
"Music is the Universal Language of Humanity."
INCARNATION WORLD TOUR 2023/24

The legendary band Cosmic Sound, formed by Subhash Dhunoohchand and Anatholi Bulkin, a 90’s Swedish guitarist, will return on stage for a tour until the end of 2024 to celebrate its 30th anniversary.
Subhash Dhunoohchand – tabla (Reunion)
Sangeet Mishra- sarangi (India)
Anatholi Bulkin – guitar (Sweden)
Dominique Skorny - piano (France/Reunion)
Presse/Media
L'incarnation de l'innovation





Biography
Indian, Eastern, Western, African, Cuban or other music, Music is the Universal language of Humanity and we acquire it just as spontaneously as we learn to speak.
The new Cosmic Sound project, a mix of Cuban, Indian and jazz fusion music, Subhash Dhunoohchand offers a collaboration with Swedish guitarist Anatholi Bulkin, the best sarangi player of his generation in India, Sangeet Mishra and Dominique Skorny, the maestro at piano. A captivating encounter that allows musicians to push the limits of their multifaceted musical language even further. Very energetic, originally formed in Sweden in 1993 by Subhash Dhunoohchand following his meeting with the greats of jazz from Scandinavian countries, the group is constantly evolving. Improvisation around a mode, a melody and a rhythm declined endlessly, the nuance makes sense when we know the importance of the theme both in jazz and Indian classical music. They have around a hundred dates to their credit (India, London, Spain, Sweden, Denmark, France, Mauritius etc…).
Subhash's motto is never to stop at the barriers established between styles. The group creates its music by drawing indiscriminately from all music from all over the world, so that each piece constitutes a particular cocktail. Their inspiration thus leads them to sketch a world such as we ultimately encounter it every day: mixed.
Subhash Dhunoohchand, the Maestro of Indian Jazz Fusion on tabla (Reunion)
Subhash Dhunoohchand in Mauritius. From a young age, he showed an early interest in music, inspired by the haunting melodies that floated through the streets of this mosaic island. His parents, recognizing his musical gift, encouraged him to follow his musical path.
Subhash studied Indian classical music and at the same time was exposed to fusion music from his adolescence. His virtuosity on tabla, a North Indian percussion instrument, attracted the attention of his teachers and peers. His desire to fuse the elements of Western jazz with the richness of traditional Indian music was the starting point of his career.
In the early 1990s, Subhash Dhunoohchand founded the band Cosmic Sound with other talented, like-minded musicians in Sweden. The group quickly became pioneers of Indian jazz fusion, exploring rhythms and harmonies to create a unique musical experience. Cosmic Sound has quickly become a respected name in the Indian and international music scene.
Subhash has brought many musical innovations within Cosmic Sound. He experimented with various instruments, from synthesizers to percussion, creating a sound that pushed the boundaries of jazz fusion. The group's original compositions incorporated elements of Indian ragas and complex jazz rhythms, creating a mystical harmony.
Cosmic Sound has conquered stages around the world with incredible performances. The group has played at renowned festivals in India, Mauritius, Reunion Island, England and Europe. Subhash's virtuoso solos on the tabla and his charisma on stage have won the hearts of music fans around the world.
Today, Cosmic Sound celebrates 30 years of existence, marking three decades of innovative music and captivating performances. The band has recorded several critically acclaimed albums and performed at world-renowned festivals. Subhash Dhunoohchand, as a leader, continued to push the boundaries of musical fusion, creating a unique musical legacy.
Despite his many musical achievements, Subhash Dhunoohchand remained humble and dedicated to his art. He has always devoted time to teaching tabla, currently at the Regional Conservatory, passing on his knowledge to the new generation of musicians. His influence extends far beyond the boundaries of music, as he has also been an advocate for non-violence, cultural diversity and cross-cultural understanding through music.
Anatholi Bulkin – guitar (Sweden)
Anatholi Bulkin performs and composes combining elements of Latin, jazz and blues in her music. At 40 years old, the versatile guitarist, composer, innovator and producer is a true magician with his guitar. Anatholi studied jazz at the Conservatory of Classical Music in Malmö, Sweden and was recognized as a master of arts in music. Anatholi Bulkin composed around 400 works. His compositions involve techniques and experiments with traditional rhythms (from Africa, Cuba, Brazil etc...). He loves to explore and develop rhythmic language and incorporate it into original, new and modern ideas in terms of melody and harmony. Anatholi studied percussion (congas, batá etc...) and traditional and modern rhythms. He lived with different tribes in Africa and recorded them.
His dazzling virtuosity and musical instinct have brought him the greatest successes. His meeting with Reunionese and Indian musicians enriched his already well-stocked sound horizons. He has recorded and played with musicians from the United States, Bangladesh, Africa, Denmark, Réunion, Sweden, Finland, India, Cuba, Brazil, etc...
Dominique Skorny – piano
Dominique Skorny begins music and piano through improvisation. A solid classical training at the CNSM in Lyon then at the Mozarteum in Salzburg led him to jazz and electronic instruments. His concerts around the world (Europe, Asia, Africa, Oceania) introduce him to new cultural landscapes each time. He has performed in concerts, festivals, television broadcasts, in various classical and contemporary formations and notably as a soloist with orchestra in concertos by Bach, Mozart, Beethoven, Schumann, Mendelssohn, Liszt, Saint-Saëns, Poulenc, Tan Dun ...
He is also a musician without borders and unclassifiable who likes to link the traditional with the contemporary, old instruments with new technologies, so-called scholarly music with the most spontaneous expression. After composing cycles linking music, theater, dance, synchronized swimming or having ventured on the paths of mixed music in real time and sound with image, Dominique Skorny settled in Reunion in 2019. There first taught piano at the Petit Conservatoire de l'Est then at the CRR de La Réunion where he currently coordinates the polyphonic instruments department while leading an improvisation-creation workshop around keyboards.
But the story linking Dominica to the intense island is a long weave over more than twenty years. His compositions “Ré-union” for mezzo-soprano, brass ensemble and organ based on the poem “Le Palmier” by Leconte de Lisle and “Canopée” for symphony orchestra were premiered at St-Denis Cathedral. D. Skorny has performed numerous times on the volcano, notably during concerts with the trumpeter Pierre Dutot, as a soloist with the Polygone de Bordeaux ensemble or in the company of the Villancico Choir directed by Jacques Detan (on the piano, on harpsichord, basso continuo or organ). More recently, the Reunion public was able to hear Dominique playing chamber music, with 2 pianos and 4 hands, in a quintet with wind instruments, with the Regional Orchestra of Reunion or in Bach's concerto for 4 pianos. Learning kozé péï, Dominique Skorny also enriched himself thanks to Creole and Indian music, with the tabla player Subhash.
Sangeet Mishra – sarangi (India)
Sangeet Mishra is the symbol of sarangi today in India. He comes from a line of remarkable musicians, from the Benares Gharana (school). Since childhood he has been gifted in singing and acquired high level skill in Hindustani singing under the guidance of Pandit Narayan Das Mishra. Subsequently, he received training and guidance from his grandfather Pandit Bhagwan Das Mishra - the world renowned Sarangi maestro and his father Pandit Santosh Kumar Mishra.
Sangeet has added new innovation and style to his Sarangi by blending a contemporary approach to this traditional instrument without abandoning its purity. He is a versatile performer collaborating with musicians of different genres and styles around the world and creating new musical language. His performances are a reflection of his achievements in the field of Indian Classical Music. An exceptional musician, he has already collaborated with the greatest Indian and jazz musicians. In a very short span of his life Sangeet made an effort to revive the ancient style of this soul touching instrument, the Sarangi. He acquired the 'tantakri' and 'gayaki' style of playing Sarangi from his father and practiced it since his childhood. Sangeet Mishra excels in musical improvisation both through the sustained melodic and rhythmic aspects, according to the precise themes defined by the type of raga mode chosen; and in his moving playing, vibrating the “hundred colors” of this sublime and demanding instrument that is the sarangi.

Tour Dates
THE INCARNATION TOUR in Reunion Island
November 2023
- November 15, DIPAVALI, Salle Lucet Langenier, St Pierre - Meeting
IN THE PROGRAM :
❖ 7:30 p.m.: Concert Cosmic Sound - Indian Jazz Fusion
❖ 8:00 p.m.: Indian dance
- November 17 6:00 p.m. to 9:00 p.m., LES NOCTURNES DU MADOI, with Cosmic Sound, Maison Rouge St Louis
Festive evenings around the exhibition “The Bestiary of MADOI. Fabulous, symbolic, sacred animals”.
Every month, the Museum of Decorative Arts of the Indian Ocean welcomes you for an artistic evening linked to the exhibition.
For this month of November, MADOI resonates with the sounds of the group Cosmic Sound, for an Indo Jazz fusion!!!
Special evening as part of the Dipavali festivities.
IN THE PROGRAM :
❖ 6:00 p.m.: Guided tour of the exhibition
❖ 7:00 p.m.: Aperitif with Indian flavors
❖ 8:00 p.m.: Concert by the group Cosmic Sound
Single price: €25
By reservation only: accueil.madoi@museesreunion.re / 0262 91 24 30
- November 18, DIPAVALI, Jardin de la Plage St Pierre - Meeting
Tour Dates 2019 in Reunion & Mauritius Island
- Friday April 12 at 6:00 p.m. Stella Museum Matutina St Leu
- Saturday April 13 at 8:00 p.m. India House St Louis
- Sunday April 14 at 8:00 p.m. Ashram l’étang St Louis
- Tuesday April 16 at 6:00 p.m., La Plaine, Plateau Noir St. Paul
- Wednesday April 17 at 6:00 p.m. Salle Moringue, Villèle
- Thursday April 18 6:00 p.m. Louise Payet School, Bois Rouge
- Saturday April 20 at 6:00 p.m., Chez Mme Taman, La Saline
- Sunday 28th April 7 pm, Kenzi Bar, Ave Petite Marie, Flic en Flac, (Mauritius)

Indian Music / Indian Music
INDIAN MUSIC
North Indian classical music is one of the most elaborate musical arts in the world. Leaving much room for improvisation, the structure of this music is governed by a system of melodic and rhythmic motifs respectively called raga and tala. Within the framework of these structures, the performer must create a new musical moment at each concert. According to tradition, the musician does not have a predetermined program, but plays the ragas that the moment inspires. However, the choice of raga-s is not completely random: according to an ancient philosophical tradition of several hundred years, a raga-s can be considered appropriate to a time of day, to a season of the year or to a particular state of mind.
Raga-s should not be confused with the idea of “scale” in the West: they are characterized by a much more elaborate pitch structuring of sounds. Thus, the order in which the notes of the raga are introduced, the way in which the raga is revealed and unfolds, are of the greatest importance. Likewise, ornamentations, one-note accidentals and melodic structure play a major role. From a historical point of view, the concept of raga can be compared to that of fashion used by the Christian church at the beginning of the medieval era.
Although there is a rating system, the tradition still remains very oral and is still passed on from master to student. To some extent, North Indian classical music concerts can be enjoyed in a similar way to jazz improvisations: musicians must demonstrate their knowledge of the tradition of a raga (just as a jazz musician must know the “harmonic grids”), and in both traditions the performer earns the esteem of his audience through his ability to shed new light on familiar tunes. The ultimate goal of the performer is to honor the integrity of the raga by performing it in a completely personal way.
Sarangi
Musical instrument, with bowed strings, widespread in India, Pakistan, Afghanistan, Nepal. It is made up of a wooden resonance box, a parchment (goat skin) soundboard, a wide and thick neck, without fingerboard or frets, fitted with three or four gut strings, and about thirty sympathetic strings (which vibrate in resonance without being played). There are different types of sarangi.
The strings are touched with the fingernails of the left hand, in a set of linked and sliding notes.
Part of the strings are placed on the neck, they can be played with the fingers of the left hand, another part is stretched in the instrument. We find popular, or old, instruments without soundboards and without sympathetic strings. The numerous side pins arranged along the handle are turned using a key. The strings are bowed with a bow, and the instrument is held vertically, placed on the knees, or against the feet, when the player is seated cross-legged. The name of this instrument is attested in the 11th century.
Table
The percussion ensemble called Tabla is made up of a small high-pitched drum called dayan and a larger bass drum called bayan. The bayan, operated by the left hand, plays the bass and downbeats. The dayan, operated by the right hand, plays the division figures. The skins of the dayan and bayan have a black center called the shyahi. This center, made of rice glue and filings, weighs down the skins and gives them their characteristic sound. It is by moving his fingers from the center to the periphery that the player obtains the variety of shots. Both drums are tuned to the drone. The dayan in any case clearly emits this note and its harmonics. The player tunes it using a small hammer. The bayan agreement is less precise. It is with the support of the wrist that the player adjusts the pitch of the bass notes. He can thus manage to reproduce melodic lines.
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