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 wo traditions co-exist in India, that of the North (Hindustani) and of the South (Carnatic). They share the same basic systems but differ greatly in the instruments used, by the Ragas played, and by the concept of musical expression. Mastery of both traditions is not only rare but gives K. Sridhar's music a universality that is both profound and illuminating.

From infancy, K. Sridhar was initiated into the highly structured and precise training of the Carnatic tradition by his mother, a renowned vocalist in her time.  He often accompanied her when she sang for many of India’s great sages and saints.  He descends from fourteen generations of temple musicians including the saintly Narasimha Bhagavatar of Tanjore.  Within the temple complex there were Sama Vedic priests known as udgatris who would chant at prescribed times throughout the day to accompany the daily worship of the presiding God.  Another group of priests known as audiyars would accompany this chanting with song.  The essence of this audiyar sangeetam (temple music) forms the basis of modern day Carnatic classical music.  Thus, it is steeped in a rich tradition requiring a high degree of discipline, focus, and tonal purity.

At the age of five, K. Sridhar began his training on the sarod under the guidance of Z.M. Dagar, an internationally known lineage bearer of the traditionally classical and devotional Dhrupad style within Hindustani music.  Interpretation of Dhrupad music instrumentally is not the same as a vocal interpretation.  K. Sridhar learned to stretch the limitations of plucked strings and allow one of the world’s most complex instruments - the sarod - full range of its expressive voice.  His study of Hindustani music was long, rigorous, and challenging.  It was a training designed to prepare him for a lifetime spent as a creator of music, not just as a technician of an instrument.  This form of mentorship has all but disappeared from India today.

At the age of 12, K. Sridhar became the youngest member ever of Ravi Shankar's orchestral group and started performing solo at an early age. At 25 he was granted the honorary title of Sur Mani (Sky Jewel) at the famous Kal-Ke-Kalakar festival in Bombay. At present, he is a senior most disciple of Z.M. Dagar and the only one performing in the West today. Deeply influenced by Ali Akar Khan as well as Ravi Shankar, K. Sridhar has woven together from all these influences a universally appealing sound.

K. Sridhar started touring out of India in 1982 and has given hundreds of concerts worldwide. During the 1980's in Europe he often performed in the more traditional Dhrupad manner with pakhawaj player Arjun Shejwal. Starting in 1987 he toured internationally numerous times under the auspices of W.O.M.A.D., often as part of a jugalbandhi (duet) with Carnatic violinist K. Shivakumar along with tabla and mridangam accompaniment. Two of these jugalbhandi concerts are featured on a CD by Peter Gabriel's RealWorld label entitled "Shringar."

K. Sridhar has made 13 recordings on both European, Middle Eastern, and American labels. He has forged exciting links with musicians of various disciplines: Arabic, African, jazz, flamenco, Persian and European classical. His musical fluency is revealed by his compositions on the "Arabandi: East Meets East" CD where the sarod is played in a similar manner to the Arabic oud. As a composer, he has provided numerous soundtracks for film including the French film, "Pondicherry: juste avant l'oubli" which won the prestigious Jean Vigo Award in 1988.

Enriching the repertoire of classical Indian music has been another focus of K. Sridhar. On his "Food For the Soul" CD he plays a Carnatic raga in the Hindustani manner, thus bridging the divide between North and South. His mastery of both traditions also allows for a variety of accompaniment that knowledgeable audiences find exciting. When accompanied by pakhawaj, he plays Dhrupad in the beenkaar (rudra veena) style on the sarod. When accompanied by tabla, he plays the Hindustani style of sarod music inspired by Ali Akbar Khan. When accompanied by mridangam, he plays a Carnatic pallavi on the sarod which is similar to a Hindustani gat.

K. Sridhar has conducted seminars on Indian music in the USA, France, Singapore and Mexico. Students from all kinds of musical traditions find benefit from his instruction on the art of improvisation as well as the art of creating. Presently he divides his time between the USA, Europe, and India primarily as a performing artist.

Critics from around the globe have received K. Sridhar's music with acclaim. He has toured such diverse locales as Australia, Canada, France, Germany, Hong Kong, India, Israel, Italy, Japan, Malaysia, Mexico, Scandinavia, Singapore, Spain, Taiwan, the UK and USA. He has been featured on British, Irish, and French TV as well as American, Danish, Swedish, and Mexican radio.

K. Sridhar received a separate form of training from his sufi guru. It is to him that he gives credit for lending the music a quality described as "an aspiration towards spiritual bliss." With rare intensity, the music of K. Sridhar offers to all listeners an opportunity to merge into a world of divine sound.

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 K. Sridhar's music ...