
Photography on this page by Shane Rozario.
Shakti Spirit
"The sheer beauty and emotional weight of their performance left me breathless."
Indianlink
Personnel
Sandy Evans: Saxophones, composer
Nadhamuni Gayatri Bharat Voice, composer
Jess Green Guitar
Pirashanna Thevarajah Mridangam and other percussion
Prahlad Iyer Ghatam and other percussion
Nadhamuni Gayatri Bharat is an exceptional vocalist born in India, and now living in Sydney.
She has received advanced training from India’s greatest musical stalwarts. Gayatri, the author of “Yogini in My Music”, was blessed with her upbringing by a distinguished Hindu Seer. Her voice carries a “mystical” resonance that is widely recognised.
Gayatri started learning music when she was 3 years old, from her father and an acclaimed musician, Vid. S. Lakshminarasimhan. She was trained in the traditional Guru-Sishya style of learning for 25 years in both the Hindustani musical form, by Pt. Das belonging to the Panchakshara Gawai Gharana and the Carnatic musical form, by Sangita Kalanidhi Prof S. Ramanathan and Kalaimamani Vairamangalam Lakshminarayanan.
Gayatri has released 25 albums that are widely available on Spotify, iTunes and digital platforms. Visit Nadhamuni Gayatri Bharat’s YouTube channel.
"The band’s intricate interplay of instruments captured the depths of human emotion, evoking images of women overcoming pain and emerging as strong, fierce individuals."
Indianlink
Prahlad Iyer is a versatile artist, learning Mridangam at the tender age of 5 in Kuwait under the tutelage of Shri. Perunna Harikumar. He’s since evolved into a master of the instrument, studying under the legendary maestro, Mridangam Vidhwan ‘Padma Shri’ Dr. T.K. Murthy. In addition to the Mridangam, he also plays the ghatam, kanjira and tabla. Prahlad is also extremely passionate about cricket and is pursuing the sport professionally in Sydney.
Jess Green (AKA Pheno) is an accomplished guitarist, vocalist and improvisor, who has composed commissioned works for Australian Women In Music Awards, Canberra International Music Festival, and the Australian Art Orchestra. In her twenty-year career she has established herself as a genre-defying performer and composer. Jess collaborates as an improviser across jazz, new music and contemporary classical. She has performed with jazz and blues luminaries including The catholics, Jim Conway and Renee Geyer, contemporary artists Laura Jean, Katie Noonan and Georgia Mooney and supported international artists including Joan as Policewoman (US) and The New Pornographers (CAN). In 2024 she was appointed program leader for Sydney Conservatorium’s Equity in Jazz Program, which promotes gender equity in jazz.
""Jazz fans will be impressed by a variety of stand-out solos from Green" "
The Australian
Shakti Spirit is an Indian Jazz collaboration formed in 2024 celebrating female creativity through the shared joy of improvised music-making. This collaboration transcends music, offering a celebratory experience of cultural exchange. The focus is on meeting points between South Indian (Carnatic) and jazz.
The project features compositions by Nadhamuni Gayatri Bharat and Sandy Evans. The music includes works with poetry revered female Indian mystic saints such as Andal and Venibai.
The music encompasses deep emotional expression, virtuosic Indian singing, stunning percussion playing and unique interaction with electric guitar. Along with Gayatri’s mystical voice and Evans’ powerful tone, is an ensemble of extraordinary talent.
"...a celebration of the human experience, filtered through the lens of a rich, cultural tapestry."
Indianlink
Praised as a “percussion wizard”, Pirashanna Thevarajah is recognized by the world music and Indian classical community for his great command over his instruments of choice, as well as the art of Indian spoken rhythm, Konnakol.
After years of studying and performing his art with his guru Sri M Balachandar, Pandit Ravi Shankar invited him to perform in the “Concert for George” at the Royal Albert Hall in 2002 alongside artists such as Anoushka Shankar, Eric Clapton, Jeff Lynn, and many others. The concert later became a Grammy-award winning album.
Pirashanna then became an integral ensemble member in Ravi Shankar’s world tours up until his final concerts in India, America, and Europe. To this day he performs and records regularly with Anoushka Shankar, and has appeared on many of her Grammy-nominated albums.
Pirashanna has performed in such prestigious venues and festivals such as the Royal Albert Hall, Royal Festival Hall, Carnegie Hall, Barbican Centre, Sydney Opera House, Vienna Konzerthaus, Salle Pleyel, Hollywood Bowl, Paris Philharmonic, Prague Spring Festival, WOMAD, Glastonbury Festival, and London’s BBC Proms. His collaborations to date include classical and contemporary artists such as Pandit Ravi Shankar, Anoushka Shankar, Mandolin U. Shrinivas, Ustad Amjad Ali Khan, Aruna Sairam, Nitin Sawhney, dancer Akram Khan, Amaan and Ayaan Ali Bangash, Talvin Singh, Karsh Kale, Sydney Symphony Orchestra, Lonodon Philharmonic Orchestra, Paris Philharmonic Orchestra and many others.
Today, from his home in Sydney, Pirashanna’s career echoes his desire to continuously nurture his artistry. He is persistently investigating new sound worlds and opening his mind to different cultures’ musical traditions whilst staying true to his Indian Carnatic heritage.
Shakti Spirit - SBS News Feature
Image gallery
Performance 2 November 2024 as part of the Sydney Women’s International Jazz Festival. Image credit Shane Rozario.
More information
Introduction
In an enchanting fusion of jazz and Indian classical music, Sandy Evans and Nadhamuni Gayatri Bharath lead the ensemble Shakti Spirit, celebrating female creativity through musical improvisation. Ahead of their performance at the Sydney International Women’s Jazz Festival, we delve into their artistic journey, inspirations, and the magic of cross-cultural collaboration.
Origins of Collaboration
Gayatri, can you share how your collaboration with Sandy began? What drew you to her musical style?
Nadhamuni Gayatri Bharath: Sandy Evans is an internationally renowned saxophonist, composer, and music educator with a profound passion for improvisation and new music. Her deep knowledge of Indian classical music is astounding; she has collaborated with legendary Carnatic musician Guru Karaikkudi Mani and other icons of Indian music. Sharing the stage with her is truly an honor.
Sandy, what was your initial reaction to collaborating with Gayatri, and how do you feel your backgrounds complement each other?
Sandy Evans: I am deeply honoured and inspired to collaborate with Gayatri. She is an incredibly knowledgeable, creative and passionate artist. We both love improvising and composing. It’s very exciting for me to have the opportunity to work with such a wonderful musician as Gayatri. Every note she sings is imbued with beauty and transcendent musical energy. She is so open to exploring how interaction with jazz can work with Carnatic music. This is very exciting for me as I’ve had a long standing interest in this area and am thrilled to be able to develop it further with Gayatri.
Exploring Themes of Female Creativity
Your ensemble, Shakti Spirit, is centered around female creativity. Sandy, why do you think it’s important to celebrate women in music today?
Sandy Evans: Women have been either invisible or undervalued in many music traditions throughout history. When I say invisible I don’t mean that they weren’t creating music, but that their music wasn’t always visible, or considered important to society more broadly. This has often been the case in jazz. Thankfully there is a strong movement worldwide now to change this. It’s extremely important that the lives and expression of women are celebrated and valued. SIMA and SWIJF are playing a very important role in this. Jess green (our wonderful guitarist) is at the centre of change in Sydney at this time in her position as leader of Jazz and Gender Equity in the Jazz department at the Sydney Conservatorium. Many men are also playing an important role in creating change. For example the contribution of our two brilliant and very supportive percussion players Pirahsanna Thevarajah and Prahlad Iyer is very important to our music.
How do the selected mystic poets—Andal and Venibai—reflect this theme in your music?
Nadhamuni Gayatri Bharath: Several remarkable women poet-saints emerged from Tamil Nadu, leaving a significant mark on Tamil literature. One such figure is Andal, known for her profound works like “The Path to Krishna” and “The Sacred Songs of the Lady.” In the latter, she expresses her deep spiritual yearning. Composing one of her key poems in the ancient Carnatic Raga Shanmugapriya was a deeply inspiring endeavor.
Venibai, a widow at just ten, overcame immense personal hardships. She wrote extensively on Lord Rama, and her journey to becoming a spiritual leader was revolutionary. Her songs not only illuminate the path of Hinduism but also inspire a sense of independence and pride among women. I’ve composed one of her songs in the soulful Hindustani Raga Bhatiyar, reflecting her powerful legacy.
Sandy, as an established jazz musician, how do you approach integrating Indian classical elements into your work?
Sandy Evans: That’s a big question and one that I explored in my PhD! A short answer is that every composition, and every interaction with an individual musician, and group of musicians is different. It takes time, perseverance and a willingness and openness from all the musicians to work collaboratively. The musicians in Shakti Spirit exemplify these qualities. Improvisation, love of rhythm and melodic beauty are musical elements we all share, but our understandings of these are very diverse. Adding touches of Western harmonic ideas through the beautiful guitar playing of Jess Green is a special element of this project. Through sharing our knowledge to work harmoniously together we aim to create a beautifully rich palette for listeners to enjoy. The music is different from either jazz or Carnatic music in their traditional settings, but respectful to both, offering new perspectives on very deep, rich musical traditions.
Gayatri, how does your background in Indian classical music influence your vocal improvisation alongside jazz?
Nadhamuni Gayatri Bharath: Indian classical music is ancient and rich in Ragas and Talas, with improvisation at its core. Each performance offers a unique interpretation of a raga, embodying the essence of improvisation in both Carnatic and Hindustani traditions. My musical journey has spanned decades of intensive practice under esteemed masters, blending these traditions with improvisational spirit.
Gayatri, In your view, what role does music play in promoting cultural diversity and understanding among different communities?
Nadhamuni Gayatri Bharath: Music plays a pivotal role in fostering cultural and musical togetherness. Collaboration can only thrive when artists feel confident in their own expertise. Both Carnatic and Hindustani music are vast, offering endless opportunities for sharing with a broader audience. Collaborations unveil the depth and richness of both Indian and jazz traditions.
What do you hope the audience takes away from your performance at the Sydney International Women’s Jazz Festival?
Nadhamuni Gayatri Bharath: A celebration of female musical energy !! Brilliance of two diverse international genres of music!! Audience will come out energized!!
Future Projects
Sandy, How do you see the evolution of Shakti Spirit in the coming years?
Sandy Evans: This is the start of our journey. I’d love to see us record an album, tour the world and keep exploring our musical development and expression together.
Conclusion
As they bridge the worlds of jazz and Indian classical music, Sandy Evans and Nadhamuni Gayatri Bharath not only amplify female voices but also create a rich tapestry of cultural collaboration. Their performance promises to be a vibrant homage to creativity, emotion, and the unifying power of music across diverse narratives
by Bhumika Srihari
Shakti Spirit: “Hindustani Jazzical”
Shakti Spirit’s show at the Women’s Jazz Music Festival is a nuanced blend of Hindustani and jazz influences.
At the Women’s Jazz Music Festival in Sydney recently, Sandy Evans introduced her Indian jazz fusion band Shakti Spirit with a lilting saxophone melody.
We heard it before we saw it, because she wasn’t on stage with the other musicians.
She appeared from the far end of the hall, playing her sax as she walked towards the stage, her entrance subtle yet captivating. It wasn’t flashy in the style of a rock concert, but it was mesmerizing—a mystical, indie-jazz introduction that set the perfect tone for what lay ahead.
Evans was joined by Nadhamuni Gayatri Bharat on vocals, Jess Green on guitar, Lakshmi Narendra on veena, Pirashanna Thevarajah on mridangam and percussion, and Prahlad Iyer on the ghatam. The sheer beauty and emotional weight of their performance left me breathless.
Shakti Spirit’s performance wove together tradition and modernity, with Sandy Evans and Gayatri Bharat as the twin pillars. Evans, an award-winning Australian saxophonist renowned for her numerous Indian jazz collaborations, brought a powerful, almost haunting eerie to the stage. Gayatri’s voice, steeped in the knowledge of raga and the finesse of rhythmic improvisation, commanded the room with ethereal finesse. Their combined artistry echoed through the church like a modern-day invocation of ancient spirits.
Their journey on stage wavered between moments of ecstatic joy and heart-wrenching introspection. Their repertoire featured compositions based on poetry by three revered Indian mystics: Andal, Ammayar, and Venibai. Through each piece, the ensemble brought to life the mystics’ reverence, love, and yearning, underscoring the themes of femininity and resilience with their nuanced blend of Hindustani and jazz influences.
One piece in particular, “The Lullaby,” felt like a transcendent moment. Gayatri’s voice swelled with a sweetness that conjured images of solace and peace, though to me, it felt like the morning after a storm. The stillness of the wind, the smell of damp mud, birds chirping and the sun clearing through the clouds. There was something almost celestial about the way the music filled the church setting of St. Stephen’s Uniting Church, its high notes harmonised with lights that reflected off the stained-glass windows, casting a surreal, bokeh-like effect onto the roof and walls. The church’s gothic architecture, the ethereal lighting, and the waves of sound created a layered, otherworldly atmosphere that was nothing short of magical.
The filmmaker in me began mentally framing scenes, envisioning the music as a soundtrack to stories of hurt, healing, and empowerment. The band’s intricate interplay of instruments captured the depths of human emotion, evoking images of women overcoming pain and emerging as strong, fierce individuals. It was empowering to witness Indian music conveying such profound narratives in a way that felt universal, bridging gaps between cultures and generations.
Throughout the performance, each musician had their moment to shine. There were solos, duets, and seamless transitions where the artists would step forward and recede, creating a tapestry of sound that kept us entranced. The ghatam’s earthy resonance contrasted beautifully with the saxophone’s jazzy flair, and the percussive beats of the mridangam brought a pulsating energy that made it impossible not to bob your head or tap your feet. By the end of the night, the wooden floor vibrated under the audience’s excitement—a communal experience of joy and surrender.
The audience was equally diverse in background and intent.
Alongside the polished spectators were the young musos in black, sporting metal jewellery and exuding an unpretentious assurance in their taste. They seemed at ease, their rhythmic foot-tapping and enthusiastic hoots showing just how much this fusion jazz had resonated with them. Here we were, in Sydney, collectively surrendering to the immersive power of Hindustani classical fused with jazz. If I had to coin a term for it, I’d call it “Hindustani Jazzical.”
Despite a few minor technical drawbacks—occasional high notes from the vocals that edged on jarring due to the volume—the evening was a resounding success. Shakti Spirit’s performance reminded me that Sydney, often thought of as a city chasing trends, has pockets of genuine character where niche artforms can thrive. This event showcased the city’s diversity and underscored the universal appeal of music that transcends boundaries.
In the end, what lingered with me wasn’t just the music, but the emotional journey Shakti Spirit had taken us on. This wasn’t a mere concert; it was a celebration of the human experience, filtered through the lens of a rich, cultural tapestry. In their hands, jazz and Indian classical music voiced perseverance, resilience, and grit.