The music of Dhevdhas Nair, in his own words, part four


ancient trees, river walk, Chagford,resized

By Elizabeth Doyle


Dhevdhas Nair is a musician you really have to hear to believe. (You can sample or buy an album here: 


This is Part Four of a four-part interview.


To start at the beginning with Part One, click here


Me: I know that there’s an interesting inspiration behind your album, “Inbetween and passing” related to a small community in South America. I read the album cover, so I’ve cheated. But for everyone else, can you tell us about that and how the tracks on the album relate to it?


He: The track “Gaviotas” on my album was written as a celebration of and in dedication to the people of the town of the same name in Colombia who have shown the world that it is possible to take a region and a people who have been ravaged by the violence and barbarism of the modern world, and turn them round to face the possibility of a humane, sustainable future, meeting the needs that all people everywhere have always had; bread, freedom, dignity, and social justice. They have planted millions of trees, farm organically and use wind and solar power. Every family enjoys free housing, community meals and schooling. There are no weapons, no police, no jail. There is no mayor. The United Nations named the village a model of sustainable development. All this in an area that had all but been destroyed by logging and mining, and where many of the inhabitants had come from drug and violent gang-related conflict situations. I learnt about the place through a friend of mine, the writer Terri Windling, who lives in my village on Dartmoor. She had a visitor from the U.S. one day, Alan Weisman, who had written a book about Gaviotas, and as he described what they had done, I knew that it was important to celebrate their achievements and pass the word on that another world is possible.


temple proc trivandrum boys,resized


Me: Now, these questions are a little more dull in some ways, but I think that everyone likes to know a little basic biographical information about artists they appreciate. So can you tell us a little bit about your background and how you got started playing music?


He: I started piano lessons at the age of 8 by accident! My mum was struggling to survive in London on her own with two children and took advantage of a government funded place for me and my brother at two different boarding schools. After my first term, I came home and said to her, “thanks for the piano lessons!” And she said “what piano lessons?” Apparently I had been given a terms lessons that were meant for someone else! Anyway I carried on. And when I got a Beatles songbook, I found that I could read the music and play just like on the records I knew so well. That was really exciting. By the age of 14 I was playing with bands in North London, rehearsing in a room above Susan’s Music Shop in Chapel Market, at the Angel, Islington. I knew even at that stage that I wanted to play music and I wasn’t really interested in being at school, since it was only slowing my career down. At 18, I left England with a Sudanese bass player friend of mine and lived in Khartoum for a year where my real apprenticeship took place, playing every night in the Blue Nile Club with a fantastic band, “The Heavy Ducks” (!!) We also played for many weddings and functions in the desert around Khartoum, in Omdurman, and Port Sudan on the Red Sea Coast.


Dartmoor mist,resized


I’ve been a full time player ever since. My career as a performer has divided roughly into three phases, African music, Indian music, and Jazz. These days I’m on the road a little less, doing more writing and recording and a bit of teaching piano. I taught on the jazz degree course at Exeter University for four years, and am currently visiting jazz piano teacher at Wells Cathedral School in Somerset, and at Hampton School in Twickenham. I toured with African bands all over Europe and in East and Southern Africa. For two years I lived and worked in Paris, where there was, and still is a thriving African music scene. After studying Indian music I toured with Indian musicians and dance and theatre companies in India and Europe. When I settled in the West Country, I began playing jazz and this took me all over the UK and Europe again, with several radio and TV appearances and participation on an album “Limbic System” with the amazing saxophone player Harry Fulcher, which reached the top ten jazz albums in the UK in 2004.


I have had the good fortune to have grown up with one foot in England, where my father was from, and where I was born, and the other hovering over India and South East Asia, where my mother comes from. I’ve been many times to India and love being there. I’m hoping to spend a lot more time there in the future. It means that I have always had a wider perspective on the world, a chance to see things from many angles, and not get stuck in a Western-centred viewpoint.



To order the album “Inbetween and Passing” by Dhevdhas Nair, if you live outside the UK, go to


In the UK, click here.


UPDATE (March 11, 2018): To listen to Dhevdhas Nair’s beautiful music, go to


Photos: © Dhevdhas Nair

Top photo: Ancient trees, river walk, at Chagford, a little town on the edge of Dartmoor

Second photo: Boys in a temple procession, Trivandrum, Kerala, India

Third photo: View of Dartmoor, early morning




Musical Treasures: Mongolia, India, and China

"Deer stones" in Mongolia

By Elizabeth Doyle

Enkh Jargal

I think Mongolian throat singing is absolutely incredible. For one thing, the sound makes you very glad you’re not on the wrong side of a mob of angry or determined Mongolians many centuries ago.  I think hearing a group of them singing like this in their nearby camps, the night before they planned to raid my land would be enough to make me pack my things and go. But there’s much more to it than that. It really is a powerful sound whose fearsomeness is almost mystical.  And indeed, its origin is exactly that. The nearly inhuman vibrating sound that’s created in the throat is intended to mimic the sounds of nature, and stems from a belief that nature is the ultimate source of power, and a power that can be summoned through sound.  Enkh Jardal was born and raised in a very small village in Ulaanbastar, Mongolia, and studied under the most famous horsefiddler in the country: Click here.

Zakir Hussain

Zakir Hussain

Here’s somebody who may be well on his way toward becoming a legend. He’s an Indian tabla player, he’s from Mumbai, and he’s been blowing a lot of people away with his talent for a pretty long time.  In fact, some people would say that he’s the greatest tabla player in the world.  (Though I’m sure there’s some competition for that title!) He’s very funny and likeable in interviews, and the speed at which he moves his hands is just incredible.  I know that every time I hear him play his instrument, I think, “That seems impossible.”  Of course, it seems somewhat impossible whenever almost anyone plays the tabla – it’s a very difficult-looking instrument. It’s a type of drum, but you have to use all sorts of complicated finger and wrist movements to make it sing. It’s played incredibly fast. But to play it as well as Zakir does seems especially impossible. Here, take a look:

Temple incense burner in China

Min Xiao-Fen

The pipa or Chinese lute has been played in China for more than 2,000 years! It has a distinctive sound that we all instantly associate with the music of China.  It takes tremendous skill to play it well; even the movements of the musician as he or she plays are considered critical to the overall aesthetic.  Min Xiao-Fen is one of the best pipa-players out there.  She was taught by her father, who instructed students at Nanjing University.  And she was such an outstanding pupil that the Nanjing Traditional Music Orchestra invited her to be a soloist when she was just 17 years old.  She played with them for more than ten years. And since then, she has worked hard to introduce this once nearly-strictly-Chinese instrument to the whole world. She astounded an audience at Lincoln Center in New York City by being the first traditional Chinese musician ever to play jazz for them.  She played the music of Thelonious Monk on her pipa!  Here she is playing something much more traditional: Click here.

Top photo: “GAMMA” Agency / Wikimedia Commons / Deer stones, Mount Uushig, in  Mongolia, from around 1200-400 BC.

Second photo: Sven.petersen /  Wikimedia Commons /  Public Domain

Third photo: Sharon St Joan / Temple incense burner, Chengdu, China