Pandit Debashish Bhattacharya occupies a rare space in global music history. He is the first Indian artist inducted into the World Music Hall of Fame. A master of the Hindustani slide guitar, he redefined a Western instrument. He used it to express the depth, discipline, and spirituality of Indian classical music. Born in Kolkata in 1963, he began performing as a child. He later innovated original instruments like the Chaturangui to expand classical expression. His music bridges cultures while remaining rooted in raga tradition. In an exclusive conversation with The Statesman, Pandit Bhattacharya spoke about his nascent days, his transformative journey and the current musical scenario.
Q. You began playing guitar at the age of three and performed on All India Radio at four. What were your earliest memories of music at home, and how did your family shape your music sensibility?
Music was already in my blood. My ancestors were Sanskrit scholars, pandits and performers in royal courts and zamindar households. After the partition, my family came to Kolkata with nothing. One of my maternal ancestors was a great singer of his time. And my father survived through theatre and jatra before finding stability. That struggle, that lineage travelled into me. My parents made immense sacrifices to keep all of us connected to music. I grew up listening to great voices on the radio and watching legends perform live. From a very early age, I was drawn to pure Indian classical music. Since I chose guitar at the age of three, I think I chose a real struggle to make ignorant people understand what the guitar stands for in Indian classical music.
Q. You later trained under Pandit Brij Bhushan Kabra, the pioneer of the Hindustani slide guitar. How did that relationship influence your own work ?
When I went to Kabra ji, I didn’t go as a typical student. I left everything – concerts, income, students, all in Kolkata. I went to Ahmedabad and stayed with him for 10 years. He never allowed me to perform; he just taught. That discipline changed my life. His most important teaching that I felt was the clean tone. It felt as if the sound was coming directly from within. His approach was spiritual and organic. Sometimes he would be asleep while I practised all night in front of him. The technical innovations were my own, but the soul behind them came from his teachings.
Q. You began designing instruments at a very young age. What limitations pushed you towards creating your own?
In India, guitars were being made by copying pictures from Western magazines. Most were instruments with no understanding of the Indian tone. I felt restricted. As a child, when I first made Chaturangui, it became India’s first wooden-bodied slide guitar. Then I added resonating strings, chikari strings and redesigned the body to balance bass, mids and treble acoustically. So no pickup or electrification was needed. This completely changed how the guitar could function in Indian classical music. Even my playing evolved before formal training. When I performed on AIR as a four-year-old, staff guitarists were amazed by how I was producing raga expressions on the instrument. There was no reference point. I believe this comes from what I call the ‘God Particle’. For me, this is a feeling that arrives only when you surrender completely.
Q. You have patented four instruments. How does each serve a distinct musical purpose?
Wherever I heard traditional instruments, be it Sitar, Sarod, Veena, flute or Sarangi, I noted their intricacies. I think this helped me when I created my instruments. My instruments are designed to hold all tonal ranges and allow fluid bar movement to recreate those subtleties. Chaturangui, Gandharvi, and Anandi are wooden-bodied instruments. But Pushpa Veena is unique. It has a top made of animal-skin. It blends six different tones into one. Some may hear Sarangi or Esraj; others may hear Banjo. It depends on cultural listening, and it is much more open to all the continents.
Q. How did you ensure that your work on Western instruments remained authentic to Hindustani classical music?
I wanted to be the most loyal servant of Indian classical music and tradition. I never used ‘delay’ or ‘reverb’. I never electrified the instrument. I learned western music, collaborated globally and performed many genres. But everything I created served Indian classical tradition. My aim was to present its richness to the world through a new voice.
Q. Your collaboration with John McLaughlin has bridged raga with Jazz and world music. What makes such dialogues successful without diluting the core?
Music has geography, just like countries. Melodies have borders. Where one melody ends, and another begins, that’s the meeting point. Take Charukesi, it corresponds to Mixolydian b6 (flat sixth) in Western theory. When musicians understand these meeting points, dialogue becomes natural. I have created compositions at these ‘border check-posts.’ For example, celtic music carries strong Bageshree emotions. When we realised that, the exchange became effortless. For these kinds of experiments, you need to travel, live with people and feel their culture. I have stayed in strangers’ homes across continents. Music creates trust beyond language.
Q. Among your many collaborations, which challenged you the most?
Playing with Jerry Douglas, Bob Rossman, and Derek Trucks was wonderful. But ‘Remember Shakti’ challenged me deeply. I had grown up listening to Vikku Vinayakram, Zakir Hussain, and John McLaughlin. Sitting on stage with them was overwhelming. On stage, you either show off or learn. I chose to learn. Those moments were challenging, humbling, but also the sweetest of my life.
Q. As the first Indian artist inducted into the World Music Hall of Fame, what does this milestone mean to you?
Honestly, I feel I have completed only 10-15 per cent of my vision. Today, instrumental music still struggles for support, especially in India. Living abroad would have been easier, but my bond with Kolkata kept me here. I feel I still have time, and I will do more world music collaborations in future. I never worked for awards. I followed the path of seeking the best musicians to learn from or collaborate with. If the Hall of Fame recognised that humble service, I am grateful. But my work is not finished.
Q. Where does instrumental music stand in today’s classical music scene?
Originally, Indian classical music lived in temples and communities. It became ‘classical’ in courts. Over time, patronage collapsed. Today, vocal music still dominates because people connect with lyrics. Instrumentalists are often sidelined to non-prime slots. I think instrumental music needs to be emphasised more. Every instrument has a voice. If that voice is missing, it is not the instrument’s fault; it is the artist’s responsibility.
Q. Do classical musicians today have enough platforms?
People pay heavily for contemporary concerts but expect classical music for free. They look for free passes in classical concerts. That mindset must change. Classical concerts should never be free. We must value our art. Still, the situation is improving. In Maharashtra, South India, even in the suburbs, audiences are returning. Change is slow, but it is happening.
Q. How are you passing on your knowledge to the next generation?
I run the Bhattacharya School of Universal Music. This institute was founded in 2004 in memory of my father. Students from different socio-economic backgrounds come here. Some stay with me, others learn online. I have students from the age eight to 80.
For senior students or working people, I tell them that out of 24 hours, spend just 2.4 hours on your passion. My advice is to keep on practising, because it is the key. For young artists, I would suggest that they should motivate themselves through practice, learning and listening. They should enjoy the journey. Learning itself is the most beautiful stage.