, and the Royal Opera House in Mumbai. Charu Suri ‘s work has been performed by Yo Yo Ma, The New Jersey Symphony, Steve Gadd, John Patitucci, and Joe Lastie from Preservation Hall, among others.
Charu’s latest album, “SHAYAN,” topped the U.S. and World charts and her previous “raga jazz” album, “RAGS & RAGAS,” topped international jazz charts and reached #3 in the U.S. and #1 in India on iTunes. Charu Suri has won several awards including Gold Entertainer of the Year from the International Singer Songwriters Association (ISSA), Intercontinental Music Awards, Global Music Awards and is a Governor of the Recording Academy, New York Chapter. This was her first GRAMMY® nomination; she is also nominated as producer in the Global Music Album, “Sounds of Kumbha,” by Siddhant Bhatia and is a pianist on the Children’s album, Herstory, by Flor Bromley. Recently, she was elected Governor of the Recording Academy.
This was the year for Indian recording artists at THE GRAMMY’S® , making a strong showing for many nominations, and jazz pianist Charu Suri all receiving nods for their global music and instrumental work, highlighting India's growing influence in classical, fusion, and contemporary music categories. It really has put Indian based music on the map.
Jazz artists are finding new ways of collaborating, and reinventing themselves, Charu Suri is one of the smartest among them, her star is brightly shining.
New York Chapter. Links to stream Charu’s albums: “SHAYAN”:
RAGS & RAGAS
RAGAS & WALTZES
THE BOOK OF RAGAS VOL. 2
NEW AMERICAN SONGBOOK EP
Charu Suri Tour Schedule:
Sun. June 14 - 4 - 6 pm - Bossa Raga Album Release & Birthday Concert - Jazz Forum Tickets.
Wed. June 17 – 7 pm - Piano Solo – Roland Park Place, Baltimore, Maryland.
Sat. June 20 – 6 pm - Café Bean Runner – Peekskill, NY. Call 914 737 1701 to reserve seats.
Sun. June 21 – 5 pm - Hamilton Park Weehawken - Summer Concert Series.
Sun. June 28 – Miami Ocean Drive Promenade - Music Series in Lummus Park.
Fri. July 10 – 7- 9 pm - Acquilano Wine Cellars – Finger Lakes.
Sat. July 11 - 7-10 pm - Spritz Piano Bar – E. Rochester.
Sun. July 12 - 2- 4 pm - Private Beach House.
Sat. Aug. 15 – LA Jazz Fest. – Pomona, CA.
Fri. Aug. 28 – Boston Jazz Fest. Boston.
Sat. Aug. 29 – The Mill – Westport, New York - Adirondack Mountains.
Thurs. Nov. 5 – Sun. Nov. 8 - Cliff Bells Residency - Detroit.
Fri. Nov. 13 – Carnegie Hall - NYC.
Thurs. Nov. 19 – Dazzle Jazz Club – Denver.
Charu Suri Q&A
Talk About your Two Current Projects?
CS: I’m working on a virtuosic piano and folk instruments album called “Raga Etudes.” The idea behind it is to do pieces like a Chopin scherzo or fantasy but using ragas. For the first track, slated to release in mid-July, I worked with the legendary folk drum performer, Grammy winner V. Selvaganesh (from John Mc Laughlin’s SHAKTI), who plays the small frame drum called the kanjira from South India. The track also features GRAMMY nominated dulcimer performer, MAX ZT. My vision was to produce piano-centric etudes, much like the ones classical pianists would do but using ragas of course. The second album, called BOSSA RAGA, blends bossa nova and ragas in a unique way. I’ve been super fascinated by Brazilian music, and this is my ode to Brazil.
What was It Like Working with Selvaganesh?
CS: What a joy! This experience was honestly one of the most amazing in my career. I played this track based on late morning raga Charukesi to him, and he and I improvised it. In a matter of minutes, he was ready to record. We pretty much did it in one take! He’s also so humble for what he has achieved and his timbres, nuances on the kanjira is just incredible. A complete pro, and flawless experience from start to finish.
Besides Selvaganesh can you talk about the other artist that will be on your current project?
CS: Max ZT is a virtuoso dulcimer performer that I have had the honor of collaborating previously with, in two Carnegie Hall concerts. Also, on my track Raga Jog from my prior album, SHAYAN. He’s the consummate crossover artist, brilliantly commanding Western music and the East flawlessly.
Talk About Your Current Touring Schedule?
CS: I have a lot of wonderful shows coming up, including the L.A. Jazz Festival in Pomona on August 15, Boston Jazz Festival on August 28, a beautiful piano solo concert at The Mill in Westport in the Adirondacks (this was curated by the GRAMMY winning pianist, Geoffrey Keezer). Also, I have a nice residency at Cliff Bells in Detroit in early November. I am also pleased to return to Carnegie Hall on Nov. 13 for my sixth appearance there with singer Lizzie Thomas.
What are The Plans for your collaboration with Ron Carter?
CS: Super excited for this collaboration. We are recording two tracks from Bossa Raga, my album blending Brazilian music and ragas, in July. It will be the first time I’m recording with him; I’m excited.
What other artists do you see yourself working with?
CS: I am committed to these two albums for now, and some wonderful Brazilian drummers for Bossa Raga, so I’m taking it one album at a time.
Talk about your music?
CS: My musical style blends Indian ragas, (modal scales) and jazz. I have quite a few albums devoted to this. These are the sounds I hear, blending Eastern and Western traditions that I grew up with.
Talk about your inspiration for your music?
CS: Everything for me happens organically, but I am often inspired by genuine emotions and find musical inspirations from Indian ragas and New Orleans chamber jazz to compose and orchestrate my music.
Where did you do most of your recording?
CS: I love using a studio in Paramus, New Jersey to play on its beautiful Steinway piano, one of the best I have heard. I also record often at Sound on Sound in Montclair, New Jersey.
What’s your biggest inspiration in your music?
CS: Travel and authentic human experiences; and the palette of Indian ragas and rhythms as well as the trio work of bands like Bill Evans, Keith Jarrett, etc. The repertoire of New Orleans inspires me as well.
Who is your mentor?
CS: I was instructed in India by the late Mrs. Gita Menon, a fabulous instructor who taught me everything from virtuosity on the piano, to reading, writing, notation and transposition.
Talk about being an immigrant?
CS: It isn’t easy! In the early years, and even now, it’s all about working harder and proving yourself, all the time. I also feel so blessed to have rich life experiences that have allowed me to see a broader, deeper perspective of life, and this has profoundly affected my music.
What was life like in India before you came to America.
CS: Much, much easier! I had help. We had people who helped take care of things, of errands, so I could focus on my music and studies. In America, you have to do everything yourself, and that can dilute your energies and focus. It’s often counterproductive.
What are the main differences In both cultures?
CS: There’s a lot of communal gatherings in India and focus on family life and togetherness. In America, the lifestyle is far more individualistic. People are a lot lonelier in America, and the solitude crisis is a real thing. In India, a stranger—even though he or she is poor—will often give you the shirt off his or her back because that’s a philosophical choice. In America, many choices are made with a monetary/financial mindset, that doesn’t necessarily translate into personal happiness or philosophical enrichment. I see this as a huge cultural difference.
Talk about growing up?
CS: I was born in Madurai, South India, and then my family moved to Nigeria when I was five years old because my father received a job in Nigeria as CEO of a Record Label. It was in Nigeria that I got my official piano start, performing on a piano that was in our home, and listening to hundreds of vinyl records in various genres every night on a turntable. When my family repatriated to India because of Nigeria’s coup situation, my family recognized my talent on the piano and was determined to find the best piano teacher in the city. Mrs. Gita Menon really took me under her wing, made me learn hundreds of complex and core piano repertoire, and I was giving concert after concert, and winning all sorts of contests as a piano prodigy. I didn’t have a “normal” childhood in the sense that I would practice the piano 6-7 hours a day, rather than hang out with friends and watch movies or go to the mall. The piano was my escape and my world, from a very young age.
Talk about how your childhood molded the person you are today?
CS: The formative years in India deepened my philosophy and made me see real hardship, and the sacrifices my family had to make in order for me and my sister to have a beautiful and cultural life. My home was filled with music, paintings and lots of love, and my childhood was replete with wonderful western classical and Indian music concerts. I had a house with many books, and if I was not playing the piano, I was reading and writing. It allowed me to fully immerse myself into my art and my family was super supportive.
What are the most challenging things in your life?
CS: In America, you have to do it all! It’s really challenging to be the composer, orchestrator, producer, while managing an intense touring schedule, while raising a teenage daughter. I think parents who tour have it pretty hard here, because childcare is scarce or expensive, and the classes, and extracurricular activities, still need to happen. Ad then there’s the task of getting gigs booked, hustling and invoicing. All of these administrative tasks are annoying to me because they take away from the act of creation, but they still need to get done.
How has love changed your music?
CS: Love is always the king! Love has fueled a lot of my pieces from “Bluesy” to “Keep Dreaming” to “Lollipops for Breakfast.” My husband and my family have been so wonderful and supportive, and nearly all of my music is dedicated to the people who have helped me and loved me over the years.
Talk about Ragas?
CS: These are Indian modal scales, not all of them symmetrical in ascent and descent, but they give a different flavor to jazz. I use many of them as the basis and inspirations for my work. There are over 500 ragas! Think of them like you would C major or G major, but with various patterns and interesting names like Kalyani, Kirwani etc.
Describe your current project SHAYAN?
CS: I composed it for my mother to help her sleep better, and for anyone to heal and be calm. It is my first “non jazz” album, using all the energies of beautiful, healing evening ragas. The entire work was also composed to help me heal after a crazy intense worldwide touring schedule. I needed to breathe, musically speaking, and was tired of all the “virtuosic” stuff and wanted some calming, healing music to get over the tension I was also feeling from the global landscape and geopolitical events. Think of SHAYAN as a musical warm, fuzzy blanket telling you everything will be okay and for you to get a good night’s sleep.
What was your inspiration for SHAYAN?
CS: The increased stress in our world, and my mother’s sleeplessness, and the growing lack of empathy in our world, all fueled the creation of this album. It is a very emotional and “human” album, allowing people to just unwind and take care of themselves, their breathing, and their rest.
You have won so many awards how does that effect you?
CS: I honestly try not to think about them. Awards are wonderful but more importantly is the love for your craft and the commitment to music; I’m always moving onto the next project, the next concert, the next thing.
Talk about how your studies influenced your music?
CS: I have a Bachelor’s in Classics and Music from Princeton University and a master’s from Manhattan School of Music. I love all of the learning, but it was not until I became a working musician (and giving concerts, and composing, hands on) that my real learning happened. Nothing can substitute life lessons in the field.
What was it like performing at Carnegie Hall?
CS: It was wonderful and I still cannot believe I get to do it almost every year! To this day, my favorite auditorium to play in!
How do you feel about other artists performing your music?
CS: I welcome it and feel very humbled and honored that people take an interest in my work. That makes me super happy.
Who was the first recording artist that you remember hearing?
CS: When I was a child, my dad took me to hear Mandolin U Srinivas and Zakir Hussain, and I was mesmerized.
What’s on your playlist right now?
CS: Teddy Wilson (incredible jazz pianist), Bill Evans Solo Piano Albums, Silk Road by Yo Yo Ma, Mahler’s Fifth Symphony, Stravinsky Complete Works, and David Brubeck. Also, some of the contemporary jazz greats including Emmet Cohen, and Pasquale Grasso, who I respect very much and admire.
Who is your all-time favorite recording artist and why?
CS: That’s a really hard question to answer. I admire a lot of them from Bill Evans, Keith Jarrett, to David Brubeck, and Oscar Peterson.
How has your music changed in the last 5 years?
CS: It has become more mature, less showy and deeper. I have learned to listen more and not show off my virtuosic chops all the time or be too flashy. I’m also deepening my understanding of more complex jazz chords and leaning into the ragas more.
What is the takeaway from your writing any of your music?
CS: Self-discovery. In the end, how you see the world, how you grow and your point of view is everything. You have to live with yourself, your inner voice, your music and your thoughts. So, make it a good journey!
Talk about some of the producers you have worked with?
CS: I am a proud member of the Producers & Engineers wing in the Recording Academy and so I actually produce all my albums. My co producers include Siddhant Bhatia (who is also a Grammy nominee this year), an amazing singer and producer from Delhi, India; Dekan Ekambaram who is from my hometown in India (Chennai), Tess Remy-Schumacher (my cellist) and Margee Minier Tubbs (Premik’s wife).
What would you tell a young person starting out in the music business?
CS: Do it for the pure love of music. To be the best musician you can be and forget about everything else. Love, determination and consistency are key because there are a lot of ebbs and flows in this business. Also, developing a real and authentic sound and voice can be a wonderful thing and people pay attention to this.
Talk about your fans?
CS: They are from all over the world, and a lot of them are either in love with jazz, Indian music or a global sonic palette. A lot of them are from the U.S., India, and Europe (Germany/France). I also have listeners in Latin America. They love the unusual music and rhythms and want to hear more raga-based creations.
What would you tell your fans about yourself that they might not know?
CS: I used to work on Wall Street, as an Investment Banker, for a few years before it took its toll on me! I realized that I had to pursue my musical calling no matter what, so I gave up my chance of making millions.
What would you say about your fashion style?
CS: I try to represent the beautiful fabrics and textiles of India wherever and whenever possible. Part of this reason is my dad used to be in the textile business, and I would watch him pick out fabrics and swatches and that process of appreciating weaves sort of stuck with me.
How do you dress on the red carpet?
CS: Gowns that are long, flowing, with heritage fabrics and lots of texture.
What’s a typical day like for you?
CS: I usually start by practicing the piano or recording some music for myself, or for a reel I share online. Then I meditate and brew my morning coffee or tea (depending on the mood: I like both), and then listen to some music, either on the radio or on a channel or from a playlist. I drop off my daughter off at school after preparing breakfast for her. Then I teach a lot of students because I run my own music academy and typically finish with a gig or concert in the evening. It’s pretty intense. In the middle of the day, I do a workout (typically a swim in my local gym) and make a meal or snacks for my daughter so she can have a nice lunch and dinner.
What's your tip on how to monetize your music?
CS: Make people see the value of it; be professional, polished and exude that everywhere. Amplify your shows on all platforms and then sell merch at shows. Push out releases to playlists etc.
What does your stage show look like?
CS: Typically, I perform with a trio (piano, bass and drums), and on occasion I will add another instrument like a vocalist or a flutist.
How do you prepare for a show?
CS: I go over repertoire daily and practice, but a lot of the actual show flow and set list comes with experience. I expect my band to know the music inside out and they do, given the amount of time we have spent together performing, and there’s the technical stuff like runs and repetitions that I go over almost daily.
Where do you see your music going in the next 5 years?
CS: I see more releases and pushing my voice in broader directions. I am committed to releasing more frequently and doing orchestrations and collaborations.
If you could change one person’s life through your music - what song would that be and why?
CS: I think my album SHAYAN has had a very healing influence on a lot of people; and the song Nightingale has been played over and over by radio stations. It uses the raga Bagesri and is very gentle and beautiful, showing people the power of the raga, and how the energy can help us sleep better. So, I would turn people to that song, to latch on to the beauty of the evening and of that particular raga and help them unwind and get lost in the moment.
When did you know you wanted to be a musician as a career?
CS: When I was very young, about five years old, my father got a job as CEO of a Recording Label in Nigeria, and we had a house with a piano. My mother used to say, “Charu played the piano and never stopped” and I was the kid who would play and practice for 6-7 hours a day, unasked. So that’s when I knew I probably was going to be a musician because there is nothing else in the world I would rather be doing.
Which family member has been the most influential in your career?
CS: My late father. He was the one who loved music so much, bought me my first Bach and Beethoven books, had the job as the CEO of a Record Label, took me to all my concerts both in India and abroad and really nurtured my love of music. He also introduced me to the world of ragas. I would never have come so far without him.