GRAMMY Nominations Highlight Charu Suri’s Global Rise in Contemporary Instrumental Music
The 68th GRAMMY® Awards are shaping up to be a landmark year for Indian music talent, and Charu Suri is emerging as one of the most compelling names at the center of it. Known for her signature fusion of Indian classical ragas and modern jazz expression, Suri has been nominated for Best Contemporary Instrumental Album for SHAYAN, while also earning recognition as co-producer on Siddhant Bhatia’s Sounds of Kumbha — a dual achievement that reinforces her growing global influence.
Charu Suri has never been the kind of artist to follow the familiar path — and that fearless originality is now being recognized on music’s biggest global stage. The acclaimed pianist and composer, celebrated for seamlessly weaving Indian ragas into contemporary jazz and instrumental storytelling, has officially earned her first-ever GRAMMY® nomination at the 68th GRAMMY® Awards.
Suri is nominated for Best Contemporary Instrumental Album for her genre-defying work SHAYAN, a project that reflects her signature artistic language — deeply rooted in Indian classical tradition, yet expansive enough to speak to modern listeners worldwide. Adding to the milestone, she is also recognized as co-producer on Sounds of Kumbha, nominated in the Global Music Album category — further solidifying her presence across multiple GRAMMY-recognized musical spaces.
At the heart of Charu’s rise is something rare: an identity that feels both timeless and urgently current. Her music isn’t merely fusion — it’s a deliberate, mature artistic evolution, where ragas aren’t inserted for effect, but instead become the emotional and structural backbone of a modern instrumental narrative. It’s fresh. It’s inventive. And most importantly, it feels authentic.
“I always want to be on top of my game,” Suri explains. “I want to create music that is healing, relaxing — but also innovative. I always want to be ahead of the pack.”
That mission has defined not only her sound, but her global momentum.
Suri’s achievements go far beyond studio accolades. On July 25, 2024, she made a historic fifth appearance at Carnegie Hall, becoming the first Indian jazz artist to reach that milestone — a career moment that speaks not only to recognition, but to longevity and undeniable artistic relevance.
Over the past year, her performances have carried her across continents and across the most respected cultural rooms in the world — from Italy and London to landmark U.S. stages including Blues Alley in Washington D.C., the Boston Jazz Festival, and beyond. In 2024, she was awarded a Jazz Roads Grant, enabling her to expand her live touring footprint and bring her unique sound to major venues across the United States.
A rare figure in the global jazz ecosystem, Charu stands as one of the few female jazz composers and pianists to emerge from India, shaping her own lane rather than competing for space inside anyone else’s.
Perhaps what most powerfully defines Charu Suri’s stature is the artistic company her work keeps. Her compositions and performances have been embraced by some of the most celebrated musicians and institutions in the world — including Yo-Yo Ma, The New Jersey Symphony, Steve Gadd, John Patitucci, and Joe Lastie of Preservation Hall, among others.
Her career has also placed her on stages synonymous with excellence and legacy — including the GRAMMY® Museum, Lincoln Center, Birdland, the NCPA Mumbai, and the Royal Opera House in Mumbai.
In every venue, her sound has carried the same message: tradition can be modern without losing its soul.
Her nomination arrives at the peak of an already remarkable run. Charu’s latest release SHAYAN topped both U.S. and World charts, while her earlier “raga jazz” album RAGS & RAGAS topped international jazz charts, reaching #3 in the U.S., and hitting #1 in India on iTunes.
Suri’s award recognition has been consistently global. She has earned major honors including:
- Gold Entertainer of the Year from ISSA
- Intercontinental Music
- AwardsGlobal Music Awards
In addition, she serves as a Governor of the Recording Academy (New York Chapter) — a position that reflects not only achievement, but industry leadership and long-term credibility. Recently, she was elected Governor once again, reaffirming her influence within the Academy itself.
And notably, her GRAMMY involvement extends beyond SHAYAN. She is also nominated as producer for Siddhant Bhatia’s Sounds of Kumbha, and appears as a pianist on the Children’s album Herstory by Flor Bromley, highlighting her versatility across formats and audiences.
What makes Charu Suri’s GRAMMY moment even more significant is the larger story unfolding alongside it. This year marks one of the most powerful GRAMMY showings for Indian recording artists in history, with several creators earning nominations across global music and contemporary instrumental categories.
Artists like Anoushka Shankar, fusion legends Shakti, devotional singer Siddhant Bhatia, and Charu Suri herself have all received major nods — collectively highlighting India’s accelerating influence in classical, fusion, jazz, and contemporary global music spaces.
There has arguably never been a bigger year for Indian artists at the GRAMMYs — and Charu Suri stands among the brightest leaders of this shift.
Her nomination is more than personal recognition. It represents a wider evolution: a global industry finally acknowledging that innovation is not limited to the West — and that Indian musical tradition, when expressed with modern brilliance, can stand at the very center of contemporary excellence.
As the world watches the 68th GRAMMY Awards unfold, one thing is clear — Charu Suri isn’t just nominated. She’s making history.
Behind the nominations and headline milestones, Charu Suri’s story is ultimately about language — not just musical language, but the kind that’s built through migration, discipline, cultural memory, and lived experience. Her work sits at a rare intersection where Indian ragas and modern jazz don’t compete for space; they converse, reflect, and expand each other. To understand what makes SHAYAN feel so personal — and why her sound resonates far beyond genre labels — you have to hear it from Suri herself. In the conversation below, she opens up about the emotional instincts behind her compositions, the mentors and life chapters that shaped her voice, the realities of building a career as an immigrant artist, and the quieter purpose at the center of SHAYAN — music designed not to impress, but to heal.
Q&A with Charu Suri
Talk about your music?
CS: My musical style blends Indian ragas (modal scales) and jazz and I have quite a few albums devoted to this. These are the sounds I hear, blending Eastern and Western traditions that I grew up with.
Talk about your inspiration for your music?
CS: Everything for me happens organically, but I am often inspired by genuine emotions and find musical inspirations from Indian ragas and New Orleans chamber jazz to compose and orchestrate my music.
Where did you do most of your recording?
CS: I love using a studio in Paramus, New Jersey to play on its beautiful Steinway piano, one of the best I have heard. I also record often at Sound on Sound in Montclair, New Jersey.
What’s your biggest inspiration in your music?
CS: Travel and authentic human experiences; and the palette of Indian ragas and rhythms as well as the trio work of bands like Bill Evans, Keith Jarrett, etc. The repertoire of New Orleans inspires me as well.
Who is your mentor?
CS: I was instructed in India by the late Mrs. Gita Menon, a fabulous instructor who taught me everything from virtuosity on the piano, to reading, writing, notation and transposition.
Talk about being an immigrant?
CS: It isn’t easy! In the early years, and even now, it’s all about working harder and proving yourself, all the time. I also feel so blessed to have rich life experiences that have allowed me to see a broader, deeper perspective of life, and this has profoundly affected my music.
What was life like in India before you came to America.
CS: Much, much easier! I had help. We had people who helped take care of things, of errands, so I could focus on my music and studies. In America, you have to do everything yourself, and that can dilute your energies and focus. It’s often counterproductive.
What are the main differences In both cultures?
CS: There’s a lot of communal gatherings in India and focus on family life and togetherness. In America, the lifestyle is far more individualistic. People are a lot more lonely in America, and the solitude crisis is a real thing. In India, a stranger—even though he or she is poor—will often give you the shirt off his or her back because that’s a philosophical choice. In America, many choices are made with a monetary/financial mindset, that doesn’t necessarily translate into personal happiness or philosophical enrichment. I see this as a huge cultural difference.
Talk about growing up?
CS: I was born in Madurai, South India, and then my family moved to Nigeria when I was five years old because my father received a job in Nigeria as CEO of a Record Label. It was in Nigeria that I got my official piano start, performing on a piano that was in our home, and listening to hundreds of vinyl records in various genres every night on a turntable. When my family repatriated to India because of Nigeria’s coup situation, my family recognized my talent on the piano and was determined to find the best piano teacher in the city. Mrs. Gita Menon really took me under her wing, made me learn hundreds of complex and core piano repertoire, and I was giving concert after concert, and winning all sorts of contests as a piano prodigy. I didn’t have a “normal” childhood in the sense that I would practice the piano 6-7 hours a day, rather than hang out with friends and watch movies or go to the mall. The piano was my escape and my world, from a very young age.
Talk about how your childhood molded the person you are today?
CS: The formative years in India deepened my philosophy and made me see real hardship, and the sacrifices my family had to make in order for me and my sister to have a beautiful and cultural life. My home was filled with music, paintings and lots of love, and my childhood was replete with wonderful western classical and Indian music concerts. I had a house with many books, and if I was not playing the piano, I was reading and writing. It allowed me to fully immerse myself into my art and my family was super supportive.
What are the most challenging things in your life?
CS: In America, you have to do it all! It’s really challenging to be the composer, orchestrator, producer, while managing an intense touring schedule, while raising a teenage daughter. I think parents who tour have it pretty hard here, because childcare is scarce or expensive, and the classes, and extracurricular activities, still need to happen. And then there’s the task of getting gigs booked, hustling and invoicing. All of these administrative tasks are annoying to me because they take away from the act of creation, but they still need to get done.
How has love changed your music?
CS; Love is always the king! Love has fueled a lot of my pieces from “Bluesy” to “Keep Dreaming” to” Lollipops for Breakfast.” My husband and my family have been so wonderful and supportive, and nearly all of my music is dedicated to the people who have helped me and loved me over the years.
Talk about Ragas?
CS: These are Indian modal scales, not all of them symmetrical in ascent and descent, but they give a different flavor to jazz. I use many of them as the basis and inspirations for my work. There are over 500 ragas! Think of them like you would C major or G major, but with various patterns and interesting names like Kalyani, Kirwani etc.
Describe your current project SHAYAN?
CS: I composed it for my mother to help her sleep better, and for anyone to heal and be calm. It is my first “non jazz” album, using all the energies of beautiful, healing evening ragas. The entire work was also composed to help me heal after a crazy intense worldwide touring schedule. I needed to breathe, musically speaking, and was tired of all the “virtuosic” stuff and wanted some calming, healing music to get over the tension I was also feeling from the global landscape and geopolitical events. Think of SHAYAN as a musical warm, fuzzy blanket telling you everything will be okay and for you to get a good night’s sleep.
What was your inspiration for SHAYAN?
CS: The increased stress in our world, and my mother’s sleeplessness, and the growing lack of empathy in our world, all fueled the creation of this album. It is a very emotional and “human” album, allowing people to just unwind and take care of themselves, their breathing, and their rest.
Talk about your competition in your category for your Grammy nomination?
CS: I have a ton of big names in my category! It’s humbling. I’ve been a lifelong fan of Bela Fleck so I cannot believe I’m nominated alongside him. Talk about a fan girl moment! I am just happy to belong and be there.
You have won so many awards how does that effect you?
CS: I honestly try not to think about them. Awards are wonderful but more importantly is the love for your craft and the commitment to music; I’m always moving onto the next project, the next concert, the next thing.
Talk about how your studies influenced your music?
CS: I have a Bachelor’s in Classics and Music from Princeton University and a Master’s from Manhattan School of Music. I love all of the learning, but it was not until I became a working musician (and giving concerts, and composing, hands on) that my real learning happened. Nothing can substitute life lessons in the field.
What was it like performing at Carnegie Hall?
CS: It was wonderful and I still cannot believe I get to do it almost every year! To this day, my favorite auditorium to play in!
How do you feel about other artists performing your music?
CS: I welcome it and feel very humbled and honored that people take an interest in my work. That makes me super happy.
Who was the first recording artist that you remember hearing?
CS: When I was a child, my dad took me to hear Mandolin U Srinivas and Zakir Hussain, and I was mesmerized.
What’s on your playlist right now?
CS: Teddy Wilson (incredible jazz pianist), Bill Evans Solo Piano Albums, Silk Road by Yo Yo Ma, Mahler’s Fifth Symphony, Stravinsky Complete Works, and David Brubeck. Also, some of the contemporary jazz greats including Emmet Cohen, and Pasquale Grasso, who I respect very much and admire.
Who is your all-time favorite recording artist and why?
CS: That’s a really hard question to answer. I admire a lot of them from Bill Evans, Keith Jarrett, to David Brubeck, and Oscar Peterson.
How has your music changed in the last 5 years?
CS: It has become more mature, less showy and deeper. I have learned to listen more and not show off my virtuosic chops all the time or be too flashy. I’m also deepening my understanding of more complex jazz chords and leaning into the ragas more.
What is the takeaway from your writing any of your music?
CS: Self- discovery. In the end, how you see the world, how you grow and your point of view is everything. You have to live with yourself, your inner voice, your music and your thoughts. So, make it a good journey!
Talk about some of the producers you have worked with?
CS: I am a proud member of the Producers & Engineers wing in the Recording Academy and so I actually produce all my albums. My co producers include Siddhant Bhatia (who is also a Grammy nominee this year), an amazing singer and producer from Delhi, India; Dekan Ekambaram who is from my hometown in India (Chennai), Tess Remy-Schumacher (my cellist) and Margee Minier Tubbs (Premik’s wife).
What would you tell a young person starting out in the music business?
CS: Do it for the pure love of music. To be the best musician you can be and forget about everything else. Love, determination and consistency are key because there are a lot of ebbs and flows in this business. Also, developing a real and authentic sound and voice can be a wonderful thing and people pay attention to this.
Talk about your fans?
CS: They are from all over the world, and a lot of them are either in love with jazz, Indian music or a global sonic palette. A lot of them are from the U.S., India, and Europe (Germany/France). I also have listeners in Latin America. They love the unusual music and rhythms and want to hear more raga-based creations.
What would you tell your fans about yourself that they might not know?
CS: I used to work on Wall Street, as an Investment Banker, for a few years before it took its toll on me! I realized that I had to pursue my musical calling no matter what, so I gave up my chance of making millions.
What would you say about your fashion style?
CS: I try to represent the beautiful fabrics and textiles of India wherever and whenever possible. Part of this reason is my dad used to be in the textile business, and I would watch him pick out fabrics and swatches and that process of appreciating weaves sort of stuck with me.
How do you dress on the red carpet?
CS: Gowns that are long, flowing, with heritage fabrics and lots of texture.
What’s a typical day like for you?
CS: I usually start by practicing the piano or recording some music for myself, or for a reel I share online. Then I meditate and brew my morning coffee or tea (depending on the mood: I like both), and then listen to some music, either on the radio or on a channel or from a playlist. I drop off my daughter off at school after preparing breakfast for her. Then I teach a lot of students because I run my own music academy and typically finish with a gig or concert in the evening. It’s pretty intense. In the middle of the day, I do a workout (typically a swim in my local gym) and make a meal or snacks for my daughter so she can have a nice lunch and dinner.
What's your tip on how to monetize your music?
CS: Make people see the value of it; be professional, polished and exude that everywhere. Amplify your shows on all platforms and then sell merch at shows. Push out releases to playlists etc.
What does your stage show look like?
CS: Typically, I perform with a trio (piano, bass and drums), and on occasion I will add another instrument like a vocalist or a flutist.
How do you prepare for a show?
CS: I go over repertoire daily and practice, but a lot of the actual show flow and set list comes with experience. I expect my band to know the music inside out and they do, given the amount of time we have spent together performing, and there’s the technical stuff like runs and repetitions that I go over almost daily.
Where do you see your music going in the next 5 years?
CS: I see more releases and pushing my voice in broader directions. I am committed to releasing more frequently and doing orchestrations and collaborations.
If you could change one person’s life through your music - what song would that be and why?
I think my album SHAYAN has had a very healing influence on a lot of people; and the song Nightingale has been played over and over by radio stations. It uses the raga Bagesri and is very gentle and beautiful, showing people the power of the raga, and how the energy can help us sleep better. So, I would turn people to that song, to latch on to the beauty of the evening and of that particular raga and help them unwind and get lost in the moment.
When did you know you wanted to be a musician as a career?
CS: When I was very young, about five years old, my father got a job as CEO of a Recording Label in Nigeria, and we had a house with a piano. My mother used to say, “Charu played the piano and never stopped” and I was the kid who would play and practice for 6-7 hours a day, unasked. So that’s when I knew I probably was going to be a musician because there is nothing else in the world I would rather be doing.
Which family member has been the most influential in your career?
CS: My late father, definitely. He was the one who loved music so much, bought me my first Bach and Beethoven books, had the job as the CEO of a Record Label, took me to all my concerts both in India and abroad and really nurtured my love of music. He also introduced me to the world of ragas. I would never have come so far without him.
Listening to Charu Suri speak, it becomes clear that the music has never been about chasing accolades — it has always been about truth. Truth in discipline, in cultural identity, in lived experience, and in emotional expression. Her GRAMMY® recognition may be historic, but her deeper achievement is more personal: creating a sound that feels both intimate and universal — a musical world where listeners don’t just hear, but breathe.
To hear the full range of Charu Suri’s raga-jazz world — from meditative healing compositions to boundary-pushing fusion — stream her catalog here: SHAYAN | RAGS & RAGAS | RAGAS & WALTZES | THE BOOK OF RAGAS VOL. 2 | NEW AMERICAN SONGBOOK EP
No comments