Latest / The Bridge by Sammy Chand / July 15, 2026 — “Sammy Interviews Karsh Kale"

Transcript

July 15, 2026 — “Sammy Interviews Karsh Kale" · The Bridge by Sammy Chand

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  Speaker 1: South Asian music and culture can be found.
• 0:03
  Speaker 2: Around the world, and we tracked down the best and
• 0:07
  Speaker 2: presented here for you on Ruckus Avenue Radio.
• 0:15
  Speaker 3: Hey guys, this is Richard Walker. You're listening to The
• 0:18
  Speaker 3: Bridge with Dammi Khan.
• 0:20
  Speaker 4: WHI did actually come on?
• 0:21
  Speaker 5: You're listening to the Bridge only on Ruckus Avenue Radio.
• 0:24
  Speaker 6: Hi, my name is Nilishmustra and you're listening to the
• 0:27
  Speaker 6: Bridge with Sammy chan.
• 0:35
  Speaker 7: Ah.
• 0:37
  Speaker 8: Yeah, we're three hours away from the big game.
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  Speaker 4: I think if you know me, you know what this
• 0:46
  Speaker 4: game means.
• 0:49
  Speaker 8: Got Argentina today, Got a great.
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  Speaker 4: Hour for you today.
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  Speaker 8: I want to thank you all for finding this signal.
• 1:00
  Speaker 8: My name is Sammy Johns and welcome everybody to a
• 1:04
  Speaker 8: July fifteenth edition of The Bridge.
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  Speaker 4: Got a great hour for you today.
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  Speaker 8: We'll be interviewing and we'll have on the show today
• 1:17
  Speaker 8: mister Kersh Calais. And I've had the fine fortune of
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  Speaker 8: following his story for over.
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  Speaker 4: A good couple of decades here.
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  Speaker 8: And a personal pleasure to have him on the show,
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  Speaker 8: for sure, But a story that I've been keeping close
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  Speaker 8: contact with, and he's had a fabulous story and he's
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  Speaker 8: going to be here on the show to share it
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  Speaker 8: all with you. Music producer, Doublo player E Straordinaires.
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  Speaker 4: Gonna be a great hour.
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  Speaker 8: And in three hours ah, the lads play Argentina. Looking
• 2:01
  Speaker 8: forward to that. You're gonna see from my mood tomorrow.
• 2:04
  Speaker 8: I'm gonna play both these shows back to back, one
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  Speaker 8: of the days and cats the mood difference if they lose.
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  Speaker 8: But I have a good feeling about today, got.
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  Speaker 4: A big hour.
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  Speaker 8: As I mentioned to you, kursh Callay stopping by the show.
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  Speaker 8: It's a Wednesday. We've got the Ruckus Avenue Radio all
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  Speaker 8: stars in the house. We'll be joined by Duita da Skupta,
• 2:30
  Speaker 8: who's gonna deliver to you an artist spotlight on the day.
• 2:34
  Speaker 8: And we'll be joined by Doctor Roy who brings us
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  Speaker 8: a daily word on the Avenue right here on the show.
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  Speaker 4: But it's a Wednesday.
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  Speaker 8: Not only do we have the great music lined up
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  Speaker 8: for you, as I say, a suitcase of music, we'll
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  Speaker 8: also key you in on some of my favorites from
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  Speaker 8: Kersh Calais ahead of his appearance right here on the show.
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  Speaker 4: So ladies and gentlemen, fuck your seatbelts and welcome to
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  Speaker 4: the branch. Get ready, I'm.
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  Speaker 9: A king but I bob my say, they come me
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  Speaker 9: are bad man.
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  Speaker 10: That's a good dam.
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  Speaker 9: I'm gonna say, just way back when another man's way.
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  Speaker 9: So I made my mama cry when they made your
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  Speaker 9: heads around, butther forgive me.
• 3:16
  Speaker 4: I can't forgive them.
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  Speaker 10: You know my head streak.
• 3:18
  Speaker 4: You know what I did, what I do now all hours?
• 3:22
  Speaker 7: Heavy is the head.
• 3:23
  Speaker 10: It's a blessing and a curse.
• 3:50
  Speaker 4: The joke up.
• 4:16
  Speaker 7: And then the.
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  Speaker 2: Only calling under the phone's my mom, He's not see
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  Speaker 2: it all. Then the only calling under the phonies my
• 4:28
  Speaker 2: moll He's not he seen it all.
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  Speaker 10: I'm a king, but a bother' mistake.
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  Speaker 7: They're gonna be a bad man.
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  Speaker 9: That's a good good dam, I said, swing back when
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  Speaker 9: I'm of the mess wing. So I make my mama
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  Speaker 9: brow and I make the heads rail.
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  Speaker 8: Heavy.
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  Speaker 4: Is the head heavy?
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  Speaker 3: Is the head heavy?
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  Speaker 4: Is the head?
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  Speaker 10: It's the blessed?
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  Speaker 11: The curse heavy?
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  Speaker 4: Is the head heavy?
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  Speaker 12: Is the head heavy?
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  Speaker 10: Is the head I'm gonna make the word heavy?
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  Speaker 1: Is the head heavy?
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  Speaker 3: Is the head heavy? Is the head?
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  Speaker 4: Old man kind?
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  Speaker 8: Jasmine said, lest shut what's that's there?
• 5:00
  Speaker 4: From the Dunder soundtrack? Right there? And this next song
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  Speaker 4: We've got for you one of my favorites. Man.
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  Speaker 8: I'm render gil just mean ut there had a great
• 5:12
  Speaker 8: time talking to just me and Uf there on this show.
• 5:15
  Speaker 8: Here's the song Coffee for you.
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  Speaker 13: Maybe Jimson, Julia, Gardy, Shineaday come with you Suram.
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  Speaker 10: Lamil inam.
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  Speaker 13: My Tarkio Gardina.
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  Speaker 4: Can do like.
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  Speaker 13: Jamaaina he Garda Lacati soganda.
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  Speaker 10: Puri i kati vic focusing soul.
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  Speaker 4: The song is called Coffee.
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  Speaker 8: I want to give a shout out to Vishnu Vaka
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  Speaker 8: for joining us yesterday on the show. And today, as
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  Speaker 8: I mentioned to you, will be joined by Kersh Kalay
• 7:52
  Speaker 8: and tomorrow we'll be joined by Ammy Virk, the singer
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  Speaker 8: of this song called.
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  Speaker 14: Solid babkay Ye are rely the moondak Um.
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  Speaker 3: Paradoct get th.
• 8:16
  Speaker 14: Ya paradact get three, yaqui kadact get three, My new
• 8:21
  Speaker 14: kind of do manas your the dudact qui part three,
• 8:26
  Speaker 14: yack quick character they leave my doom Manasa the darky
• 8:32
  Speaker 14: act oh Banjos Marina, mar Jock Chick k Is lak
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  Speaker 14: can lic got there, Yama or you think you very welcome?
• 9:02
  Speaker 14: All you turn and eat and yaqui fied act yap
• 9:12
  Speaker 14: that week kadact leave my kind of doom man so
• 9:17
  Speaker 14: d d hidacta then paid act pay ya quick kid
• 9:21
  Speaker 14: actor pay I leave my kind of do mana ya
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  Speaker 14: dark hid actu py Jerry le disipend they jarry perhaps
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  Speaker 14: he does they.
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  Speaker 7: Get what did you did you? What the the jade that.
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  Speaker 14: Sidy we learn and danga on the.
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  Speaker 4: Telling, but only the girl.
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  Speaker 14: Cut there running and because pos.
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  Speaker 4: Would you go, get Yu.
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  Speaker 3: Get Yu week get.
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  Speaker 14: Jacky yaele my.
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  Speaker 8: Emmy vic the song called Solid. We'll be talking to
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  Speaker 8: him tomorrow. Today we'll be talking to karsh Calais. I've
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  Speaker 8: got my questions loaded up. Its gonna be an interesting conversation.
• 10:42
  Speaker 8: Now let's bring in doctor Roy to the show.
• 10:44
  Speaker 15: Hey guys, this is doctor Roy with Today's word on
• 10:46
  Speaker 15: the Avenue. In film and TV news, Bangadishi filmmaker k
• 10:50
  Speaker 15: New Hush Hum Own has emerged as one of Southeasia's
• 10:53
  Speaker 15: most exciting voices in genre cinema, earning international acclaim with
• 10:58
  Speaker 15: his OSCAR qualifying short film backed by executive producers Jordan
• 11:03
  Speaker 15: Peel and riz Emmad and following the success of his
• 11:06
  Speaker 15: award winning anthology Bade Gatashaw Whomyun continues to bring Bangaldeshi
• 11:11
  Speaker 15: storytelling to audiences around the world.
• 11:14
  Speaker 3: In media news, a.
• 11:16
  Speaker 15: Legendary Mumbai institution found itself on the global spotlight as
• 11:20
  Speaker 15: director Christopher Noland, actors Tom Holland and Matt Damon made
• 11:24
  Speaker 15: a surprise stop at the iconic one hundred and eight
• 11:26
  Speaker 15: year old Olympia Coffeehouse of Golaba, Mumbai. The unexpected visit
• 11:30
  Speaker 15: ahead of The Odyssey's release delighted fans and transformed an
• 11:34
  Speaker 15: ordinary evening into a memorable moment, celebrating Mumbai's timeless charm
• 11:38
  Speaker 15: and hospitality. In event news, from teaching English and Borne
• 11:44
  Speaker 15: to racing Ferraris on the international stage, Diana Bundoli has
• 11:48
  Speaker 15: transformed an unexpected opportunity into a groundbreaking motorsport career. As
• 11:53
  Speaker 15: the first Indian woman to compete in the Ferrari Club
• 11:55
  Speaker 15: Challenge Middle East. She has proven that passion, perseverance and
• 11:59
  Speaker 15: determination can redefine what's possible, making history while inspiring a
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  Speaker 15: new generation of women in motorsport. That's it for today's
• 12:07
  Speaker 15: word on the Avenue until next time.
• 12:09
  Speaker 8: Thank you doctor Roy about to pull him Kurseh Cola
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  Speaker 8: into the show. Very special for me, of course, because
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  Speaker 8: I spent a lot of my career in music around
• 12:18
  Speaker 8: the same time Curse started as well, in the late nineties.
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  Speaker 8: So it's gonna be great to talk to him. We'll
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  Speaker 8: pull him in right after this song, right here, the.
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  Speaker 1: True because push me far of hell, the hell that
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  Speaker 1: lit the dark light nothing could see. I was sign outside.
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  Speaker 1: I was waiting your side, I said, of course, for
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  Speaker 1: a lilent live beyond the deceiving silence.
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  Speaker 8: I was.
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  Speaker 7: Sad. I was sailing the light. I'll be bothering me
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  Speaker 7: through the swinging silist a part.
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  Speaker 1: It's full the sky.
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  Speaker 12: I try to listen to the musical nization. We said,
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  Speaker 12: I could do the bridge across the scene.
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  Speaker 8: I have a secrets.
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  Speaker 16: I would haven do.
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  Speaker 4: Where so used to water the silence.
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  Speaker 7: That sweat, same side, that truly close, jealous, how.
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  Speaker 17: Mem real, same chorlode, never find target.
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  Speaker 3: I was on a side.
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  Speaker 1: I was waiting for the right.
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  Speaker 16: I thought about you through a sea of violence, but
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  Speaker 16: you never heard me scream in silence.
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  Speaker 1: I was so talk side.
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  Speaker 12: I was sailing through the night, playing cards at the tubs.
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  Speaker 7: Cheat.
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  Speaker 12: I lost my hand to my headless steep.
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  Speaker 7: Every time I get the music. Who made me wish
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  Speaker 7: and I can build the rich hoss scene.
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  Speaker 12: And the secrets of life.
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  Speaker 7: Where sun is the water of the stabs from.
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  Speaker 4: His head.
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  Speaker 18: I was sore side, I was waiting for a side.
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  Speaker 12: I said a chorus for my hand at the light
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  Speaker 12: to beyond, but deceiping side.
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  Speaker 7: Every time I hear the music when you you shoot
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  Speaker 7: me here make me wish that I could.
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  Speaker 18: Build a bridge ROSSI the secrets of the more light Arman,
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  Speaker 18: secret to a suny s water.
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  Speaker 7: Sid sup sad, love you babing all the time, and
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  Speaker 7: we suit you far.
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  Speaker 1: Butt you in Austin.
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  Speaker 2: One you say.
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  Speaker 8: That a ship let's say let me say by and
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  Speaker 8: ladies and gentlemen, it's the man himself, mister karsh Calais.
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  Speaker 4: How are you, sir?
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  Speaker 3: Hey, I'm doing great, doing great. Thanks for having me.
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  Speaker 4: Yeah, good to have you on.
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  Speaker 8: And uh, I was letting everybody know about the story
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  Speaker 8: of yours and knowing that you and I have a
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  Speaker 8: pretty similar timeline as far as being in America and
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  Speaker 8: working on let's just call it South Asian music at
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  Speaker 8: a time when the industry probably wasn't ready for it.
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  Speaker 8: And as a as an individual, I know myself, I
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  Speaker 8: sometimes think how did. Had we had been doing this
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  Speaker 8: now as opposed to back then, oh my goodness, the
• 18:18
  Speaker 8: world had been would have been so much different. But
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  Speaker 8: then there's also a thought of me that comes across
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  Speaker 8: where I think, no, that that time was perfect for
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  Speaker 8: that struggle, for that for what we were doing at
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  Speaker 8: that time.
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  Speaker 4: You know, where are you on that?
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  Speaker 3: Yeah? I agree, I mean I think that you know,
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  Speaker 3: we had to you know, we were kind of we
• 18:37
  Speaker 3: were all, you know, using a lot of our imagination
• 18:42
  Speaker 3: and you know, and I think the lot comes from isolation,
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  Speaker 3: comes from kind of being on you know, on an island,
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  Speaker 3: you know, and kind of imagining how the rest of
• 18:52
  Speaker 3: the world would react to what it is that you
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  Speaker 3: have to say, you know, and then that's how scenes
• 18:57
  Speaker 3: are built, and you know, and then scenes different cities
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  Speaker 3: connect and when that happens organically, I think that that
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  Speaker 3: calls for the artists themselves to really reach down deep
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  Speaker 3: and create something that you know. That's why this stuff
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  Speaker 3: still you know, it's still relevant today, right, you know,
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  Speaker 3: because the intention behind it wasn't just to catch the
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  Speaker 3: attention of the of those who have raised their hands.
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  Speaker 3: It was you know, a real, you know, artistic pursuit
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  Speaker 3: that people had that, you know, I mean not just us,
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  Speaker 3: I mean all music. But you know, back before social media,
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  Speaker 3: I think, yeah, you know, it was calling for artists
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  Speaker 3: to do a little bit more, you know, I mean
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  Speaker 3: meaning we weren't doing market research on our own stuff,
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  Speaker 3: you know, right.
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  Speaker 4: Is it easier now?
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  Speaker 8: Is it easier for an artist to quote unquote make
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  Speaker 8: it now? Or was it easier back then?
• 19:52
  Speaker 4: I've heard both.
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  Speaker 3: I don't know. I think that that that's a different
• 19:57
  Speaker 3: Artists would have different answers to that. You know, make
• 20:01
  Speaker 3: it means you know, there's being in the industry for
• 20:04
  Speaker 3: a couple of years and you know, doing really well
• 20:06
  Speaker 3: and then disappearing, which is a more common story. But
• 20:10
  Speaker 3: to you know, if by making it, you mean are
• 20:13
  Speaker 3: they going to be around in thirty years. I don't
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  Speaker 3: know if the ecosystem right now is conduce it for
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  Speaker 3: ourtists to create. I mean, I'm not to say that
• 20:24
  Speaker 3: there aren't fantastic articles that deserves, you know, to do that.
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  Speaker 3: I'm just talking about the environment that they have to
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  Speaker 3: kind of navigate. I don't know if it's easier, you know,
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  Speaker 3: I think in certain ways it's it's certainly easier to
• 20:41
  Speaker 3: kind of you know, bypass a lot of the stuff
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  Speaker 3: that we needed that we had to deal with back
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  Speaker 3: in the day, just to get your stuff out there, right, you.
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  Speaker 13: Know, right.
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  Speaker 8: Man, it was a challenge back in the day. We
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  Speaker 8: have to find a distributor, we had to find It
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  Speaker 8: was a whole different world. But yeah, you know, I
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  Speaker 8: I look at your work where you have lived these
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  Speaker 8: two parallel lives in a way where you are this
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  Speaker 8: classically trained musician who does it at the highest level,
• 21:10
  Speaker 8: then you're an electronic producer does it at the highest level.
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  Speaker 8: Is there one or the other that has defined the other?
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  Speaker 8: Or was there one that you did to facilitate the other?
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  Speaker 8: If if you know what I mean, what was what's
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  Speaker 8: your relationship there between the two worlds?
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  Speaker 3: I think, you know, for many years I was you know,
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  Speaker 3: it was never just two things for me. It was
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  Speaker 3: always many things at once. But I always, you know,
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  Speaker 3: when I was playing publa for many years, I played
• 21:42
  Speaker 3: classical couple yeah, and you know, and of course I
• 21:45
  Speaker 3: listened to some fusion stuff, but you know, I kind
• 21:48
  Speaker 3: of stayed in that lane. And you know, as a drummer,
• 21:51
  Speaker 3: I stayed in, you know, the lane that I was
• 21:53
  Speaker 3: comfortable as a drummer, and you know, then, as when
• 21:57
  Speaker 3: I started producing music, I was kind of you know,
• 22:00
  Speaker 3: it was always about you know, kind of improving and
• 22:04
  Speaker 3: getting better at that particular craft. But then at some
• 22:07
  Speaker 3: point all of those doors kind of blew off and
• 22:11
  Speaker 3: I stopped. I think it was also at a point
• 22:15
  Speaker 3: where when I started to put out my own music,
• 22:17
  Speaker 3: and I started to see the reaction from fans, from
• 22:23
  Speaker 3: unexpected fans around the world, from people, you know, from musicians,
• 22:27
  Speaker 3: from classical musicians to musicians of all walks. I started
• 22:31
  Speaker 3: to realize that, like, you know, there's something bigger here
• 22:34
  Speaker 3: than just the equation of if I add my drums
• 22:38
  Speaker 3: to my tabblers and add electronics to that, what is
• 22:41
  Speaker 3: that sound like? You know, there was a much bigger
• 22:45
  Speaker 3: kind of thing at play in my own life, you know,
• 22:48
  Speaker 3: and I mean culturally, musically, artistically. So I think that
• 22:53
  Speaker 3: after a while, I just let all of that go.
• 22:55
  Speaker 3: So now I don't think I never think in terms
• 22:58
  Speaker 3: of genre or style or hey, this is from this guida,
• 23:02
  Speaker 3: from this grana a cubla thing. I it's just what's needed.
• 23:07
  Speaker 3: I think I've done it enough. But certainly put in
• 23:10
  Speaker 3: my ten thousand hours, you know, you know, in each
• 23:14
  Speaker 3: of those fields. So I, you know, I kind of
• 23:17
  Speaker 3: now when I when I make my own music, it's
• 23:20
  Speaker 3: just like lots of colors on the on the palette,
• 23:23
  Speaker 3: you know, and I just get to, like, you know,
• 23:26
  Speaker 3: indulge in being able to kind of jump into one
• 23:30
  Speaker 3: thing and three other things come out at the same time,
• 23:32
  Speaker 3: you know. So it's, uh, yeah, it's I think that's
• 23:36
  Speaker 3: what happens. I think after a while when for for
• 23:39
  Speaker 3: for a lot of artists, you know, I don't think
• 23:41
  Speaker 3: it's I think that's what happens with the stuff that
• 23:43
  Speaker 3: we know. You know, after a while, it all melts together,
• 23:47
  Speaker 3: and you know, we start to be able to say
• 23:49
  Speaker 3: it all in one note.
• 23:51
  Speaker 8: I come across a lot of musicians that play an
• 23:54
  Speaker 8: instrument and they they they'll sit down and will discuss
• 24:00
  Speaker 8: how to kind of further there, further themselves out there.
• 24:05
  Speaker 8: And it may be a classical musician or somebody that
• 24:07
  Speaker 8: has mastery over a particular instrument, and I will and
• 24:12
  Speaker 8: they'll ask me what to do, and I'll point to
• 24:15
  Speaker 8: you and I'll say, ever heard of carsh Calai? And
• 24:19
  Speaker 8: I say that because I feel like you're one of
• 24:22
  Speaker 8: the people, at least around me in a visible way.
• 24:25
  Speaker 8: There are many names, of course, we could do that,
• 24:27
  Speaker 8: but at least around me that did that successfully. There's
• 24:31
  Speaker 8: another person that did that so well that I know
• 24:34
  Speaker 8: that you were inspired by that unfortunately just passed recently.
• 24:38
  Speaker 8: And of course I'm talking about the great Zaker Hussein.
• 24:42
  Speaker 8: What did you learn from somebody like that that you
• 24:46
  Speaker 8: may have applied to your own craft in this way
• 24:48
  Speaker 8: where you know, took your instrument and you know, ambassadored
• 24:54
  Speaker 8: it into many directions. How much of that did you
• 24:57
  Speaker 8: learn from Zakerbay?
• 24:59
  Speaker 3: Oh? Very much so. I mean I think the first
• 25:01
  Speaker 3: kind of permission to even try to start to experiment
• 25:05
  Speaker 3: came from you know, listening to you know, talkt Aby
• 25:09
  Speaker 3: when I was I think about fifteen sixteen. I started
• 25:12
  Speaker 3: listening to shuckte and started listening to a lot of
• 25:16
  Speaker 3: his you know, early seventies fusion experiments, and then of
• 25:22
  Speaker 3: course the stuff he was doing before ECM Records and
• 25:25
  Speaker 3: the stuff he started doing with Bill l as well.
• 25:27
  Speaker 3: So it was you know, and I was still kind
• 25:30
  Speaker 3: of just experimenting and playing with different bands and just
• 25:33
  Speaker 3: seeing what you know, trial and evident, seeing what works,
• 25:37
  Speaker 3: seeing what work. That was where I started building my
• 25:39
  Speaker 3: own electric tublats. But then later on when I started,
• 25:43
  Speaker 3: when I actually joined tub Love Science and I got
• 25:46
  Speaker 3: to spend for five years traveling the world we've talked about.
• 25:49
  Speaker 3: It wasn't about uh, it wasn't about learning more tublat technique.
• 25:55
  Speaker 14: It was.
• 25:57
  Speaker 3: He was really pushing me to use the tabla as
• 26:01
  Speaker 3: one of the voices where where he could see that
• 26:04
  Speaker 3: I was working in multiple, multiple, multiple dimensions, you know,
• 26:07
  Speaker 3: when I was working in you know, whatever I was
• 26:09
  Speaker 3: doing in music, and he could see that very clearly.
• 26:12
  Speaker 3: I mean, he, you know, kind of created that world
• 26:15
  Speaker 3: and kind of laid that runway for any of us
• 26:17
  Speaker 3: to dare to go somewhere else with it, you know,
• 26:22
  Speaker 3: and and and that what I learned is that, you know,
• 26:24
  Speaker 3: it was never about this East West equation. It was
• 26:29
  Speaker 3: people like doctor Bay or to say, Rubbie Shunker, you know,
• 26:33
  Speaker 3: so many people, even someone like Bob Marley. You know,
• 26:36
  Speaker 3: these are men of the world. You know, they they
• 26:38
  Speaker 3: belong everywhere that they go. They're not guests, you know,
• 26:43
  Speaker 3: they speak the language everywhere that they go. And that
• 26:46
  Speaker 3: was something that I learned from traveling with Doccuby is
• 26:49
  Speaker 3: that you know, you don't need to feel like you know,
• 26:52
  Speaker 3: of course, out of the respect for any culture. If
• 26:55
  Speaker 3: you want to if you're interested in something, you should
• 26:57
  Speaker 3: learn about it, you should study it, right, you know.
• 27:00
  Speaker 3: But none of these things were foreign to He wasn't
• 27:04
  Speaker 3: the Indian publa player going and playing with He was
• 27:07
  Speaker 3: a musician who spoke the language of the world, which
• 27:11
  Speaker 3: happened to be through the instrument called the sublu you know.
• 27:14
  Speaker 3: So for me, it was about finding my own equation.
• 27:19
  Speaker 3: You know, there's a there's a line from one of
• 27:21
  Speaker 3: my albums, the first record, just thousand and one designs
• 27:24
  Speaker 3: intertwine which one is your than which one is mine?
• 27:28
  Speaker 3: Which is kind of you know, which is saying that
• 27:30
  Speaker 3: all of us, whatever the fusion equation that we find personally,
• 27:37
  Speaker 3: that's out. That's your own journey, that's your own story,
• 27:41
  Speaker 3: it's your own fingerprints, you know. And I think that
• 27:44
  Speaker 3: that's you know, discovering that over the years has been
• 27:48
  Speaker 3: really inspiring. And Occupy was the one, you know who
• 27:51
  Speaker 3: really gave me the permission to leap, you know. I
• 27:54
  Speaker 3: think until then, I was trying, I was experimenting. I
• 27:57
  Speaker 3: was you know, kind of you know, you know, even
• 28:00
  Speaker 3: if you rocking and rocking the scene and you know,
• 28:03
  Speaker 3: your Friday nights are packed at the club. When you're
• 28:06
  Speaker 3: making music like this, there's a huge world out there
• 28:08
  Speaker 3: that you know, there's there's still you know, the classical world,
• 28:12
  Speaker 3: it was, the performing arts world, there was you know,
• 28:15
  Speaker 3: all of that was, you know, a different world than
• 28:18
  Speaker 3: just you know, just playing my tracks in a club. Right. So,
• 28:22
  Speaker 3: so you know, kind of coming full circle as a musician,
• 28:25
  Speaker 3: as a producer, as a tabla player, as a drummer,
• 28:29
  Speaker 3: you know, and all of those things coming together and
• 28:31
  Speaker 3: me being able to kind of present that in one
• 28:35
  Speaker 3: you know, kind of one hit. That was the thing
• 28:38
  Speaker 3: I learned from.
• 28:40
  Speaker 4: Wow, incredible, Thank you so much for sharing that.
• 28:42
  Speaker 8: I figured it was going to be something intangible, you know,
• 28:45
  Speaker 8: it wasn't going to be something that you would just
• 28:47
  Speaker 8: be able to say, oh, you taught me how to
• 28:49
  Speaker 8: do this with the double.
• 28:50
  Speaker 4: It was not going to be that, right.
• 28:52
  Speaker 19: I mean, of course, there's so many things play that
• 28:55
  Speaker 19: I've taken for let's let's than heat that he taught
• 28:58
  Speaker 19: me directly, but that I watched him, you know, I
• 29:01
  Speaker 19: studied him.
• 29:02
  Speaker 3: I watched videos and went to concerts and you know,
• 29:06
  Speaker 3: I must have whatever video cassettes and things that is
• 29:09
  Speaker 3: playing that I had. I must have watched thousands of times,
• 29:12
  Speaker 3: you know, and just studied the man technique because it wasn't.
• 29:16
  Speaker 4: That he was he was.
• 29:20
  Speaker 3: I could hear languages and what he was playing, you know,
• 29:25
  Speaker 3: even when he was playing a classical piece. So that
• 29:28
  Speaker 3: was what I wanted to learn.
• 29:30
  Speaker 8: Yeah, you're you're uniquely positioned to answer this question for me.
• 29:35
  Speaker 8: And the question is, when you probably started out in
• 29:40
  Speaker 8: New York, everybody was looking to the West for validation.
• 29:45
  Speaker 8: They even the artists in India, they would look to
• 29:48
  Speaker 8: the West and say, Wow, we want.
• 29:51
  Speaker 4: To be like, you know, the West.
• 29:52
  Speaker 8: And at some point over the last several years, I
• 29:56
  Speaker 8: don't know when I'm going to direct this question to you,
• 29:59
  Speaker 8: it's like it became that even people here started to
• 30:03
  Speaker 8: look towards India and started to say, you know, we
• 30:05
  Speaker 8: need to get there, We need to get to India.
• 30:08
  Speaker 4: When did that switch happen? Did it happen, I guess
• 30:12
  Speaker 4: is the first question?
• 30:14
  Speaker 10: Uh?
• 30:14
  Speaker 4: And and if it did, when did it happen?
• 30:16
  Speaker 8: And is there any particular social occurrence that that well
• 30:22
  Speaker 8: I triggered that feeling different.
• 30:24
  Speaker 3: There's been a lot of different reasons in different kinds
• 30:27
  Speaker 3: of I mean, there's the film industry, which is a
• 30:29
  Speaker 3: huge music industry, which has always been a whole different
• 30:33
  Speaker 3: story altogether, you know, and that's how it's Pollywood and
• 30:37
  Speaker 3: you know, but I'd say in the last twenty years,
• 30:41
  Speaker 3: there's it was being the emergence of the independent music
• 30:44
  Speaker 3: state in India. Yeah where yeah, artists, because before then,
• 30:48
  Speaker 3: if you weren't on a film soundtrack, nobody heard it.
• 30:53
  Speaker 3: There wasn't even a word for me. And that word became.
• 30:56
  Speaker 20: Independent, you know in India, and that and the scene
• 31:00
  Speaker 20: now it's like many many festivals all over the country
• 31:05
  Speaker 20: and events happening all through the week in all the
• 31:07
  Speaker 20: major cities, and you know a lot of different opportunities
• 31:10
  Speaker 20: for artists to be seen.
• 31:13
  Speaker 3: And there's a lot of people here. So if you
• 31:15
  Speaker 3: do well in India, you know, your numbers are huge
• 31:18
  Speaker 3: because you know, I populated place. But more than anything,
• 31:23
  Speaker 3: I think it's that that independent music scene which has
• 31:26
  Speaker 3: opened the doors for electronic music artists, for singer songwriters,
• 31:31
  Speaker 3: for you know, heavy metal bands, for so many different
• 31:35
  Speaker 3: creative you know, directions in music that wasn't available to say,
• 31:41
  Speaker 3: you know, definitely not say in nineteen ninety six.
• 31:43
  Speaker 7: Right, right.
• 31:45
  Speaker 8: You know, let's talk about this brand new album just
• 31:50
  Speaker 8: drop Care a couple of weeks back.
• 31:53
  Speaker 4: It's called Dust. And one of the first things that
• 31:56
  Speaker 4: I always do is I always go.
• 31:57
  Speaker 8: Through the titles of the songs in the album and
• 32:00
  Speaker 8: I always try to, you know, piece together something there,
• 32:04
  Speaker 8: and it always paints a picture as far as where
• 32:07
  Speaker 8: an artist is, and I then open up the record
• 32:11
  Speaker 8: or in this case, press play and go through it.
• 32:14
  Speaker 8: I noticed you have some friends on here that have
• 32:16
  Speaker 8: appeared on this show before, Uncle Devari, Sealim Merchant, and
• 32:21
  Speaker 8: some great names like that from our community and so
• 32:23
  Speaker 8: many others. By the way, what was this project like
• 32:26
  Speaker 8: for you? How was this different than the stuff that
• 32:28
  Speaker 8: you had done before? Because to me, I feel like
• 32:31
  Speaker 8: this was a project that I don't want to call
• 32:35
  Speaker 8: it a declaration, but it felt like a declaration to
• 32:38
  Speaker 8: me of an arrival of a new plateau of your career.
• 32:42
  Speaker 8: If you don't mind me saying, so, am I somewhat
• 32:45
  Speaker 8: in the right place?
• 32:46
  Speaker 4: Am I am? My summation of this project for you?
• 32:50
  Speaker 12: Yeah?
• 32:50
  Speaker 3: I guess so. I mean it really started from a
• 32:52
  Speaker 3: very different place. I mean every album I'm done, as
• 32:56
  Speaker 3: there's been some age that's come into street back. I
• 33:00
  Speaker 3: would be you know, signed to a deal, or there
• 33:03
  Speaker 3: would be a budget, you know that I'd be, there'd
• 33:06
  Speaker 3: be a pro, would be a project, whatever it is
• 33:08
  Speaker 3: they would it would start from somewhere. This album started
• 33:11
  Speaker 3: very differently, and it kind of came out of necessity.
• 33:15
  Speaker 3: As a as an artist, I had kind of stopped
• 33:19
  Speaker 3: making music for a while. I was, uh, I just
• 33:22
  Speaker 3: kind of got a little burnt out from the process,
• 33:25
  Speaker 3: and I was doing a lot of you know, there
• 33:27
  Speaker 3: was a lot of work happening, but it was a
• 33:28
  Speaker 3: lot of you know, doing a lot of commercial work
• 33:30
  Speaker 3: and film work and stuff that you know, it wasn't
• 33:33
  Speaker 3: for me. When I make an album, I just immersed
• 33:35
  Speaker 3: myself in the process and I really don't do much
• 33:39
  Speaker 3: of anything else. So you know, if it's a four month,
• 33:42
  Speaker 3: six month process, that's what I'm doing six months. So
• 33:46
  Speaker 3: this particular album, there was no plan to make an album. Actually,
• 33:49
  Speaker 3: I had, uh, I had initially at that time that
• 33:52
  Speaker 3: I'd stopped making music. I had started painting for the
• 33:56
  Speaker 3: first time in my life, and I was, you know,
• 33:59
  Speaker 3: I was and for any reason, but to just kind
• 34:02
  Speaker 3: of get back to some kind of connection to where
• 34:07
  Speaker 3: my creativity or originated from you know, I wanted to reconnect.
• 34:12
  Speaker 3: I felt like the process of making music, in the
• 34:15
  Speaker 3: way things were done and just the stuff that people
• 34:18
  Speaker 3: were asking for, it was just all, I don't know,
• 34:21
  Speaker 3: it was seemed started to seem besides the point. And then,
• 34:25
  Speaker 3: and as simultaneously, things in my life started to really
• 34:28
  Speaker 3: become challenging. There was sicknesses in my family, and I
• 34:34
  Speaker 3: was going through a big breakup from an eight year relationship,
• 34:37
  Speaker 3: and I was shifting homes and my daughter was leaving
• 34:42
  Speaker 3: for college. It was a big, like tectonic shift going
• 34:44
  Speaker 3: on in my life. And I just started to write.
• 34:49
  Speaker 3: I started to write lyrics just in a journal, just
• 34:54
  Speaker 3: in terms of what I was going through at the time,
• 34:56
  Speaker 3: and I started to started to write on pianos and
• 34:59
  Speaker 3: that too. It was like a four month period where
• 35:01
  Speaker 3: I didn't play anything else but piano, and I was
• 35:04
  Speaker 3: coming up with just motifs, you know, not no arrangements
• 35:08
  Speaker 3: or anything like that. And then finally, I you know,
• 35:11
  Speaker 3: speaking to some friends and kind of hitting a bit
• 35:15
  Speaker 3: of a rock bottom moment for myself because I wasn't
• 35:20
  Speaker 3: using you know, what I always did, which was used
• 35:23
  Speaker 3: music as my way of kind of dealing with whatever
• 35:26
  Speaker 3: I was going through at the time that some very
• 35:29
  Speaker 3: close people in my life convinced me that I think
• 35:31
  Speaker 3: the only thing you can do right now is to
• 35:33
  Speaker 3: make an album. So so that's kind of the way
• 35:37
  Speaker 3: this album started. And I just decided to get on
• 35:39
  Speaker 3: a flight fly to New Delhi, where you know, to
• 35:42
  Speaker 3: work with Gard right now for the Medieval Pundits, somebody
• 35:46
  Speaker 3: I've worked with for thirty years. So yeah, just going
• 35:49
  Speaker 3: to like you know, going to friends, you know, like
• 35:51
  Speaker 3: Salem and Garob and Neila Dicari. These were you know,
• 35:55
  Speaker 3: first and foremost close friends of mine who I called
• 35:58
  Speaker 3: and said, hey, I need I need to do this,
• 36:01
  Speaker 3: and so yeah, so the process was very organic and
• 36:04
  Speaker 3: very kind of you know, and I wanted to kind
• 36:07
  Speaker 3: of enjoy the process. I didn't give myself a deadline.
• 36:11
  Speaker 3: So I spent about six months recording with different artists
• 36:16
  Speaker 3: in Bombay and Delhi and go Off and in New York.
• 36:19
  Speaker 21: And then I came back to go Off and spent
• 36:21
  Speaker 21: about four or five months myself and just kind of
• 36:25
  Speaker 21: built up the aesthetic for all of these disparate stories
• 36:30
  Speaker 21: that I was writing.
• 36:31
  Speaker 3: About what I was going through and that's how dust
• 36:33
  Speaker 3: came together.
• 36:35
  Speaker 4: Incredible story. I love that.
• 36:38
  Speaker 8: I love that you had a pretty wide open canvas,
• 36:40
  Speaker 8: no pressure of any timelines.
• 36:42
  Speaker 4: Or budgets or any of those kind of things like that.
• 36:45
  Speaker 3: Yeah, and yeah, you know you one cool thing that
• 36:47
  Speaker 3: happened in the middle of my when after I'd done
• 36:51
  Speaker 3: all those recordings, I was still very kind of floating
• 36:54
  Speaker 3: in a lot of different directions, a lot of voices
• 36:57
  Speaker 3: in my head of like, you know, it should be
• 36:58
  Speaker 3: like this, You've got to do it like that. Remember
• 37:01
  Speaker 3: who you are all that, you know, everything that gets
• 37:04
  Speaker 3: thrown at you, you know, when you have something that's raw,
• 37:07
  Speaker 3: and everything that I was working on was pretty raw
• 37:09
  Speaker 3: at that time. It was you know, it was ambiguous
• 37:12
  Speaker 3: in terms of what what style it was going to be,
• 37:15
  Speaker 3: where it was going to wind up. And then and then,
• 37:18
  Speaker 3: you know, when I came back to go on, I
• 37:19
  Speaker 3: was kind of isolated for a while and I just
• 37:22
  Speaker 3: cut out all of the voices for a minute, just
• 37:25
  Speaker 3: not listening to what's happening right now or anything. And
• 37:28
  Speaker 3: remember that, you know, when I was ten years old,
• 37:31
  Speaker 3: I had the best music taste. The albums that I
• 37:36
  Speaker 3: thought were great are still great now and so I
• 37:40
  Speaker 3: decided to make an album for myself as a ten
• 37:44
  Speaker 3: year old Wow, meaning that was my final Uh, the
• 37:49
  Speaker 3: final judgment was my ten year old self. That kid
• 37:52
  Speaker 3: thought it was cooled. And that's what's on the river.
• 37:56
  Speaker 4: That is so awesome. I if you don't mind me
• 37:58
  Speaker 4: asking you all follow up that really quickly.
• 38:01
  Speaker 8: I know I've kept you on this interview for such
• 38:03
  Speaker 8: a long time, and you've been so gracious and so
• 38:06
  Speaker 8: open with everything.
• 38:08
  Speaker 4: Thank you, Carush.
• 38:10
  Speaker 8: I think everybody that's creative, here's those voices in their head.
• 38:14
  Speaker 8: They're based on expectations of yourself, they're based on other
• 38:18
  Speaker 8: people's perceptions of you. There's so many voices that come
• 38:22
  Speaker 8: into your head. I'm not sure if people that are
• 38:24
  Speaker 8: not in the creative feel really understand that it's you
• 38:28
  Speaker 8: against you in a way. It's like a golfer's thing.
• 38:32
  Speaker 8: You know, it's you against the course, but it's your
• 38:34
  Speaker 8: brain that you're playing against. And especially when you're creative,
• 38:38
  Speaker 8: and especially given what you had gone through in life,
• 38:41
  Speaker 8: there was so much going on in your life there
• 38:44
  Speaker 8: on a personal level, and you know, your daughter going
• 38:46
  Speaker 8: to college and a breakup, and then you turn to music,
• 38:50
  Speaker 8: and then when you turn to this music that you
• 38:52
  Speaker 8: have been doing for all your life.
• 38:54
  Speaker 4: Now you got to hear the voices. How do you
• 38:58
  Speaker 4: battle that?
• 38:59
  Speaker 8: Carsh It's easy for you to just say, you know,
• 39:01
  Speaker 8: I just compartmentalized it, or I just put her aside,
• 39:04
  Speaker 8: or I didn't hear it.
• 39:05
  Speaker 4: But you got to go through that car Yeah, you
• 39:08
  Speaker 4: got what do you do?
• 39:09
  Speaker 3: You can go through it, you know, I think it's
• 39:12
  Speaker 3: like anything. I mean, I went through, like I said that,
• 39:14
  Speaker 3: the six months I spent starting to piece the album together,
• 39:20
  Speaker 3: and you know, there were many songs that didn't make
• 39:23
  Speaker 3: it on the album. But I was very unsure, and
• 39:26
  Speaker 3: I was listening to those voices and I was letting
• 39:28
  Speaker 3: them kind of infiltrate my thoughts. And I think I
• 39:32
  Speaker 3: needed to go through that so that I can come
• 39:34
  Speaker 3: to a conclusion that I don't need to listen to anyone.
• 39:38
  Speaker 3: But you have to know what all those voices are
• 39:40
  Speaker 3: saying in order to be able to push them away.
• 39:42
  Speaker 3: I guess you know, if they're ambiguous and you're kind
• 39:45
  Speaker 3: of like, all right, I'm just going to ignore, then
• 39:48
  Speaker 3: there's a curiosity, you know, like well well maybe I
• 39:51
  Speaker 3: should maybe I should peek over and see what you know,
• 39:54
  Speaker 3: I kind of indulged in it to the point where
• 39:56
  Speaker 3: I wasn't curious at all what anybody else thought because
• 39:59
  Speaker 3: I knew of So now it's just about now I
• 40:03
  Speaker 3: can shut the door and you know, really go inward
• 40:06
  Speaker 3: and and answer those questions and you know, and I
• 40:11
  Speaker 3: think at the end of the day, for me, it
• 40:13
  Speaker 3: is very important that I dig what I've done, you know,
• 40:17
  Speaker 3: and when you listen to a lot of voices, and
• 40:18
  Speaker 3: I've done this so many times in my life that
• 40:21
  Speaker 3: when I listened to the voices, I get it done
• 40:24
  Speaker 3: and it might do well. But when I listened back
• 40:27
  Speaker 3: to it, I'm like, no, that's not that's not getting
• 40:33
  Speaker 3: the way that you know, I would have if I
• 40:35
  Speaker 3: just if I decided the parameters, you know. So that's
• 40:41
  Speaker 3: that was definitely important to me when I was making
• 40:43
  Speaker 3: this record, you know, less less so that then, you know,
• 40:47
  Speaker 3: I got to make something that's going to go viral
• 40:49
  Speaker 3: or I got to you know, or anything like that.
• 40:52
  Speaker 3: I just got to keep my intentions pure. And I've
• 40:56
  Speaker 3: always known that whenever I've done that, it reaches people,
• 41:00
  Speaker 3: you know, and it reaches people in a real way,
• 41:02
  Speaker 3: you know, not just you know, something that becomes popular,
• 41:06
  Speaker 3: but something that helps people, that heals people that you know.
• 41:10
  Speaker 3: I mean, that's what music does for me. I mean,
• 41:12
  Speaker 3: not my own music. I listen to other people's music
• 41:15
  Speaker 3: to do the same thing. So it's kind of you know,
• 41:17
  Speaker 3: I would hope that the music that I'm making played
• 41:20
  Speaker 3: that role for people here, especially for those who need.
• 41:23
  Speaker 4: Yeah, well it does, Brother, it certainly does. I can
• 41:27
  Speaker 4: certify that.
• 41:27
  Speaker 8: And I'm sure our audience came out there as well,
• 41:30
  Speaker 8: cause you've been so awesome to talk to today. This
• 41:33
  Speaker 8: has been such a fun interview for us on the air.
• 41:35
  Speaker 8: I want to thank you for your time today. Before
• 41:38
  Speaker 8: I let you go, I wanted to see if you
• 41:39
  Speaker 8: can introduce the title track from your brand new album
• 41:43
  Speaker 8: called Dust. We love this song Dust, if you don't
• 41:46
  Speaker 8: mind introducing it for us please.
• 41:49
  Speaker 3: All right? Coming up is the title track from my
• 41:52
  Speaker 3: brand new album Dust, which is also called Dust. It
• 41:57
  Speaker 3: was one of the first tracks that I started recording
• 41:59
  Speaker 3: on the album as an instrumental, and it was the
• 42:03
  Speaker 3: very last track that I finished Lyrically, it was definitely
• 42:06
  Speaker 3: the one that I held on to the most and
• 42:09
  Speaker 3: I'm very happy to share it with you guys. Now.
• 42:12
  Speaker 4: Awesome prash. Here's the track, folks, you know.
• 42:43
  Speaker 10: This blood.
• 42:48
  Speaker 7: This time is it costs too too much?
• 42:56
  Speaker 10: The sound fool trends, but the walls much.
• 43:03
  Speaker 4: Too hot to the touch.
• 43:10
  Speaker 16: As the ocean crashes down and the waters begin to
• 43:18
  Speaker 16: the trees. And I will surrender, not be incomplete. The
• 43:26
  Speaker 16: side become the dust, the dust beneath your feet. In
• 44:12
  Speaker 16: the flow, it washes all away.
• 44:21
  Speaker 7: And this way.
• 44:26
  Speaker 22: Time moves slowly, and the arts to shape.
• 44:40
  Speaker 7: In my mind.
• 44:43
  Speaker 4: Revolution and in my mind.
• 44:49
  Speaker 7: Now resolution faded up, faded up, fade.
• 45:02
  Speaker 16: I will surrender, not be complete, the sob becoming a dust,
• 45:15
  Speaker 16: the dust beneath your feet, the evolution, change of heart,
• 46:03
  Speaker 16: you'll disguise it, the get ton.
• 46:07
  Speaker 7: Of part.
• 46:09
  Speaker 10: Fease, battle ways still kick after us.
• 46:16
  Speaker 7: You face it out.
• 46:19
  Speaker 16: I will surrender, not be incomplete. So become the dust,
• 46:32
  Speaker 16: the dust be your feet, Surgraner.
• 47:41
  Speaker 8: It's a title track from Curse Calay's latest album called Dust,
• 47:45
  Speaker 8: featuring Burbayan chatter d Neil Adikarti and Garter of Rana
• 47:50
  Speaker 8: or good Friend from Medieval Pundits. What a great track
• 47:55
  Speaker 8: and I want to give a big shout out to
• 47:57
  Speaker 8: Kursh Calay for stopping by the big program today. I'll
• 48:01
  Speaker 8: share some closing remarks on his appearance in a little
• 48:05
  Speaker 8: bit here. What a great conversation that was. Thank him
• 48:09
  Speaker 8: for being so open man. He's going through a lot
• 48:12
  Speaker 8: in life right there. So well, we'll reflect on this
• 48:14
  Speaker 8: in a little bit. Now, let's bring in our own
• 48:17
  Speaker 8: Doita Dasgupta. Who's got today's artist spotlight for you? What's
• 48:20
  Speaker 8: up Doita?
• 48:21
  Speaker 7: Hi?
• 48:21
  Speaker 4: Everyone, this is Data.
• 48:23
  Speaker 6: You're Rokasavni radio music correspondent. Back with another artist spotlight.
• 48:28
  Speaker 6: Let's talk about Danish Bakji, one of Bollywood's most influential composers,
• 48:32
  Speaker 6: producers and songwriters, a hit maker whose sound has shape
• 48:36
  Speaker 6: modern Indian pop music. Born in Golgata, Danish first broke
• 48:40
  Speaker 6: into Bollywood with songs like Banno and later became known
• 48:43
  Speaker 6: for chart topping tracks including Bolna vema He and global
• 48:47
  Speaker 6: hits like Dilbar and Vasti. Over the years, he's evolved
• 48:51
  Speaker 6: from being known for recreations to earning recognition for original compositions,
• 48:56
  Speaker 6: especially with emotionally driven tracks like the title song of
• 48:59
  Speaker 6: Saiyara in twenty twenty five, which became a major streaming success.
• 49:04
  Speaker 6: In early twenty twenty six, Danish expanded his sound beyond
• 49:07
  Speaker 6: Bollywood with the international single Shohak, a cross cultural collaboration
• 49:12
  Speaker 6: blending Bangla emotion with Afro inspired global pop, marking a
• 49:16
  Speaker 6: meaningful return to his early musical roots in Bangladesh, where
• 49:19
  Speaker 6: his career began. Known for balancing mass appeal with melody
• 49:22
  Speaker 6: driven production, Dunnish continues to dominate playlists and movie soundtracks,
• 49:27
  Speaker 6: proving his versatility as both a mainstream hit maker and
• 49:30
  Speaker 6: a creator exploring new sonic directions. Whether it's romantic ballads,
• 49:35
  Speaker 6: dance anthems, or global collaborations, Spanish Bacchi remains one of
• 49:39
  Speaker 6: the biggest forces shaping South Asian music today.
• 49:42
  Speaker 3: Well that's all for me.
• 49:44
  Speaker 6: Stay tuned for more only on Bruckas Avenue Radio.
• 49:47
  Speaker 4: Thank you so much for sharing that.
• 49:49
  Speaker 8: Deuta Yep today's artist spotlight is one of my favorites
• 49:53
  Speaker 8: out there. His name is Danish Kabaghchi and he's got
• 49:56
  Speaker 8: this song with Hornure and Sreer Goshal called GOI Now.
• 50:00
  Speaker 4: YadA made it.
• 50:01
  Speaker 9: They look at here.
• 50:02
  Speaker 23: Quinapened on the same Quina, So I'm good, okay, I
• 50:09
  Speaker 23: think Kuina.
• 50:14
  Speaker 10: You know, don't you make here?
• 50:16
  Speaker 7: Hell?
• 50:16
  Speaker 5: You know?
• 50:17
  Speaker 4: Bolo is.
• 50:20
  Speaker 3: Lena, you say you.
• 50:22
  Speaker 10: Know I would you say he's sooner?
• 50:24
  Speaker 13: Let that hey company shaky very made Tonio take you
• 50:31
  Speaker 13: to me and.
• 50:33
  Speaker 24: Company sort youself to something solf a self h market
• 50:51
  Speaker 24: to cha.
• 50:56
  Speaker 8: Cha made it okay, got here.
• 50:59
  Speaker 23: Quina Receival on a sep Puina Sandagaye.
• 51:08
  Speaker 11: In looking pink Suina a Kijatajan Pavkin.
• 51:32
  Speaker 24: Nato Sara Giovanni the same puny cat.
• 51:42
  Speaker 7: Bunny.
• 51:43
  Speaker 23: Remember the jersey to mak her what jessey to kyoto
• 51:49
  Speaker 23: jay okay, jesse Ya made the look. Queen Receival went
• 51:57
  Speaker 23: on a sep Guina Sunday. Then you're one again.
• 52:03
  Speaker 24: Keep you be right, sah girl, do you made a
• 52:08
  Speaker 24: hana mah girl leaking?
• 52:17
  Speaker 25: Oh do do mista jess oh meet us up in
• 52:27
  Speaker 25: ages a king and a cana he spa si chuba
• 52:33
  Speaker 25: ke tojako Chupusi my disasa.
• 52:39
  Speaker 8: Made it okay, got here, Kriina.
• 52:43
  Speaker 19: On a fee Quina.
• 52:45
  Speaker 10: A girl one again.
• 52:49
  Speaker 23: Keep.
• 52:51
  Speaker 11: Many gay Sary to skin very day Stinarityanish.
• 53:15
  Speaker 8: Kabakchi the song It's called Kina harn Shrea go. I'm
• 53:22
  Speaker 8: gonna give a big shout out to karsh Klai for
• 53:24
  Speaker 8: stopping by today. Thirty years in this business, folks, and
• 53:28
  Speaker 8: now tell you the rarest thing I've learned to recognize.
• 53:32
  Speaker 8: It isn't talent, because talent is everywhere. It's purity, the
• 53:36
  Speaker 8: artist who makes the thing, because the thing must be
• 53:39
  Speaker 8: made whether or not anyone's watching, whether or not anyone's paying.
• 53:43
  Speaker 8: I've known Kersh Klay for almost twenty five years. We
• 53:47
  Speaker 8: came up in the same era, the first generation of
• 53:49
  Speaker 8: South Asian artists in America, building a sound that didn't
• 53:53
  Speaker 8: have a name yet. And in a quarter century of
• 53:56
  Speaker 8: watching him work, I can tell you Kurse is one
• 53:59
  Speaker 8: of the purest art of our generation. He sat with
• 54:02
  Speaker 8: me today and we talked about Dust, the new album,
• 54:05
  Speaker 8: and the life that came out of because here's the
• 54:08
  Speaker 8: story underneath this record. It was made in one of
• 54:12
  Speaker 8: the most disrupting stretches of his life, separation from the
• 54:16
  Speaker 8: people he loves, illness in his family, a retreat from
• 54:21
  Speaker 8: the music business, as a retreat from the music business itself,
• 54:26
  Speaker 8: no contractual obligation to anyone, and no financial obligation to anyone,
• 54:31
  Speaker 8: the kind of freedom artists dream about, arriving at the
• 54:34
  Speaker 8: exact moment everything else was falling away.
• 54:38
  Speaker 4: What was left was a man.
• 54:40
  Speaker 8: He's piano and his thoughts and the voices. Every artist
• 54:44
  Speaker 8: knows them. It's not a diagnosis. The voices of all
• 54:47
  Speaker 8: things good and all things bad, all talking at the
• 54:51
  Speaker 8: same time, all while you're trying to stay honest with
• 54:54
  Speaker 8: the work that you're trying to come up with. Add
• 54:57
  Speaker 8: grief to that room and the work becomes like a war.
• 55:01
  Speaker 8: Making music isn't about the notes you press like a golfer.
• 55:06
  Speaker 8: It's you versus the course, and the course is the music.
• 55:10
  Speaker 8: What the great ones do is turn that lonely battle
• 55:13
  Speaker 8: into a dialogue you can actually hear in the record.
• 55:17
  Speaker 8: That's what Kersh Khalaid did. He turned inward at the
• 55:20
  Speaker 8: hardest possible time and made the only thing that made sense.
• 55:24
  Speaker 4: And then handed it to us. That's not just an album.
• 55:28
  Speaker 4: That's a declaration of a new arrival personally and I
• 55:33
  Speaker 4: believe musically. Go find dust tonight and when you hear it,
• 55:38
  Speaker 4: remember what it cost. Twenty five years. I've known this
• 55:42
  Speaker 4: man and he's still teaching me what the real thing
• 55:46
  Speaker 4: looks like. See you tomorrow. Everybody something we.
• 55:50
  Speaker 22: All, it's all one thing.
• 55:52
  Speaker 15: We live and for nothing.
• 55:55
  Speaker 10: The struggle, suck him the struggle fin it for more.
• 55:59
  Speaker 5: And more opened the tajo dommai cat show out the lady,
• 56:06
  Speaker 5: then get perty t the pavira levi desho hodia the
• 56:12
  Speaker 5: kilom toronto, How come up the cut the parts nap
• 56:19
  Speaker 5: the sala are chi bardi.
• 56:23
  Speaker 7: And canna mara.
• 56:26
  Speaker 4: Hoy didn't they get you?
• 56:29
  Speaker 5: Why got the doubt your body in.
• 56:34
  Speaker 4: Kna ho and the git your thanking.
• 56:42
  Speaker 5: Look I jumping tom say something or to get the
• 56:53
  Speaker 5: racket in the boot of your care Vina tali chapuke
• 56:58
  Speaker 5: gardenat who when the cutada show.
• 57:04
  Speaker 7: Off the lag.
• 57:06
  Speaker 5: And get very gulliata the levy, the shoe, p levy
• 57:13
  Speaker 5: the shoe, the show adam Jiminus of the javaka hurry
• 57:21
  Speaker 5: then a minuet do hold again their hon again about
• 57:26
  Speaker 5: the cap and hold again. Sorry Gina, who you know?
• 57:33
  Speaker 5: They were just jerking the coulona sorry, and the belo
• 57:38
  Speaker 5: bitar ipec.
• 57:39
  Speaker 4: On the western cat they.
• 57:41
  Speaker 5: Complete the huraday Western complete the faraday the latinia boo.
• 57:47
  Speaker 5: When the turjia dommai cutagada you are the lagdec and
• 57:53
  Speaker 5: get very gulliata the part leaving.
• 57:57
  Speaker 10: The shoes fall.
• 58:00
  Speaker 1: Show you what.
• 58:03
  Speaker 26: Lam boomtore I tresh Jack tack and s slip better
• 58:10
  Speaker 26: ham q Barto Ma Johnny Mary John calla krike the
• 58:19
  Speaker 26: Kurrique Barto in.
• 58:21
  Speaker 10: Industry called Mamori.
• 58:23
  Speaker 17: Mada Mala hmbay, i'm a bettah cans lostock training to
• 58:39
  Speaker 17: play in Maho. Came on the car mister colla mess
• 58:44
  Speaker 17: Jack honey keeper the god ra Kyoto calli delot.
• 58:52
  Speaker 7: He cut like bar Logo market. You are the ling.
• 59:02
  Speaker 4: And get very c.
• 59:06
  Speaker 13: Leve the shoe pack.
• 59:09
  Speaker 7: Love is the shoe.
• 59:11
  Speaker 23: Pocus Leve is the shoe.
• 59:13
  Speaker 7: PoCA Levey the shoe.
• 59:17
  Speaker 2: The show a.
• 59:19
  Speaker 5: Legacy daughter Mary lad Nadi so mad you kissing all
• 59:23
  Speaker 5: compete knocker on the looking to the supern and the
• 59:26
  Speaker 5: picture that you want the.
• 59:28
  Speaker 10: Hustle and not you care. How about Halla.
• 59:31
  Speaker 5: Tanks coming into the Haram Chad will am a pura hected.
• 59:38
  Speaker 7: Very Hu in the lam not going to.
• 59:51
  Speaker 5: Taylor Damma your park gloo