BUY ‘A CIRCLE HAS NO BEGINNING’ NOW!
Get ‘Little Wheel Spin and Spin’ …
This project brings together some of today’s finest accompanists and soloists in various styles to create a truly remarkable musical journey. With a firm Indian Classical Raga influence, the album draws on strong modern jazz improvisational roots to heighten the creative energy and spectrum of possibilities.
Press Quotes
“Sameer Gupta played through his arrangements of…songs with sitar, cello and viola appended to a jazz trio. The crowd roared its applause.” – Ben Ratliff (New York Times 1/10/2011)
“Not since Trilok Gurtu’s stint in Oregon has a percussionist sounded as commanding in both Indian classical tabla styles and straight-ahead swing drumming as Sameer Gupta” – Timeout New York (MARCH 15 2012)
“Percussionist Sameer Gupta is cut from a global cloth.”
– NPR Jazz (January 2011)
“Brave , bold and globally conscious music created by an artist that has both feet planted in many traditions and both hands reaching out for infinite possibilities …”
– Karsh Kale (March 2017 re: A Circle Has No Beginning)
A Circle Has No Beginning
by Sameer Gupta
Here is a sneak preview of the song ‘Prog-Raag Bhimpalasi’ off the project’s upcoming new album.
Musicians of the Project
Sameer Gupta – Drumset, Tabla; Marc Cary – Wurlitzer, Moog, Synth; Morley Shanti-Kamen – Vox (on Little Wheel Spin and Spin); Marika Hughes – Cello, Vox; Brandee Younger – Harp; Arun Ramamurthy – Carnatic Violin; Jay Gandhi – Bansuri Flute; Trina Basu – Violin; Rashaan Carter – Bass; Neel Murgai – Sitar; Pawan Benjamin – Tenor Saxophone; Sharik Hasan – Piano, Keys; Michael Gam – Bass
The opening track ‘Little Wheel Spin and Spin’ written by Cree Indian and Activist Musician, Buffy Saint-Marie, digs into the pulse and brings forth a powerful interpretation of this song’s message and energy. Another emergence of Native American influence comes in the song ‘Two Faces of the Moon’ which opens with the ‘American Indian Movement Theme Song’ composed as a song to unify the struggle and power of the all Native American tribes.
In my experience, the worlds of Indian Classical Music and Modern American Jazz are now blossoming together. From musically independent evolution, that happened worlds apart, musical forms are today evolving together in communities like my neighborhood of Brooklyn, NYC. I’m proud to say that with the musicians on this project, I have reached a new level in bringing my musical self out with more depth and clarity and with a genuine love for the unification of Indian Classical and American Jazz music.
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NAMASKAR 2010
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