#darbarfestival | Master of Percussion - Sukhvinder Singh and Patri Satish Kumar perform a duet at the end of the music recital called a Tani Avartanam . Recorded at the Darbar Festival at the Southbank Centre, London on 5 April 2009.

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Learn more about the musicians:

Sukhvinder Singh (affectionately known as ‘Pinky’) is a singular percussionist, specialising in low-tuned tabla and jori. Hailing from the Punjab, his first musical immersions were in dholak and pakhawaj, playing traditional Sikh devotional music. His talent was spotted early, and at age five he became a disciple of pakhawaj exponent Bhai Nihal Singh. His public debut aged 13 left a strong impression on Ustad Alla Rakha Khan, but soon after he left to Varanasi to train under the legendary Benares gharana master Pandit Kishan Maharaj.

His subsequent career has featured accompaniment slots with Pandit Ravi Shankar, Ustad Vilayat Khan, Ustad Amjad Ali Khan, and other leading Hindustani instrumentalists, and a Grammy award for his work with Ry Cooder and Vishwa Mohan Bhatt on A Meeting by the River. Ustad Zakir Hussain proclaimed him to be the world’s foremost jori exponent after his solo at Ustad Allah Rakha’s 2016 memorial concert. Now based in India, England, and Canada, he is known as a charismatic performer and teacher, dedicated to bringing the Punjab and Benares repertoire to audiences around the world. WATCH MORE FREE CONTENT of Sukhvinder Singh here:
-Jori Solo 2009 | [ Ссылка ]...


Patri Satish Kumar is one of India’s leading mridangam players, known for fine dynamic control and architectural solo phrasings. First inducted into music by his violinist mother, who noticed his talent at tapping his school lunchbox in rhythm, he went on to study under three Andhra Pradesh gurus - S Ramachandramurthy, VA Swami and V Narasimham. He credits his teachers with broadening his mind, recounting that they never set him ambitious goals beyond immersing into the music as fully as he could.



He says that “the mridangam chose me and not the other way around”. But it was on kanjira that he got his early break, reasoning that it would allow him to accompany top mridangam artists and perhaps fill in for them on occasion. It worked - he was soon accepted as a mridangam accompanist, and has now worked with almost all of today’s top Carnatic artists. He has worked in jazz settings too, and his ‘Dancing Drums’ project involves a large ensemble of layered percussion instruments. But his forays into fusion have not diluted his classical playing, which still forms the focal point of his stellar career.

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