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> Sitar and Tabla in Leicester, Tabla and Sitar in Leicester
Our Sitar and Tabla musicians based in Leicester cover other areas such as Birmingham, Nottingham, Manchester as well as London. Sitar and Tabla is very popular for Indian Weddings, Bollywood Themed Events or Indian Classical Themed Events. Sitar and Tabla is booked for 3 hours, and includes a PA system. Sitar and Tabla can also be accompanied with flute. Venues we have performed at in Leicester include The Empire
> Sitar and Tabla in Birmingham
Our Sitar and Tabla musicians providing Live Asian Music based in Birmingham cover other areas such as Leicester, Nottingham, Manchester as well as London. Sitar and Tabla is very popular for Indian Weddings, Bollywood Themed Events or Indian Classical Themed Events. Venues we have performed at in and around Birmingham include St Johns Hotel, Solihull,
> Sitar Music
Sitar in jazz The history of the sitar in jazz, that is the fusion of the sounds of Indian Classical music with Western jazz, dates back from the late-1950s or early-1960s when musicians trained in Indian Classical music such as Ravi Shankar started collaborating with jazz musicians such as Tony Scott and Bud Shank. Later jazz recordings containing sitar music include albums by Miles Davis, John Coltrane, Yusef Lateef, Joe Harriott (in collaboration with composer John Mayer), and Ornette Coleman. Contents [hide] 1 Early uses of the Sitar in Jazz 2 Collin Walcott 3 Nishat Khan 4 Andrew Cheshire 5 Comparative View of Jazz and Indian Classical Music 6 Discography 7 References 8 See also [edit]Early uses of the Sitar in Jazz Although music based around the sitar would later spread from jazz to more popular music via The Beatles, the sitar became more widely known in the western world mainly through the work of Indian musicians such as Pandit Ravi Shankar, beginning in the late 1950s. From there it was taken up by jazz musicians and would later became a youth phenomenon in the mid-1960s after Beatle George Harrison took lessons from Shankar and played sitar on several songs. The first recorded collaboration between Indian and Jazz musicians occurred in 1961 with Ravi Shankar and a group led by the West Coast American saxophonist/flautist Bud Shank. Their album entitled Improvisations only features one track, \"Improvisations on the theme music from Pather Panchali,\" in which Ravi Shankar and the Western musicians play together. The track is remarkable for little else; it is simply Western film music with the sitar playing the melody. However, it is interesting to note that this session, and that of film composer Shankar Jaikishan (1968), were connected the film industry, for Indian film music surely contributes the most considerable corpus of music that combines Indian and Western musics. However, Ravi Shankar is an important figure with regards to Jazz because it was primarily through his music that John Coltrane and others became aware of Indian music. Tony Scott recorded a track entitled \"Portrait of Ravi\" on his Dedications album, as early as 1957. Coltrane met Shankar in 1965 after a long period of mutual admiration and letter writing (Thomas 1975:199). Coltrane\'s name is inextricably linked to the emergence of modal Jazz in 1958 on Miles Davis\' album Milestones and it is believed that modal Jazz was inspired by Indian music. Indian influence is an important issue in the later music of Coltrane such as the album Kulu Sé Mama (1965) and also of musicians such as Yusef Lateef and Ornette Coleman. [edit]Collin Walcott In America, the profile of the sitar in Jazz was maintained by Collin Walcott (b. New York 1945; d. Madgeburg, Germany 1984). After graduating from Indiana University in 1967, where his major study was percussion, he travelled to Los Angeles to study sitar with Ravi Shankar and tabla with Alla Rakha, then the most famous tabla player in the West (Kernfield 1988:588). The most significant corpus of his output was with the groups Oregon, Codona and his own quartet, despite a prolific career as a sideman for players such as Miles Davis and Egberto Gismonti. Walcott was heavily influenced by John Coltrane\'s Quartet (Cook & Morton 1992) Walcott, like Mayer, is musically bi-lingual which helps to explain why the Indian and Western aspects of his musics fit together far more comfortably than previous experiments. Whilst Mayer acted as a bridge between musicians of two cultures, Walcott, like Coltrane, absorbed the Indian music and assimilated it within his own music. His quartet consisted of other American musicians so that the feeling of empathy between the musicians, which is a pre-requisite of good group improvisation, is maintained. Walcott created a sitar technique which is not found in Indian music. This involves stopping more than one string to create harmonies, usually thirds. However, the effect of this technique is so limited, that it cannot really be considered as anything more substantial than a curiosity. [edit]Nishat Khan The more recent excursion of the sitar into Jazz is that of the sitar player Nishat Khan who is highly regarded as an Indian Classical player. His first experience of playing with a jazz musician was a trio with the guitarist John McLaughlin who has been collaborating with Indian musicians since the mid-seventies with groups such as Shakti. In the Nineties, Nishat Khan was working on his own Jazz project. He rehearsed with American alto saxophonist Steve Coleman and recorded with a band which consisted of Django Bates (keyboards), Mark Mondesir (electric bass), Martin France (drums), and two drummers from Africa. The group did not perform in public, and the recording was not released. [edit]Andrew Cheshire In 2006, Andrew Cheshire released Silent Trees Falling, an album composed solely of electric sitar in a mostly trio setting. Widely regarded as an unheralded master of jazz guitar, Cheshire combined raw jazz improvisation with an eastern flavored vocabulary resulting in a record that captures the spontaneity of jazz coupled with the sonority of the far east. [edit]Comparative View of Jazz and Indian Classical Music Indian music is the greatest tradition of improvisation in the East. Therefore it is unsurprising that Jazz musicians, which have become the greatest exponents of improvisation in the West, have developed a certain fascination for Indian musicians and vice versa. Coltrane was fascinated by Indian music. Keith Jarrett returned to improvised music, after a phase of playing entirely Western Classical music, on hearing a concert of Indian Classical music which he claims was \"a reminder that what I was doing was not music\" (in Carr 1991:157). This statement reveals that to Jarrett, who is primarily a Jazz musician, Indian music contains something intrinsic to his conception of music that does not exist in Western Classical music. Both Jazz and Indian music are commonly described as improvised music but in fact, composition is integral to both arts. Compositions are used mainly as a springboard for improvisation and would probably account for about a tenth of a performance in both traditions. One of the functions of the composition is to define the structure upon which the improvisation is based. In Indian music, the gat is always played at the beginning of the final portion of an exposition of a rag by the soloist and from this, the tabla player is expected to join in. It is not uncommon for the tabla to have not been told what the tal or what tempo is to be used and would be expected to derive this information from the gat which he may not have heard before. If the soloist wishes to change to a new tal or tempo (other than by acceleration) it is signalled by playing a different gat. The presentation of the two main instruments in jugalbandi (duet) has become common both in India and outside. What happens in Jugalbandi is not unlike the organisation of collective improvisation in jazz, in the sense that the musicians come together in the precomposed song or whatever the basis of the piece, and otherwise take it in turns to improvise in a spirit both of cooperation and friendly cooperation (Sorrell 1989:2). In Jazz, the structure of the improvisation is most usually defined by the \'head\' which normally comprises a melody and a harmonic structure, but could contain more or less structural information such as changes of feel e.g. from swing to salsa, or changes of tempo or meter. The standard form of a jazz performance would start with the `head\' which might be 32 bars long. Then, the musicians would take it in turn to improvise over this cyclic structure. The performance ends with a recapitulation of the \'head\'. Improvisations in both musics take place within cyclic frameworks, with the notable exception of free jazz which consciously eschews predetermined structures. The ability to learn to use these frameworks to assist and inspire improvisation is really the essence of both art forms. Being able to maintain one\'s place in the tal is precisely analogous to \'keeping the form\' in Jazz playing. In fact, there are distinct similarities between the Sam (first beat) of the tal and \'top of the form\', the first beat of repeating structure, in Jazz. The special feature of the Sam is that phrases either start or end on it, reinforcing the notion that the tal is a \'circular\' structure. Whilst there is no such formalisation in Jazz of the `top of the form\', there is no doubt that musicians often use the `top of the form\' as the point of maximum release of tension.
> Sitar and Tabla in London

Sitar and Tabla players based in London, are very popular for Indian Themed Entertainment.

Our Sitar and Tabla Duo in London have played at many venues in London to include Beaumont House, Hilton Park Lane, Radisson Edwardian and Grosvenor House Hotel to mention a few.

Contact us on or 07775 791573

Other areas such as Birmingham, Nottingham, Manchester, Leicester, Cardiff, Leeds, Newcastle, Glasgow, Edinburgh and Essex

Sitar and Tabla is very popular for Indian Weddings, Bollywood Themed Events or Indian Classical Themed Events.

Sitar and Tabla is booked for 3 hours, and includes a PA system.

Sitar and Tabla can also be accompanied with flute.

> Sitar Players in UK

Laghan Entertainment provide Sitar and Tabla players throughout the UK. Contact us on or 07775 791573.

Sitar Music originates from India, there are many famous Sitar players.

A \"Who’s Who\" of Famous Sitar Players

As any musician or fan will tell you, the music of the sitar is truly unique. Quite simply, sitar music can enrich any tune or piece. But while sitar music is easy to enjoy, it’s not so easy to master. In fact, sitar playing can stump even the most skilled musicians. If someone can play the sitar, they’ve accomplished a valuable musical feat!

An Overview of Famous Sitar Players When it comes to influential and famous sitar players, most are of Indian and Middle Eastern descent. This is only natural, as sitar music is a hallmark of these regions. One of the most famous sitar players is Ravi Shankar. A noted classical musician, Shankar even made appearances at non-classical events, such as the original Woodstock and 1967’s Monterey Pop Festival! However, it was his close friendship with the “Quiet Beatle,” George Harrison and his bandmates that really helped to popularize sitar music worldwide.

Such memorable tunes as “The Inner Light,” “Love You To,” Norwegian Wood (This Bird Has Flown),” as well as much of the Sgt. Pepper’s Lonely Hearts Club Band album, prominently spotlight sitar music. To get a real flavor for the world of sitar music, click on Here, you’ll find a wide array of famous sitar players that have achieved respect, success and fame among their musical peers and music fans. Here are just a few:

Pandit Nikhil Banerjee – a child prodigy revered as one of the 20th Century’s greatest traditional sitarists. Anjan Chattopadhyay – a leader in India’s classical music community. Annapurna Devi – one of the most accomplished and famous sitar players, she became a renowned sitar instructor. She was also Ravi Shankar’s wife.

Lowell George – the lead vocalist in the band Little Feat, he was a highly skilled guitarist and famous sitar player. Al Gromer Khan – a famous sitar player from Germany. He plays world, ambient, new age and electronic music.

George Harrison – lead guitarist for the Beatles and Traveling Wilburys, as well as a best-selling solo artist. He was one of the world’s most famous sitar players, and was a devoted to Indian music and culture, in general.

Justin Hayward – the singer, guitarist and composer for the Moody Blues

Brian Jones – Rolling Stones co-founder, guitarist and multi-instrumentalist. Inspired by George Harrison, he was an accomplished, famous sitar player.. His sitar playing appeared on “Paint It Black” and “Street Fighting Man.”

The Khan Family – this multi-talented musical family comprises some of the most exceptional and famous sitar players in the world. They include: Kirit Khan, Chhote Rahimat Khan, Enayat Khan, Hidayat Khan, Imdad Khan, Imrat Khan, Irshad Khan, Nishat Khan, Shafaatullah Khan, Shujaat Husain Khan, Vilayat Khan, and Wahid Khan. Gabby La La – a vocalist and famous sitar player, this talented multi-instrumentalist is equally skilled on the ukulele, accordion and theremin. A popular solo artist, she’s played with Les Claypool and other artists, as well.

Ustad Shahid Parvez Khan – a member of the Khan family of famous sitar players, he is renowned for pushing the boundaries of sitar music. Prem Joshua – a German sitarist, this multi-instrumentalist blends Eastern and Western musical influences. Reenat Fauzia – considered one of the best female sitarists. This famous sitar player is a renowned sitar instructor and Bangladeshi celebrity. She’s released several critically hailed albums, as well.

Emily Robison – founding member, vocalist, songwriter and multi-instrumentalist with the Dixie Chicks. Robinson is skilled on many stringed instruments, including the sitar, banjo, dobro, guitar, and mandolin.

Anoushka Shankar – the daughter of Ravi, she’s a talented and famous sitar player and composer. Ronnie Wood – guitarist and bassist for the Rolling Stones, Wood’s also an accomplished and famous sitar player.

Laghan Entertainment provide Sitar and Tabla players all over the UK, to include major cities, such as London, Birmingham, Manchester, Leeds, Newcastle as well as Glasgow and Edinburgh.

All our musicians have over 15 years experience, they come dressed traditionally and have their own PA system. Our musicians are booked for around 3 hours.

> Sitar and Tabla in Leeds
Sitar and Tabla in Leeds, Bradford, Huddersfield, Sheffield 07775 791573

We have provided Sitar and Tabla at prestigious hotels in and around Yorkshire.

> Sitar and Tabla in Southampton
Sitar and Tabla in Southampton Tabla and Sitar in Southampton Tabla players in Southampton Sitar and Tabla players in Southampton Sitar and Tabla for hire indian wedding musicians indian classical musicians
> Sitar and Tabla for Asian Wedding
Sitar and Tabla for Asian Wedding Solo Sitar and Sarod Players - Duets with Tabla, Sarod, Tanpura - Singers with Sitar, Tabla, Tanpura - Complete Bollywood bands The Sitar is a long necked string instrument played in North Indian classical music, film music from India, and Western fusion music. This instrument belongs to the lute class of chordophones. Ravi Shankar has popularized this instrument around the world. It has three to four playing strings and three to four drone strings. The drone strings are almost never played but they vibrate whenever the corresponding note is sounds. The playing strings are plucked with a wire finger plectrum called mizrab usually with the right hand. These melodic playing strings are pulled by the player usually with the left hand to make the pitch slide. The fingers touch these melodic strings between the frets. The frets are metal rods bent into crescents and are movable so that the scale can be altered. There are also a series of sympathetic strings lying under the frets. The total number of melodic playing strings, drone strings, and sympathetic strings is usually 17. The main resonator, located at the bottom of the instrument, is usually made of a gourd, and there is sometimes an additional resonator attached to the top end of the neck. Used in Northern Indian Classical Music. Set of two drums played by hand. The larger drum usually made of copper or clay is called a Bayan, and the smaller drum is called a Tabla. The set is referred to as a Tabla Set. Two of my favorite players are Zakir Hussein and Trilok Gurtu. The heads on these drums are usually made of goat skin. The heads have three distinct parts and is able to produce a variety of separate tones depending on how and where it is struck. The main head which is stretched across the drum is the Sur or maidan, a ring of skin (on top of the Sur) around the outer edge of the head is called the Kinar or kani, and the round black circle is called the Gab. The Gab is made of iron filings and rice paste which is constructed of circular layers decreasing in size. In addition, the pitch of the Bayan is typically modulated by pressure from the wrist.One of the most interesting aspects of tabla music is the use of bols (syllables) which represent specific strokes. This enables players of tabla music to recite entire compositions or short excercises to each other. Consequently, the music has been passed down as an oral tradition and only in this century have written compositions using thes bols become generally available. On the smaller drum (tabla) the stroke \"ta\" is most often used for a stroke on the outer edge which produces a ringing or open tone. The stroke \"Ge\" on the larger drum (bayan) is also an open tone. \"Dha\" is the bol used when \"Ta\" and \"Ge\" are played at the same time. The tabla is tuned by adjusting the tension on the head using leather straps and wooden pegs. They can easily fall out of tune during a performance and it is common to see a performer tune the drum (using a hammer on the tabla or the heel of his hand on the bayan) during a piece. The Sarod is much smaller than the Sitar. It sits comfortably in the player’s lap and is leaner and cleaner in sound, without that predominant jangling of sympathetic strings. The Sarod has resonant sympathetic strings, but they are fewer and far less prominent. Still, it’s no less demanding to play. The sound of the Sarod as we know it today is distinctly Indian in character, but it links to the sinewy, muscular style of the Afghan Rabab - a wooden Central Asian lute, covered with skin. For a Sarod player, it’s the tone quality that’s the attraction: the skin makes the sound very human - it’s not wooden. It has flexibility, sensitivity and depth. The sound of the Sarod is dominated by the singing, vocal tone of its melodic strings. Many instrumentalists - including Violinists, Clarinettists, Sarangi and Sitar players - like to compare the sound of their instruments to the human voice. And Sarod players are no exception. One of the principal modifications of the Sarod from the Afghan Rabab is its long metal fingerboard, which allows slides between the melody notes. This is something you can’t do on fretted instruments. This is a big advantage of the Sarod over the Sitar. On the Sitar you have to pull the string sideways to create the slides. And you can’t pull that far - not more than 3 or 4 notes. But on the Sarod you can slide over 7 notes or more, skating up the fingerboard The strings are not plucked with the fingers, but with a java or coconut-shell plectrum. This plectrum can be a hammer or a feather, you can play very loud, or give it just a feather touch, skimming gently across the strings. The range of colours that a player can get out of the instrument is quite incredible and is certainly why it’s found such an important role in classical Indian instrumental music. There are two schools of Sarod playing – one in which the strings are stopped by the fingertips and the other in which the strings are stopped by the finger-nails of the left hand. This is what makes the clear ringing sound and is one of the things that make it rather demanding to play.
> Sitar and Tabla in Leeds Sitar and Tabla booked out for 3 hours playing Bollywood Music and Indian Classical Music. Our Sitar and Tabla musicians have been playing for over 15 years popular for Indian Weddings and Corporate Functions. Sitar and Tabla can be booked out with Flute. For more information please contact us on or 07775 791573
> Sitar and Tabla in Leeds Sitar and Tabla booked out for 3 hours playing Bollywood Music and Indian Classical Music. Our Sitar and Tabla musicians have been playing for over 15 years popular for Indian Weddings and Corporate Functions. Sitar and Tabla can be booked out with Flute. For more information please contact us on or 07775 791573
> Sitar and Tabla in Leeds Sitar and Tabla booked out for 3 hours playing Bollywood Music and Indian Classical Music. Our Sitar and Tabla musicians have been playing for over 15 years popular for Indian Weddings and Corporate Functions. Sitar and Tabla can be booked out with Flute. For more information please contact us on or 07775 791573
> Sitar and Tabla in Essex
Sitar and Tabla in Essex Tabla and Sitar in Essex Flute and Tabla in Essex Indian Wedding Musicians for Hire Indian Classical Musicians for Hire Indian Wedding Entertainment Sitar and Tabla for Hire
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