Album Review—Journey

A Thrilling Encounter of Piano and Kanjira: Exploring a Rare Musical Conversation in Charu Suri’s “Journey”

The first thing that catches our attention in Suri’s “Journey” is its unusual choice of musical partners. The piano and kanjira belong to very different musical traditions, yet here they come together with a naturalness that makes us wonder why this combination has not been explored more often. What could have remained merely an interesting experiment becomes a remarkably engaging musical experience, thanks to the imagination of Suri and the artistry of kanjira virtuoso V. Selvaganesh. The result is a piece that feels innovative without trying too hard to announce its innovation.

From Liszt and Chopin to Indian Ragas

Suri’s journey towards this experiment has an interesting beginning. As a child concert pianist, she performed virtuosic piano etudes by composers such as Liszt and Chopin. This eventually led her to a simple but important question: why were there no piano etudes based on Indian ragas? “Journey” is her first raga-based etude and represents an attempt to respond creatively to that perceived gap. The single is also part of the larger RAGA ETUDES project, scheduled to debut as an album in early 2027.

The Spirit of Charukesi

The choice of Charukesi gives the composition a meaningful foundation. A late-morning raga with a distinctive South Indian heritage, Charukesi carries the interesting quality of being both major and minor in character and is considered auspicious. These qualities make it an intriguing foundation for a work that itself stands between different musical traditions. Here, the raga is not simply transferred to the piano; it becomes part of an exploration of how Indian musical thought can find fresh expression through another musical vocabulary.

When Piano Meets the Humble Kanjira

The most striking aspect of “Journey” is the meeting between the piano and the humble kanjira. With deep roots in the folk and devotional traditions of India, the kanjira eventually found an important place in South Indian Carnatic concert music. Its own journey from a relatively humble frame drum to the concert stage makes its presence in this experiment particularly meaningful.

V. Selvaganesh is an inspired choice for this musical conversation. A kanjira virtuoso who has performed internationally with John McLaughlin’s Shakti ensemble and was under the tutelage of the legendary Zakir Hussain, he brings exceptional command of his instrument. Alongside Suri’s piano, that mastery becomes clearly evident.

Two Masters, Equal Space

Perhaps the greatest strength of “Journey” is the balance between its two principal instruments. The piano and kanjira are given their own space to speak, with neither overpowering the other or taking control of the musical conversation. We are not simply hearing a piano piece with percussion added to it, nor a rhythmic performance with piano accompaniment. Both instruments are allowed to retain their individual identity while contributing equally to the whole.

That balance gives the recording a feeling of mutual respect. The virtuosity is present, but it does not become a competition. Instead, the skills of two masters serve the larger musical idea, making the experiment feel natural rather than forced.

A Meeting of Musical Traditions

The dulcimer contribution of Max ZT adds another texture to this unusual musical landscape, while Siddhant Bhatia’s mixing and mastering bring the recording together. More importantly, “Journey” does not appear to be trying to prove that Indian music and Western classical instrumentation can coexist. It simply allows them to meet.

The piano brings with it the tradition of Western classical music and the language of the etude, while the kanjira carries the rhythmic heritage of South India. Charukesi provides the Indian raga foundation. Together, they create a conversation between musical histories rather than a collision between them.

A Journey That Ends Too Soon

At 6 minutes and 39 seconds, “Journey” gives us enough time to become immersed in this unusual experiment. Yet, almost before we realise it, the journey comes to an end. Interestingly, the ending leaves us not with a feeling that we have heard enough, but with a strong desire to hear more of this kind of musical exploration.

That may be one of the most satisfying qualities of the single. Innovation has little value if it remains merely an intellectual idea. In “Journey”, the unusual concept becomes music that can be experienced and enjoyed. The rare thought of bringing piano and kanjira together has found artists capable of giving it a convincing expression.

Take Away

“Journey” is a reminder that some of the most interesting musical discoveries begin with a simple question and the courage to explore its possibilities. What happens when the piano meets the kanjira? In the hands of Suri and V. Selvaganesh, the answer is not merely a fusion of two instruments but a respectful musical dialogue in which both are allowed to remain themselves.

For listeners who enjoy music that crosses boundaries without losing its identity, “Journey” offers a refreshing experience. It is innovative without becoming gimmicky, rooted without becoming predictable, and accomplished without allowing virtuosity to overshadow the music itself. By the time the journey ends, there is a quiet but powerful desire to hear where this conversation could travel next. Perhaps that is what a true musical journey is meant to do—not simply take us somewhere, but leave us inspired to continue travelling.