Sameer Gupta is known as one of the few percussionists simultaneously representing the traditions of American jazz on drumset, and Indian classical music on tabla. His own interests and love of tabla brought him to the great tabla maestro Pt Anindo Chatterjee, of whom he is now a dedicated disciple, though his first few years were spent under the guidance of Ustad Zakir Hussain.
After graduating with a music performance BA, Gupta worked and taught in the Bay Area for 10 years as a jazz drummer, and later also as a classical Indian tabla player. Today he lives in Brooklyn, NYC and is actively involved in performing and teaching through various institutions including Brooklyn Raga Massive, Carnegie Hall’s Global Encounters and Ragas Live Festival. Gupta has held workshops on Indian music and cross over drumming styles, at The Jazzschool in Berkeley, California and Berklee College of Music in Boston. His influences range from Elvin Jones and Tony Williams to Ustad Allah Rakha and Pandit Anindo Chatterjee. He has had the pleasure to play with many great musicians including Falu Shah, Rez Abbasi, Marc Cary, Wallace Roney, Karsh Kale, Pandit Krishna Bhatt Ravi Chandra Kulur, Mysore Manjunath, Prasant Radhakrishnan, Pandit Chitresh Das, Jason Samuels Smith, Pandit Ramesh Mishra, Pandit Anindo Chatterjee and numerous other luminaries.
Gupta continues to build his career by combining traditional and modern improvisational styles drawing from his dual Indian and American heritage, and has already established himself as an original musical voice in jazz, world, and fusion music. From his early percussion studies in Tokyo, Japan in the mid 80s, he has consistently placed himself in many challenging musical environments. From bebop to avant-garde jazz, and European classical percussion to North Indian classical tabla, Gupta continues to compose and perform music from a true multi-cultural perspective that now bridges several continents.
“Sameer Gupta and David Ewell of the Supplicants soar with the fiery grace of A Love Supreme-era Coltrane.”
“Gupta was particularly impressive, bringing cyclical Indian rhythms to his kit work which he augmented on occasion with tabla forays… ”
“…Sameer Gupta’s wire brushes suggested a field of silvery light for [Dormeshia Sumbry-Edwards] to dance in.”