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. He was performed at Lincoln Center NYC, Birla Auditorium Kolkata, SFJAZZ, Nehru Centre London, NYC MoMA and Yerba Buena Gardens San Francisco.
Sameer is originally a jazz drummer learning from his peers on the school of the streets of San Francisco and Harlem NYC. His own interests and love of tabla brought him to the great 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. Sameer is also a co-founder and an Artistic Director of the non-profit collective Brooklyn Raga Massive.
Today he lives in Brooklyn, NYC and is actively involved in performing, curating, producing and teaching through various institutions including the Outside (In)dia Series presented by India Center Foundation, 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.
Sameer has had the pleasure to make music with many great musicians including Harry Belafonte, Casey Benjamin, Martha Redbone, Awa Sangho, Falu Shah, Rez Abbasi, Kiran Ahluwalia, 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 music today. 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.
“Gupta’s new album explores the colorful border zone where the Indian classical tradition meets Native Americana, John Coltrane’s modal meditations, and the ears-wide-open prog-jazz internationalism of Weather Report and Mahavishnu Orchestra.” – Village Voice 2.13.18
“The primary influence is the kind of mellow, cosmic funk-fusion favoured by Jean Luc Ponty in the mid-1970s – laid- back grooves with fat basslines and lashings of Fender Rhodes – but with the added spice of Indian Carnatic violin and bansuri flute flying off into hyper-agile flights of microtonal invention.” – March 2018 Jazzwise
“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.”