"Credit for inventing 'Flute Trance' goes to me..." – Hrishikesh Mazumdar

By Shantiswaroop Tripathi

Blessed with immense talent, flautist Hrishikesh Mazumdar inherited music as a legacy. His father, Pt. Ronu Mazumdar is an internationally acclaimed flautist and composer, while his elder uncle, Pt. Durgaprasad Mazumdar is a renowned tabla player and composer. Hrishikesh gave his first stage performance at the age of three, mimicking tabla sounds, and began playing the flute at the age of six. By thirteen, he had already won his first award. Beyond classical music, Hrishikesh has made significant contributions to contemporary music, including compositions like ‘Seven Colors of Life’. He pioneered the unique concept of ‘Flute Trance’, a blend of Indian classical music with trance music, which received wide acclaim.

Performing regularly in solo concerts and collaborations, Hrishikesh has graced prestigious festivals across India and internationally. He has had the honor of sharing the stage with musical legends like Ustad Taufiq Qureshi, Vidushi Bombay Jayashri, Rajesh Vaidhya, Vidushi Anuradha Pal, Vidushi Aruna Sairam, and Vijay Prakash. With his extraordinary talent, Hrishikesh continues to mesmerize audiences and contribute to both classical and contemporary music.

Excerpts from the conversation with Hrishikesh Mazumdar

• Was your entry into music due to the family atmosphere or something else?

You’re quite right. There was always a musical environment at home. Many classical music legends would often visit us. I’m blessed to have Pt. Ronu Mazumdar as my father. Music was, in a way, in my genes. You’d be surprised to know that I gave my first performance at the age of three, mimicking pakhawaj rhythms on stage. My father is a pillar of Indian flute music, and my elder uncle played the pakhawaj. He taught me tabla syllables. By the age of three, I could recite verses like “Gan Gan Ganapate” with rhythm. Later, I learned vocal music from my mother, Anandi Ji, and began learning flute at age six. I was exploring many musical forms in childhood, but gradually realized that the flute gave me the deepest peace.

• How important is learning vocal music for flute playing?

My father always says, “First vocal, then instrumental.” He taught me that no matter what instrument you play—flute, tabla, guitar—vocal music is essential. All forms of music originate from singing. I started learning singing from my mother at the age of four. I learned bhajans and several bandishes. My first ragas were Bhairavi and Yaman, which I learned through singing before picking up the flute. It was singing that helped me understand how to make the flute sound melodious.

• Who did you learn what from?

As mentioned, I learned tabla first from my elder uncle Pt. Durgaprasad Ji, then vocal music from my mother, and later began learning flute from my father Pt. Ronu Mazumdar Ji. For deeper knowledge of rare and continuous (Anavart) ragas, I studied under Guru Shri Vikas Ji. For example, Malhar has many varieties like Surdasi Malhar. There are nine types of Malhar ragas and even multiple types of Kalyan. To master such ragas, my father sent me to Vikas Ji. I learned the intricacies and realized that you can’t present these rare ragas the same way as Bhairavi or Yaman.

• Apart from ragas, what else did you learn?

I’m fortunate that my father wasn’t confined to classical music—he worked in Bollywood, folk, and world music as well. This allowed me to gain understanding in those areas too, especially fusion music.

• You created a new form of music called ‘Flute Trance’?

Yes. Once while heading to Banaras for a performance at Sankat Mochan Hanuman Temple, I told my father at the airport that I wanted to create a different kind of music. I played him a jazz and trance-based track, and he suggested adding the flute to it. He asked me to show him something after our return. That’s how I worked on and developed the concept of ‘Flute Trance’. It blends Indian flute with trance music, which runs in a loop and leads to a meditative state. It contains EDM and jazz, and integrates classical Indian elements. I released an album titled ‘Flute Trance’, and the response, especially from the youth, was tremendous. People never imagined that Indian classical flute could blend with EDM or jazz. I’ve performed it live at private events and recently at St. Regis Hotel in Mumbai. I plan to bring it to larger platforms and release an album combining multiple genres.

• Do you also have a formal degree in music?

Until class 7–8, my world revolved around the flute. Even during high school exams, I would play flute at 3 a.m. After high school, I knew I wanted to pursue this professionally. So I studied Arts at Jai Hind College, Mumbai, and then earned Bachelor and Master in Music from Bharati Vidyapeeth University, Pune. These five years were crucial. The university follows a gurukul style, sending students to their preferred gurus. During this time, I stayed with my father and also learned Anavart ragas from Vikas Ji, vocal from my mother, and Gwalior gharana singing from Vikas Ji. Different gharanas present ragas differently—for example, the Kirana gharana presents Ramdasi Raga differently than Gwalior gharana.

• How do Gwalior and Maihar gharanas differ?

My flute tradition belongs to the Maihar gharana, while I learned Gwalior gharana singing from Vikas Ji. The Maihar gharana is instrumental-based, whereas Gwalior is vocal-based. Each gharana has its own characteristics that are best expressed through performance, not words.

• What special lessons did you learn from your father and guru Pt. Ronu Mazumdar?

He taught me the importance of purity. Whatever genre you play—folk, classical, fusion—don’t dilute its essence. Folk should sound like folk, not classical. If you’re playing Mand, it should reflect Rajasthan’s flavor. For example, the Bhatiyali folk song of Bengal sung by boatmen must stay true to its roots and not sound classical.

• You’ve also learned Banarasi Kajri?

Yes! My father spent a lot of time in Banaras. He grew up in Ghasiari Tola near Assi Ghat, so he knows Kajri very well. He taught me this beautiful folk raga, usually based in Khamaj raga, which makes people sway wherever it is played.

• Do you participate in flute competitions too?

I recently received a prestigious CCRT scholarship from the Government of India, for which I’m grateful to all judges and gurus. I also received an A-grade honor from All India Radio. One award especially close to my heart was at age 13, from All India Swar Sadhana Samiti, where I was awarded first prize among sixty artists up to the age of thirty.

• Have you also performed using the Shankh Bansuri invented by your father?

I’m lucky to have inherited the Shankh Bansuri and have been playing it since age ten. I’ve performed 60–70 shows with it solo and with my father. Its magic lies in playing during mandra saptak (lower octave). After our performances, people have told us that listening to it sent them into deep meditation.

• Where all have you performed till now?

I’ve performed in almost every city in India with my father. At the end of last year, we toured 18 U.S. cities for the “Parampara Tour.” This May, we went on a 10-day tour in Canada, where we played for 3.5–4 hours per show and were deeply appreciated. Audiences abroad are very attentive and interested in rare ragas like Kedar, Basant, and Basant Vihar.

• There’s a belief that today’s youth are more into Western music. Your thoughts?

It’s true that youth are drawn to Western music. But thanks to efforts by my father and others, fusion music has attracted the younger generation to Indian classical music too. For us, classical music is a heritage we must protect. It’s our duty to present it in ways that appeal to youth. That’s why we created ‘Flute Trance’, and I’m happy that the youth really love it. Promoting Indian classical music is my mission.

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