1. Your forthcoming album, FluteTronics, blends the sounds of various wind instruments, mainly the flute with Electronica. Could you tell our readers about your third album, and the collaborations that define the sound in it?
FluteTronics is very different compared to my previous albums, which relied more on natural sounds. You will see Electronic elements merge with the flute that materialised due to my collaboration with Karsh Kale. When I first approached him, he was very encouraging and said let’s do it! The collaborations in the album lead to fusion with the help of melody that’s not necessarily jugalbandi. Other than Kale, you will also hear rapper Blaaze, violinist Kalyan Sundaram and also, my 15-year-old son Jean Kumar, who will be a part of the first track, Longing.
2. You have created several iconic tunes with your work with AR Rehman (the Bombay film theme, being one of them). What was the working experience with Rahman like?
I have been working with Rehman since the time of Roja. He is very friendly, and what is distinct about him is that he has stayed the same since the beginning, even after receiving international acclaim.
3. What do you feel about the survival of the flute — for how long do you think will it continue to enthrall listeners?
The flute is an identity of Indian music, and will stay forever. Wherever you are, Indians will always recognise and be attached to the flute.
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