Kathmandu’s ‘other’ jazz festival, <a href="https://nepalitimes.com/here-now/jazzing-up-kathmandu-again">KatJazz</a>, has returned for its seventh iteration this month, blending<a href="https://nepalitimes.com/here-now/jazzing-up-the-town-for-the-20th-time"> contemporary music </a>with<a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs"> Nepal’s rich traditions</a>. The music fest which began on 13 April will conclude with a grand celebration on <a href="https://nepalitimes.com/banner/till-next-year-adieu-jazzmandu">International Jazz Day</a> on 30 April. The festival’s mission at its inception in 2017 was to educate, and KatJazz also raises funds for scholarships at the Kathmandu Jazz Conservatory (KJC). This year’s line-up features 10 international and <a href="https://nepalitimes.com/news/first-nepali-to-be-nominated-for-a-grammy-award">Nepali musicians </a>as well as 12 student concerts. There are also masterclasses and workshops that are free and accessible to all. “It is not just a Jazz Festival, it is also a music conservatory festival,” explains Abhisek Bhadra, academic director at KJC and co-organiser of the festival. The 2025 festival is <a href="https://nepalitimes.com/opinion/margins/the-sacred-female-singers-of-nepal">celebrating women in music</a>, aligning with the festival’s theme, Taking the Lead. Half of the events will feature and be led by women from across musical backgrounds, including Carole Alston, Once We Knew, and multiple artists from Emerging Voices. Organisers are also highlighting the interpretations of jazz across the world’s communities, with artists representing Spanish music, Thai Jazz, Nepali folk, and more. Co-organiser Mari Fajardo is a vocalist for the five-member Spanish group Ya Si Ver &amp; co which seamlessly blends Spanish folk with jazz. She says: “Folk music has always been a thing to share, the core essence of <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">folk music </a>everywhere is the same.” Once We Knew, made up of Swiss and Nepali performers formed only in 2023, is developing an understanding of how it can work together as a group. “We are excited to bring our voices and music to Nepal for KatJazz,” says group member Sneha Lama, “This almost feels too good to be true.” The <a href="https://nepalitimes.com/here-now/just-jazz-in-kathmandu">jazz scene in Kathmandu</a> has evolved over the last two decades. The other festival Jazzmandu held its 20th festival last year, pioneering and cultivating the taste of jazz in Nepal while also providing a platform for new and home-grown artists. “Jazz is a very generous language, it is one of the few art forms that can connect you to your own roots,” says Bhadra of KJC. <h2>Carole Alston (USA)</h2> Carole Alston, a gospel, blues, and jazz vocalist, has played leading roles in multiple musicals including West Side Story, The Man of LaMancha, and Jesus Christ Superstar. She has taught jazz at the Austrian conservatory in Klagenfurt as well as at the Hochschule für Musik und Theater München.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250417120412_fa5e0afb34ca50972afe849c96ae369886c6d8a76ffbc3a1c553fcbe3df9e415.jpg" data-media-id="editor_8" data-image-id="20250417120412_fa5e0afb34ca50972afe849c96ae369886c6d8a76ffbc3a1c553fcbe3df9e415" data-rendition-name="original" width="2552" height="2560" loading="lazy" alt="Jazz"></figure>  Carole Alston - Voice | Martin Zenker - Bass | Abhisek Bhandra - Piano | | Lucas Fixel - Drums <h2>Once We Knew (Switzerland/Nepal)</h2> Once We Knew was formed by four friends (Maria von Rütte, Alice Auclair, Martina Henriques Dias and Sneha Lama) at Jazzcampus in Basel in 2023. Inspired by groups like American vocal quartet Säje, the friends share a love and fascination for singing and creating harmonies.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250417120412_d29b6e53a2e095397fe5b8da5b78e9b6e364c4b6aaacd00d383ed65313394234.jpg" data-media-id="editor_9" data-image-id="20250417120412_d29b6e53a2e095397fe5b8da5b78e9b6e364c4b6aaacd00d383ed65313394234" data-rendition-name="original" width="958" height="958" loading="lazy" alt="Jazz"></figure>  Sneha Lama - Voice | Martina Henriques Dias - Voice | Maria von Rütte - Voice | Alice Auclair - Voice | Sébastian Rudhard - Bass | Marcelo Figueiredo - Guitar <h2>Roots Rewired (Nepal)</h2> Roots Rewired is the collaborative effort of two Nepali bands. Rajat Rai has taken inspiration from Reggae, Afro-Beat and West African music, and infused it with Nepali folk, jazz, and West African rhythms. Sonagi Blues blends traditional instruments such as Nagara, Sichya, Bhuchya, Dha, and Sarod with modern ones like Guitar to create a mix of rock and Indian classical music.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250417120412_2e7cd20b99449c4e6d7d64b4e35d8a908aa0b642ce4712efe8d1dbc9dfa344db.jpg" data-media-id="editor_10" data-image-id="20250417120412_2e7cd20b99449c4e6d7d64b4e35d8a908aa0b642ce4712efe8d1dbc9dfa344db" data-rendition-name="original" width="3872" height="3872" loading="lazy" alt="Jazz"></figure>  Rajat Rai - Voice / Guitar | Chhitij KC - Drums | Pau Roses - Bass | Paul Tynan - Trumpet | Tomas Carrasco - Flute &amp; Saxophone | Abhisek Bhadra - Keyboards <h2>Emerging Voices (Nepal)</h2> With three singers and one instrumentalist, this Nepali group includes Yaju Acharya and Samita Limbu’s blend of folk and classical influences, Kunzanee’s exploration of tradition through contemporary lens, and Nami’s vibrant and personal set of original songs that draw inspiration from jazz, pop, indie, reggae, and more.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250417120416_1dd5f1fe08cdfc1691c53309731ebe29cb53b52555932347e9ffa8249fa9b9cf.jpg" data-media-id="editor_11" data-image-id="20250417120416_1dd5f1fe08cdfc1691c53309731ebe29cb53b52555932347e9ffa8249fa9b9cf" data-rendition-name="original" width="2500" height="2500" loading="lazy" alt="Jazz"></figure>  Yaju Acharya - Voice / Flute | Samita Limbu - Voice | Kunzanee - Voice | Nami - Voice <h2>Ya Si Ver &amp; co (Spain)</h2> Ya Si Ver &amp; co is a collaborative project rooted in the folk traditions of Spain, and reimagines Spanish Folk by combining Spanish Folk with Jazz music, drawing from art forms like Flamenco.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250417120412_ecb4d16861140e11cf2420800972f6e53edda828b63ed1d4bde76cb07e734001.jpg" data-media-id="editor_12" data-image-id="20250417120412_ecb4d16861140e11cf2420800972f6e53edda828b63ed1d4bde76cb07e734001" data-rendition-name="original" width="1890" height="1889" loading="lazy" alt="Jazz"></figure>  María Fajardo - Voice | Nené Álvarez - Voice | Javier Galiana - Piano | Javier Delgado - Upright Bass | Guillermo Martín-Viana - Drums <h2>Fixel Trio ft. Jatziri Gallegos &amp; Siddharth Gautam (Brazil/Mexico/India)</h2> This group captures the spirit of Brazilian culture and celebrates the various communities that have shaped musician Lucas Fixel’s journey. As a part of this year’s KatJazz theme, Taking the Lead, Fixel Trio will be featured with Carole Alston, Once We Knew, and Ya Si Ver &amp; co on a series of concerts to celebrate women in music.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250417120412_cf0b1e27b1dbe5fb15b54a6e46171be66415c7c2f1c4529ccb5d795ba7eb8a8f.jpg" data-media-id="editor_13" data-image-id="20250417120412_cf0b1e27b1dbe5fb15b54a6e46171be66415c7c2f1c4529ccb5d795ba7eb8a8f" data-rendition-name="original" width="1080" height="1080" loading="lazy" alt="Jazz"></figure>  Lucas Fixel - Drums | Jatziri Gallegos - Voice | Siddhartha Gautam - Guitar <h2></h2> <h2>SCHEDULE</h2> Emerging Voices (Nepal) Friday, 18 April 7PM onwards Rs1,000 Bhumi, Lazimpat Roots Rewired Tuesday, 22 April 7:30PM onwards Rs1,000 Electric Pagoda, Thamel Ya Si Ver &amp; co (Spain) Wednesday, 23 April 7:30PM onwards Rs1,000 La Terrasse, Chundevi Once We Knew (Switzerland/Nepal) Thursday, 24 April 7:30PM onwards Rs1,000 Moksh, Jhamsikhel Carole Alston (USA) Friday, 25 April 7:30PM onwards Rs1,000 Dhokaima Cafe, Patan Dhoka Fixel Trio ft. Jatziri Gallegos &amp; Siddharth Gautam (Brazil/Mexico/India) Saturday, 26 April 3PM onwards Rs500 Yellow House, Sanepa Future Harmonies: KatJazz Festival Finale Wednesday, 30 April 7PM onwards Rs1,500 Eden Amphitheatre, Sanepa

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Jazzy April in Kathmandu

Heads swinging in the air. Shoulders jiggling. Hands and feet taping in time with the rhythm. People humming along. This was a common sight throughout this week’s Surya Nepal Jazzmandu. The guitar, drums, piano, flute, sarangi (even tapping feet) and other musical instruments fused on stage every evening, producing soulful melodies to keep the audience warm through Kathmandu’s autumn chill. This was the 20th edition of the jazz festival which started on 24 October featuring international and national artists including the likes of Swiss-French trumpeter Erik Trufazz, Aussie Owen James Newcomb, jazz saxophonist, flamenco singer and composer Antonio Lizana, our very own Cadenza Collective and artists from the Dhrupad Gurukul in Kathmandu.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_e35518cd86adafbd72e0bec4936baad9e81b14ebc911f71aff1d13fe2a2d5b7b.jpg" data-media-id="editor_0" data-image-id="2024110104114_e35518cd86adafbd72e0bec4936baad9e81b14ebc911f71aff1d13fe2a2d5b7b" data-rendition-name="original" width="1656" height="1370" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  “I really like it here in Nepal, people are friendly, there is virtually no road rage,” Erik Trufazz told nepali Times during one of the parties ahead of their performances. “I have known about Jazzmandu for a while, my sound technician has been with the festival for a quite some time but only this year did everything align for me to be here too. The audience has been warm and receptive.” The annual event (except for the Covid years) first started in 2002 at the height of the Maoist insurgency with the intention of uniting people through music and simultaneously prioritising cultural interaction, music education and promoting tourism in Nepal. “The first edition was rather easy. Everything fell into place. It was as if destiny was leading the way,” says Navin Chettri, one of the founding members of Surya Nepal Jazzmandu who is also the vocalist and drummer of Nepali folk Jazz band Cadenza Collective. “What is harder is to maintain the legacy.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_79936cc630c834b1d4ff1dd16d23c748ea7e3e6f6bc4e69a567b0a7de9bfa391.jpg" data-media-id="editor_1" data-image-id="2024110104114_79936cc630c834b1d4ff1dd16d23c748ea7e3e6f6bc4e69a567b0a7de9bfa391" data-rendition-name="original" width="1261" height="1000" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  &nbsp;The jazz scene is ever-evolving and so is the festival but in the recent editions, it is clear that cultural interaction has been more prominent with the collaboration that have taken place between national and international artists. “Jazzmandu has stayed true to the essence of what it was,” says Owen James Newcomb of Australian Jazz band Afro Dizzi Act who was here for the first edition in 2002 and was back this year. Nick Aggs of the same band has been performing in Jazzmandu for the past six years, and agrees: “Kathmandu has become a fertile land for music to flourish. The cross-pollination of music that is happening here says it all.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241101011124_58251b3af8fcca39887a1a772f9a59f12d9afd789bd0af8459089661dfafa6bf.jpg" data-media-id="editor_2" data-image-id="20241101011124_58251b3af8fcca39887a1a772f9a59f12d9afd789bd0af8459089661dfafa6bf" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Jazzmandu 2024 NT"> <figcaption>Photo: PINKI RANA</figcaption> </figure>  Jazz has often been credited for embracing culture and diversity, and is known for collaborating with different genres of music. Here in Kathmandu, the festival has taken a step further to blend jazz with eastern music genres. For example this year a Spanish flamenco performer tap dances to the beat of classical Nepali tabla. “We’ve been performing jazz all over the world and the perception of jazz can be sectioned. The open mindedness people here in Kathmandu when it comes to jazz is the most exciting,” said Shannon Sol Carroll of Afro Dizzi Act speaking to Nepali Times before their &nbsp;finale at the Malla Hotel on Wednesday. The demographic of the audience is also changing. While expats and tourists still make up the majority of the audience, younger Nepalis are now a significant presence. There are others like Zoe Meister, 20, who is in Kathmandu as part of her exchange programme. The first experience has already left her wanting for more.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_d052567ac67050ef3024b8e02e7171ba1ba480fe8df8a279ef358908d6b7dd17.jpg" data-media-id="editor_3" data-image-id="2024110104114_d052567ac67050ef3024b8e02e7171ba1ba480fe8df8a279ef358908d6b7dd17" data-rendition-name="original" width="1486" height="966" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  Women still remain a minority in the Jazz scene globally. But this edition of Jazz Festival featured an all female band Sheroes from the US and highlighted singer Alma Naidu and her quartet from Germany and classical singer Jonisha Paudel from Nepal.&nbsp; Paudel’s high notes (shall we call it ‘ragajazz’?) underlined the amalgamation of eastern and western music. On initial hearing, the music did come off as Hindustani Classical but as the gig progressed, the sound of tabla, sitar fused with trombone and bass guitar to enhance the symbiosis. Her performance at Yalamaya Kendra on 29 October brought the house down.&nbsp; On the same day, Sheroes sang its own version of My Favourite Things from the 1965 musical The Sound of Music. Seeing the majority of women perform on the same stage made the performance even more inspiring. As the 20th edition of the jazz feast comes to an end, Chettri says, “When the younger musicians come up to me and tell me they are inspired seeing artists in our festivals, I believe we have been successful in setting up jazz culture in Kathmandu and our legacy.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_4510825ab497a488fd46a9d0c0b76f76ed7e6d0772002d9d0e8f698ed988cb8f.jpg" data-media-id="editor_4" data-image-id="2024110104114_4510825ab497a488fd46a9d0c0b76f76ed7e6d0772002d9d0e8f698ed988cb8f" data-rendition-name="original" width="1194" height="832" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  <h2>Jazzing up Gokarna</h2> The third day of Jazzmandu, dubbed Jazz Bazaar, took place at Gokarna Forest Resort. This was the longest day, starting at 3PM and running until 10 at night unlike most days of the jazz festival that happened exclusively in the evenings. The stage and the stands for food and drinks were set up in an open meadow at the expansive Gokarna Forest Resort. The stage was the first thing on the left, and the bars were set up opposite that a bit further away. Further in the area there were food stalls presumably set up by the hotel selling food like chowmein, chicken wings, and paneer pakodas. There were bonfires set up which provided quick bursts of much needed warmth in the chilly October evening. Perhaps owing to the location, the crowd seemed much younger than at most of the other days of the festival. There were many children and young adults, both Nepali and foreign. Many seemed to be tourists from South Asia, Europe, the USA, or Australia. The audience either sat in chairs or benches set up opposite the stage, or on mats on the floor right in front of the musicians.&nbsp; One of the main acts of the night was Swiss-French trumpeter Erik Trufazz and his band, a quartet also including keyboard, bass and drums. Trufazz and the band were exceptional with a strong rock element to their act and soon the audience were bobbing their heads or tapping their feet to the music. They were followed by the Antonio Lizana Quintet, spearheaded by jazz saxophonist, flamenco singer and composer Antonio Lizana. The quintet was made up of Lizana on saxophone, a guitar, a bass, drums, and a flamenco dancer. The dancing, done by a member of the five called El Mawi, provided a strong performance aspect to their set and was visually drawing. The tapping nature of the dance also added a quick rhythm on top of the drums. There was also a performance by artists from the Dhrupad Gurukul in Kathmandu. Dhrupad is an ancient Hindustani classical musical tradition characterised by ragas and swaras. The group had sitar and flute players as well as percussion, on a big two-sided Indian drum called the pakhavaj. Their music was accompanied by trippy visuals. Vishad Raj Onta

Pinki Sris Rana

East meets West at Kathmandu jazz

Right after Dasain festivities, the Surya Nepal Jazzmandu is back in town and this time it is celebrating two decades of the jazz festival. Also known as Kathmandu Jazz Festival, the annual music fest which started in 2002 will run from 24-30 October this year. Over the years, it has established itself as a premier jazz event, pioneering and cultivating the taste of jazz in Nepal.&nbsp; Much like the previous editions, the organisers aim to bring together jazz musicians of different backgrounds and origins, substantiating a platform for cultural interaction simultaneously.&nbsp; “Jazzmandu is an act of love for our city, our audiences, and for the music – and we’ve still got lots more love to give,” says Samir Chettri of Kathmandu Jazz Festival.&nbsp; This year’s five-day musical symposium features a lineup of artists celebrated from across the globe. They specialise not just in jazz but infusing it with different types of music. Eastern Classical featuring Jonisha Paudel, Santosh Bhakta, Roshan Putwar, Nimesh Kapali as well as Gandharva music are something to look forward this edition. <h2>Erik Truffaz (Switzerland)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071012_ec1d5abbf4f3be74f7a3298985ff38022f3f4f54627fd8ac51294fa63f24bd0c.jpg" data-media-id="editor_0" data-image-id="20241023071012_ec1d5abbf4f3be74f7a3298985ff38022f3f4f54627fd8ac51294fa63f24bd0c" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="Erik Truffaz"> </figure>  Jazz trumpeter Erik Truffaz’s music has pushed the boundaries of what trumpet-led jazz can be. In his decade-long career, Truffaz has seamlessly blended hip hop, rock and roll and dance music with jazz. Truffaz entered into the jazz scene in the early nineties but it was the 1998 album ‘The Dawn’ that gave him his breakthrough– establishing him as a pioneering force in contemporary jazz. From recording in India on the banks of the Ganga, to collaborations with indie rockers, Truffaz has showcased his ability as a peerless all-rounder and ceaseless innovator. He has given scores to symphony orchestras, and has also written and composed music extensively for cinema.Truffaz is in the ranks of European jazz royalty, continuing to inspire a new generation of musicians and music lovers. Erik Truffaz – Trumpet | Alexis Anérilles – Keyboard | &nbsp;Marcello Giuliani – Bass | Raphael Chassin – Drums <h2>Sheroes (USA)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071012_ce7ebb7d4bac391253c5cebfae761dbd2eb027df30b57579c156791d3248ca3f.jpg" data-media-id="editor_1" data-image-id="20241023071012_ce7ebb7d4bac391253c5cebfae761dbd2eb027df30b57579c156791d3248ca3f" data-rendition-name="original" width="2560" height="1369" loading="lazy" alt="Sheroes"> </figure>  This all-female band is an anomaly in the jazz scene where women still remain underrepresented. Sheroes was the brainchild of pianist, composer and arranger Monika Herzig who wanted to bring women jazz musicians together and provide powerful role models on stage and break the lingering gender stereotypes in jazz. The band is celebrating its 10th anniversary this year. The Sheroes ensembles over time have brought together an extended network of talented women jazz musicians. Together, the musicians create music as they navigate their individual skill and style while showcasing an undeniable chemistry. Sheroes continues to elevate some of the top composers and players in jazz.&nbsp; Monica Herzig – Piano | Jamie Baum – Flute |&nbsp; Reut Regev – Trombone | Gina Schwarz – Bass |&nbsp; Rosa Avila – Drums <h2>Alma Naidu (Germany)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071012_655281cecef3a041aa0abde2f66cb39deba3a323b37020ae15e01613131a1113.jpg" data-media-id="editor_2" data-image-id="20241023071012_655281cecef3a041aa0abde2f66cb39deba3a323b37020ae15e01613131a1113" data-rendition-name="original" width="2375" height="2560" loading="lazy" alt="Alma Naidu"> </figure>  Described as “one of the most promising singers on the German scene” by Süddeutsche Zeitung, a daily newspaper in Germany, Alma Naidu is a singer, composer and lyricist based in Munich. Naidu boasts an enviable collection of top prizes honouring rising German jazz artists, and has also appeared in various musical theatre and opera productions.&nbsp; Her debut album, Alma, was released in 2022 and comprised almost entirely of her own compositions and arrangements. Relatively an emerging artist among the Jazzmandu’s lineup, has previously performed across Germany, the Czech Republic and France with her touring quartet, which features her on the keys as well as vocals. Alma Naidu – Vocals and piano | Andeas Dombert – Guitar &nbsp;| Ferdinand Schwartz – Bass | Florian Stierstofer – Drums <h2>Antonio Lizana Quintet (Spain)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_1a0138b8a158fc714b22730390d152d4782ef8480dd780d2387df350a3ab3544.jpg" data-media-id="editor_3" data-image-id="20241023071016_1a0138b8a158fc714b22730390d152d4782ef8480dd780d2387df350a3ab3544" data-rendition-name="original" width="2560" height="1097" loading="lazy" alt="Antonio quintet"> </figure>  Antonio Lizana is a jazz saxophonist and flamenco singer and composer who has blended jazz with flamenco and is one of the most celebrated representatives of new flamenco jazz. Lizana’s quintet have performed in more than 30 countries – including at festivals in London, New York, San Francisco, Shanghai, Madrid, Barcelona and beyond – and has worked on Grammy-winning works with artists such as Arturo O’Farrill and Alejandro Sanz. Lizana’s live shows have been described as a “breathtaking journey from flamenco roots to contemporary jazz”, with his soulful lyrics carrying messages of optimism and sincerity to his audiences access the globe. Antonio Lizana – Vocals and saxophone | Adriano Lozano – Guitar and and backing vocals | Ismael Alcina – Bass and backing vocals&nbsp; | Vincent Thomas – Drums | El Mawi – Flamenco dancing and backing vocals <h2>Afro Dizzi Act (Australia)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_473edf5ef5fdc479f0c6caf7256cecc3084aba72876ad539150693bec2301e04.jpg" data-media-id="editor_4" data-image-id="20241023071016_473edf5ef5fdc479f0c6caf7256cecc3084aba72876ad539150693bec2301e04" data-rendition-name="original" width="1500" height="1255" loading="lazy" alt="Afro Dizzy Act"> </figure>  Born as an adventurous jam band in Brisbane in the late 1990s, Afro Dizzi Act is known to be one of the best fusion bands to ever come out of Australia, and is celebrated as one of the country’s premier festival bands. From an early sound that blended in hip-hop as well as drum and bass, the band took on influences from jazz and world music as its growing reputation took the musicians to new places, arriving at World Beat Festival that comprises a dizzying variety of musical traditions and a mind-opening global perspective.&nbsp; Afro Dizzi Act has headlined top Australian festivals such as the Big Day Out and the Byron Bay Bluesfest, performed in Dubai, toured the Northeast of India, and played at the first edition of Jazzmandu in 2002. This year, to celebrate Jazzmandu’s 20th anniversary, the band will be performing alongside Navin Chettri of the Cadenza Collective to revive early days of the annual jazz festival. Nick Aggs – Saxophone | Shannon Sol Carroll – Guitar |&nbsp; Oj Newcomb – Bass | Navin Chettri – Drums |&nbsp; Matt Ledgar – Percussions <h2>Cadenza Collective (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_dab2e03a9643141a4b1416a6bc00e8fea59840798b07c631a30190a93f39e7b3.jpg" data-media-id="editor_5" data-image-id="20241023071016_dab2e03a9643141a4b1416a6bc00e8fea59840798b07c631a30190a93f39e7b3" data-rendition-name="original" width="857" height="544" loading="lazy" alt="Cadenza"> </figure>  Cadenza Collective, spearheaded by drummer and composer Navin Chettri, has been blending Jazz, Afro-funk, and Nepali folk into an irresistible sound to get your groove on. Formed in 1998, Cadenza was one of the first bands to experiment with jazz in the Kathmandu Valley, at a time when rock and pop music dominated the music scene. Cadenza broke the mould and has evolved into a mature and experienced collective of musicians and music educators.&nbsp; Their music has pumped vitality into the improvised music scene in Nepal and beyond through regular performances with both classical and western musicians. With 5 albums to date showcasing their original music, their latest, Back to the Roots, won Best Pop/Rock Composition for their song “Namaste”, and Best Pop/Rock Album of the Year at the 2014 Nepal Hits FM Music Awards. Navin Chettri – Vocals and Drums | Rajat Rai – Guitar |&nbsp; Samir Chettri – Bass | InapRaj Shrestha – Tenor Sax |&nbsp; Pravin Chhetri – Alto Sax <h2>Samundra (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_18153f12a84a9e1cc890cad600f0ab3a519be2f563db984e984ec5251e4c7d57.jpg" data-media-id="editor_6" data-image-id="20241023071016_18153f12a84a9e1cc890cad600f0ab3a519be2f563db984e984ec5251e4c7d57" data-rendition-name="original" width="2048" height="1153" loading="lazy" alt="Samundra band"> </figure>  Samundra is a band of musicians and sarangi players known for their performances of Nepali folk fusion music. Formed in 2004, the band stays true to the age-old traditional folk music of the Gandharba community. They recompose authentic Nepali tunes in new forms, updating the cherished old music for contemporary taste. They also educate people on traditional music through their YouTube channel, making it accessible for all. Anil Gandharba also teaches how to use sarangi on their channel. This band is passionate about promoting and preserving the rich cultural heritage of Nepal through their music. Anil Gandharba - Sarangi | Arbajo Buddha Gandharba - Sarangi | Ramkrishna Gandharba - Flute/Arbajo | Samsher Gandharba - Madal | Arjun Gandharba - Madal | Raju Gandharba - Percussion <h2>Dhrupad Gurukul (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_ac99f1d13ac3532016a08227a7592381b03c460fc4df13b06a463059ae0fe24a.jpg" data-media-id="editor_7" data-image-id="20241023071016_ac99f1d13ac3532016a08227a7592381b03c460fc4df13b06a463059ae0fe24a" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Dhrupad Gurukul"> </figure>  <h2> </h2> Dhrupad is a form of Hindustani classical music that is distinguished by its emphasis on maintaining the purity of ragas and swaras.&nbsp; Vishal Bhattarai joined hands with his gurubhai Inoue Sou to establish Dhrupad Gurukul Kathmandu, and the duo has been performing and teaching Dhrupad in Nepal for the last decade. Their performance at Jazzmandu will be joined by the renowned pakhawaj player Mukesh Shakya, and two students currently training under the Gurukul. <h2>SCHEDULE&nbsp;</h2> Jazz for the Next Generation&nbsp; Thursday, 24 October&nbsp; 11AM- 1:30PM&nbsp; Closed Invitation&nbsp; St Xavier’s School, Jawalakhel&nbsp; Groovin’ at Upstairs Thursday, 24 October&nbsp; 7PM – 9PM&nbsp; Rs1,000 Jazz Upstairs, Lazimpat Valley Jams Friday, 25 October&nbsp; 6:30PM – 9PM Rs800 Simultaneously at:&nbsp; Jazz Upstairs, Lazimpat Electric Pagoda, Thamel Eden, Jhamsikhel La Terrasse, Chundevi Hard Rock Cafe, Durbar Marg Jazz Bazaar Saturday, 26 October 3PM – 10PM&nbsp; Rs1,600 Gokarna Forest Resort Sounds of Flamenco Jazz and Afro-Beat Monday, 28 October 7PM – 9PM Rs2,000 Lawn by Nanglo, Jhamsikhel Jazz at Patan Tuesday, 29 October&nbsp; 7PM – 9PM Rs2,000 Dhokaima Cafe, Patan Jazzmandu Finale Wednesday, 30 October 5:30PM - 10PM&nbsp; Rs1,800 The Malla Hotel, Lainchaur&nbsp;

Jazzing up the town for the 20th time

Kathmandu’s other jazz festival, KatJazz, returns for its sixth iteration this month, blending contemporary tunes with the rich traditional music of Nepal and beyond. This eight-day music fest starts on 22 April and concludes with a grand celebration of a finale on the UNESCO recognised International Jazz Day on 30 April. The very first KatJazz in 2017 had jazz education as its objective. The festival has come a long way since and has been integral in further lifting Nepal’s jazz scene, perfectly aligning with the theme this year ‘The Jazz Trail to Kathmandu: Past Voices. Global Sounds. Future Harmonies.’ “This festival is a two-way thing. It brings Western jazz music to Nepal but it simultaneously puts Nepal’s music to world music,” says Abhisek Bhadra, academic director of Kathmandu Jazz Conservatory (KJC), co-organiser of the festival.&nbsp; This year’s lineup features 15 international and 12 Nepali musicians as well as 11 women musicians of KJC Rajamati Choir. “Our emphasis has been on local artists and the collaboration that will take place between the ensemble,” adds Bhadra.&nbsp; The ‘Taking the Lead: The Diverse Voices of Women in Jazz’ session scheduled for 27 April is set to be the highlight of the entire festival. The session will celebrate female musicians in the jazz scene with performances from Juliana Rodrigues, Enji and Maria Fajardo. The artists have all worked extensively, blending jazz with the traditional and folk music of their homelands. Says Abhisek Bhadra: “We are celebrating contemporary jazz music while acknowledging and appreciating traditional music of Nepal and elsewhere.” &nbsp; Read also: <a href="https://nepalitimes.com/review/jazzing-up-the-mandu-for-20-years">Jazzing up the ‘Mandu for 20 years</a>, Aïsha MacDougall <h2>Ben van den Dungen Quartet &nbsp; (The Netherlands)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110428_3f2422989e2c43c002aed73545f7e411557af406286338f37011c3334d8352e6.jpg" data-media-id="editor_1" data-image-id="20240421110428_3f2422989e2c43c002aed73545f7e411557af406286338f37011c3334d8352e6" data-rendition-name="original" width="2000" height="1133" loading="lazy" alt="Ben van den Dungen Quartet"> </figure>  Ben van den Dungen is an acclaimed Dutch Jazz saxophonist who started his concert career in the early 1980s and has since performed in 6,000 concerts in 70 different countries. His band, Ben van den Dungen Quartet, has regularly toured South America, Russia, Indonesia, South Korea, China, India and Europe.&nbsp; At KatJazz, the quartet is paying tribute to the legendary saxophonist John Coltrane, one of the most influential saxophonists of all time. In this dazzling ode, they present a contemporary interpretation of a repertoire that has rightly been labelled as 'classics'. Ben van den Dungen – Saxophone | Miguel Rodriguez – Piano | Steve Zwanink – Bass | Mitchel Damen – Drums <h2>Enji&nbsp;</h2> <h2>(Mongolia/Germany)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110432_e4450b10ff9a05f5cd70cd02e96b9acfa2ea78da9e4b54f50695c22e8a4d293b.jpg" data-media-id="editor_2" data-image-id="20240421110432_e4450b10ff9a05f5cd70cd02e96b9acfa2ea78da9e4b54f50695c22e8a4d293b" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Enji"> </figure>  Enkhjargal Erkhembayar ‘Enji’ is a Mongolian-born Jazz singer and songwriter. As such, there is a touch of Mongolian folk to her music. Enji’s previous album, 'Ursgal,' received acclaim from The New York Times, The Washington Post and The Guardian, making it to the Best Jazz Albums of 2023. She was also invited to perform for COLORS in Berlin. For this year’s lineup, she is joined by Martin Zenker on double bass and Paul Brandle on guitar, adding new dimensions to her already extraordinary sound. Enji - Voice | Martin Zenker - Bass |Paul Brandle - Guitar Read also: <a href="https://nepalitimes.com/here-now/bass-and-no-treble">Bass and No Treble</a>, Sajeet M Rajbhandari <h2>Gyan Residency</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110432_1e921a7a3312bd71d0950142c655c7a71ff2abbfb63b20e2205f774d2a582dce.jpg" data-media-id="editor_4" data-image-id="20240421110432_1e921a7a3312bd71d0950142c655c7a71ff2abbfb63b20e2205f774d2a582dce" data-rendition-name="original" width="1000" height="1468" loading="lazy" alt="Gyan Residency"> </figure>  The Gyan-KJC Residency, a crucial part of the KatJazz festivals, has been providing a space for collaborative dialogue through music. This year, it brings together Nepali maestros Shree KC (dhrupad vocals), Santosh Bhakta Shrestha (esraj), and Jagannath Dhaugoda (tabla), alongside international artists from Chile (Tomas Carrasco, Moa Edmunds), Brazil (Juliana Rodrigues), Spain (Javier Galiana, Javi Delgado, Guillermo Martín-Viana, Pedro Cortejosa), Mongolia (Enji Erkhem), and Nepali folk musicians, including Pushpa Palanchoke. Before 22 April, these participating artists will discuss Hindustani music, Nepali folk, and Western music in workshops aimed at deepening the understanding of Hindustani music among Western performers and vice-versa, fostering cross-cultural learning. In the next phase from 23-25 April, all the artists will collaborate and put together a blended music piece which will be showcased at the Gyan-KJC Residency concert on 30 April at Moksh in Jhamsikhel.&nbsp; <h2>Jhuma Limbu and Raithane Music&nbsp;</h2> <h2>(Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110436_d8598c4ceaa57272816d15a9d77c9f8ecf174f3e1a36df270737016d6b7b4ff3.jpg" data-media-id="editor_5" data-image-id="20240421110436_d8598c4ceaa57272816d15a9d77c9f8ecf174f3e1a36df270737016d6b7b4ff3" data-rendition-name="original" width="2000" height="1125" loading="lazy" alt="Jhuma Limbu"> </figure>  With over two decades of experience in the Nepali music industry, Jhuma Limbu is a highly skilled folk singer renowned for her performances across diverse genres including cultural, folk, playback, patriotic, and modern music. Limbu is dedicated to preserving and promoting Nepal's rich indigenous musical traditions. This concert is a fundraiser for her ongoing album-recording project in collaboration with Chilean musicians Tomás Carrasco and Moa Edmunds, and Nepali producer, keyboardist and arranger Abhisek Bhadra. Jhuma Limbu - Voice | Manice Gandarva - Sarangi | Tomás Carrasco - Flutes | Moa Edmunds - Guitar | Abhisek Bhadra - Piano | Sudhir Acharya - Percussion | Javier Delgado - Upright Bass Read also: <a href="https://nepalitimes.com/here-now/orchestrating-cross-cultural-collaboration">Orchestrating cross-cultural collaboration</a>, Tayama Rai <h2>Juliana Rodrigues&nbsp;</h2> <h2>(Brazil)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110436_94f1cfbe5ec5e59a7930ef9482b9786a2b0dad9f7bc35bae1c0849d9e28170d4.jpg" data-media-id="editor_7" data-image-id="20240421110436_94f1cfbe5ec5e59a7930ef9482b9786a2b0dad9f7bc35bae1c0849d9e28170d4" data-rendition-name="original" width="1750" height="745" loading="lazy" alt="Juliana Rodrigues"> </figure>  A pianist and composer from Sao Paulo, Juliana Rodrigues has released two albums, Vive and Mnemosine, showcasing her unique and diverse musical background. Her team of three performs with excellent cohesion, bringing her compositions to life with a repertoire of rhythms, phrasing, and collective improvisation.&nbsp; Rodrigues is also a member of the women-only samba group Dona da Rua, which recently released singles Filha da Luta and Que Venha em Mim. She has performed at Sala São Paulo, Festival Jazz al Este, Instrumental SESC Brasil, Savassi Festival, and Sonamos Latinoamérica. Juliana Rodrigues - Piano | Rajat Rai - Bass | Prajwal B.K. (Punku) - Drums <h2>Samyog Regmi and Co. (Nepal/Spain)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110432_b1e551e11fa610c40a01c8ba51544fa8b8d91998faf649ca437d0e197ad4d62d.jpg" data-media-id="editor_8" data-image-id="20240421110432_b1e551e11fa610c40a01c8ba51544fa8b8d91998faf649ca437d0e197ad4d62d" data-rendition-name="original" width="1000" height="997" loading="lazy" alt="Samyog Regmi"> </figure>  Samyog Regmi, born in Nepal, was immersed in diverse musical influences from an early age, including local traditional music, jazz, and Eastern classical music. An alumni of the Kathmandu Jazz Conservatory (KJC), Regmi pursued musical studies in the Netherlands. His compositions span various ensembles, including his quintet (a group of five playing music/ singing together), septet (a group of seven playing music/ singing together), and the Conservatory of Amsterdam Big Band.&nbsp; Recently, Samyog released his album Unpopular Opinion. At KatJazz 2024, get ready to witness his musical craft accompanied by international artists from Chile and Spain. Guillermo Martín-Viana (Spain) - &nbsp;Drums | Tomás Carrasco (Chile) - &nbsp;Flute/Sax &nbsp;| &nbsp;Pedro Cortejosa (Spain) - Saxophone | Javi Delgado (Spain) - Upright Bass <h2>Versados Despistados Quartet&nbsp;</h2> <h2>(Spain)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110448_71b6459b542f238634cf7f154404667f9988999f3b671d330e4dd93b369c7818.jpg" data-media-id="editor_9" data-image-id="20240421110448_71b6459b542f238634cf7f154404667f9988999f3b671d330e4dd93b369c7818" data-rendition-name="original" width="4100" height="1050" loading="lazy" alt="Versados Despistados Quartet"> </figure>  The four Andalusian (south of Spain) musicians that make up Versados Despistados Quartet have been in the national and international scene for years. With their own voice and classic jazz instrumentation, this quartet explores the fusion between different forms of Andalusian and Afro-American music. Featuring Pedro Cortejosa on saxophone, Javier Galiana on piano, Javier Delgado on double bass, and Guillermo Martín-Viana on drums, Versados Despistados, which translates to ‘versed scatterbrains’ takes the audience on a dynamic journey of sound with freshness and a sense of humor that catches one by surprise. Pedro Cortejosa - Tenor saxophone | Javier Galiana - Piano | Javier Delgado - Double Bass | Guillermo Martín-Viana - Drums Read also: <a href="https://nepalitimes.com/review/in-nepal-east-meets-west-musically">In Nepal, East meets West musically</a>, Shrijan Pandey <h2>SCHEDULE</h2> Piano Explorations with Javi Galiana and Juliana Rodrigues&nbsp; Monday, 22 April&nbsp; 7PM onwards&nbsp; Rs800 Alliance Française, Pulchok&nbsp; Samyog Regmi and Co.&nbsp; Tuesday, 23 April 7PM onwards&nbsp; Rs800 Jazz Upstairs, Lazimpat&nbsp; A Tribute to Coltrane by Ben Van Den Dungen Quartet&nbsp; Wednesday, 24 April&nbsp; 7PM onwards&nbsp; Rs800&nbsp; Dhokaima cafe, Patandhoka&nbsp; Enji (Enkhjargal Erkhembayar) Thursday, 25 April&nbsp; 7PM onwards&nbsp; Rs800&nbsp; Moksh, Jhamsikhel&nbsp; Versados Despistados&nbsp; Friday, 26 April&nbsp; 7PM onwards&nbsp; Rs800 EDN Sanepa&nbsp; Taking the Lead: The Diverse Voices of Women in Jazz with Juliana Rodrigues, Enji, Maria Fajardo&nbsp; Saturday, 27 April&nbsp; 6PM onwards&nbsp; Rs1000 Yellow House, Sanepa&nbsp; Jhuma Limbu and Raithane Music Monday, 29 April 7PM onwards&nbsp; Rs1000 Mandala Theatre, Thapagaun International Jazz Day Concert Tuesday, 30 April&nbsp; 7PM onwards &nbsp; Rs1200 Moksh, Jhamsikhel&nbsp;

Jazzing up Kathmandu again

It is festival season here in Nepal. Along with Dasain, Tihar and Chhat there is also Kathmandu’s very own international jazz festival. This year, Surya Nepal Jazzmandu, the music festival that put Nepal on the planetary jazz map, turns 19. With a brand-new ensemble of musicians from all over the world, it might just be the event to help one do away with Dasain blues and warm up for the festival of lights. “It stemmed from the love of jazz we have,” says Samir Chettri of Nepali jazz band Cadenza Collective, who is part of the organising team. “Many Nepalis cannot afford to go abroad and check out concerts, so we thought why not bring international musicians here.” Artists this year include Plurism, Under the Surface, Lucile Chriqui, Palouse Forro, Himalayan Highway, Samundra Band, Dhrubesh/Friends of Sukarma, Nick Aggs &amp; Cadenza Collective as well as other eastern classical musicians. Jazz has come a long way from the cobbled streets of New Orleans in the late 19th century, it has evolved into Latin jazz, gypsy jazz, Afro-Cuban jazz, and even Nepali jazz. But even though the art form has branched out, improvisation is still its heart and soul.&nbsp; “Jazz is never constant, it is evolving. Culture is important in jazz,” explains Chettri. When the festival was first held in Kathmandu in 2002, very few in Nepal had heard of jazz. Today, Nepalis not only make up half of the audience in the concerts, there are local jazz musicians ready to represent Nepal. There are now jazz schools and students performing jazz. Every year with a host of new artists, the festival infuses new styles and trends into the local jazz scene while showcasing Nepal’s best in jazz. Says Chhetri: “At the heart of the festival, we want to celebrate music and inspire a new generation of musicians.” &nbsp;&nbsp; <h2>Plurism (Switzerland/South Africa)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_cb84ae7f832ef16a8f29b34edcb813eb38e164c76b5eaf4c1d2184f8fb22224a.jpg" data-media-id="editor_0" data-image-id="20231102051124_cb84ae7f832ef16a8f29b34edcb813eb38e164c76b5eaf4c1d2184f8fb22224a" data-rendition-name="original" width="3000" height="2000" loading="lazy" alt="Jazzmandu 2023"> </figure>  Plurism sees Swiss drummer and band leader Dominic Egli combine forces with the esteemed South African trumpeter Feya Faku and a stellar cast of musicians with a shared friendship as well as musical sensibility. Plurism is anchored in Egli’s intense curiosity about the many colours of African rhythm. The nostalgic sensitivity of his playing is grounded by the bass of Xaver Rüegg, with Faku displaying his uncanny temperament on the trumpet, Mthunzi Mvubu with prolific vocabulary is on the alto saxophone and Sisonke Xonti’s audacious yet vulnerable style on the tenor saxophone. Plurism remains complex yet simple, explosive yet tender, down-to-earth yet otherworldly, with the musicians always drawing out more from each other and the audience. Feya Faku – Trumpet and flugelhorn | Mthunzi Mvubu – Alto saxophone &nbsp; Sisonke Xonti – Tenor saxophone | Xaver Ruegg – Bass | Dominic Egli – Drums and cymbals <h2>Lucile Chriqui (France)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_f9b3a6ba8890eb21bd03f3bd349644da85a20301831fe86e7e7c1bb7e02f656b.jpg" data-media-id="editor_1" data-image-id="20231102051124_f9b3a6ba8890eb21bd03f3bd349644da85a20301831fe86e7e7c1bb7e02f656b" data-rendition-name="original" width="2000" height="1334" loading="lazy" alt="Jazzmandu 2023"> </figure>  Lucile Chriqui, an award-winning singer-songwriter, is one of the brightest new talents in French Jazz. Blessed with natural musical and vocal flair, she honed her craft training under the American jazz singer Sara Lazarus and the French violinist Didier Lockwood, among others. Her list of collaborators includes rising names in international jazz such as Philippe Baden Powell, Munir Hossn, and Nils Frechilla, and she even shared the stage with renowned French singer Camille Dalmais. She has also worked on numerous stage and film productions, including collaboration with the composer Chassol on music for the Netflix series “En place”. Lucile’s music melds influences from Cuba, Andalusia, Brazil, and more, with daring harmonies that define an inimitable style. Lucile Chriqui – Vocals | Bruno Schorp – Bass | Arthur Links – Guitar | Gaetan Diaz – Drum <h2>Nick Aggs &amp; Cadenza Collective (Australia/Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_5d6066f9053da401b6f25abafba52a7aeee8968d161458bede9734cc106d654e.jpg" data-media-id="editor_2" data-image-id="20231102051124_5d6066f9053da401b6f25abafba52a7aeee8968d161458bede9734cc106d654e" data-rendition-name="original" width="2250" height="1604" loading="lazy" alt="Jazzmandu 2023"> </figure>  The Cadenza Collective, headed by the drummer and composer Navin Chettri, is one of the most unique and eclectic bands to emerge from Kathmandu. The group moves seamlessly across jazz, afro-funk, and Nepali folk music, creating a genre-bending sound that’s irresistible to the ears. The Cadenza Collective is joined by the Australian saxophonist and composer Nick Aggs. Hailing from Brisbane, and a key member of the acclaimed Australian fusion band Afro Dizzi Act, Aggs has fronted numerous musical ensembles and performed around the world, collaborating with esteemed musicians such as percussionist Trilok Gurtu, guitarist Jesse Van Ruller, kora virtuoso Jali Buba Kuyateh and many others. The Cadenza Collective already has seven albums of original music to its name—the latest is Himalayan Songlines—and is working on a new single due out soon after Jazzmandu.&nbsp; Navin Chettri – Drums, percussion and vocals | Nick Aggs – Saxophone Rajat Rai – Guitar | Samir Chettri – Bass <h2>Himalayan Highway (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_e0b2a85c0c6afd8ceb8f231dfbe55658df451fc7f5fbac8642338e616de41c84.jpg" data-media-id="editor_3" data-image-id="20231102051124_e0b2a85c0c6afd8ceb8f231dfbe55658df451fc7f5fbac8642338e616de41c84" data-rendition-name="original" width="1944" height="2520" loading="lazy" alt="Jazzmandu 2023"> </figure>  A Nepali-American instrumental fusion band formed in Kathmandu, Himalayan Highway weaves together American Bluegrass and old-time Nepali folk music. Inspired by unexpected similarities in the two traditions, the band’s members put a fresh spin on traditional tunes, with infectious harmonies and catchy beats that bring a unique new collaboration to the global music scene.&nbsp; Prince Nepali – Sarangi | Zoe Levitt – Mandolin Anish Tamang – Guitar | Yuson Maharjan – Percussion&nbsp; <h2>Palouse Forro (USA)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_f9a2414e455e976e959abe5792e04f59d3880f68b8da7c15afdd12787dcdc03d.jpg" data-media-id="editor_4" data-image-id="20231102051124_f9a2414e455e976e959abe5792e04f59d3880f68b8da7c15afdd12787dcdc03d" data-rendition-name="original" width="2250" height="1457" loading="lazy" alt="Jazzmandu 2023"> </figure>  Drawing its name from its home base in the Palouse region of the northwestern United States and the forró music of northeastern Brazil, the Palouse Forró brings to the world a much-beloved Brazilian genre that is yet to get its international due. The band is led by American accordion player Adrian Crookston, who has played with forró ensembles such as Gente Boa, Xaxado Mission, and Forró de Quintal, and has taken his music to audiences across the United States, Europe, South America, and Asia. Adrian Crookston – Accordion and vocals Navin Chettri – Drums | Rajat Rai – Guitar <h2>Under the Surface (Netherlands)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_616277fbf48f67c8354e88742a3fc72079bf40d7e6e0b11d7c7b92d7aa48f861.jpg" data-media-id="editor_5" data-image-id="20231102051124_616277fbf48f67c8354e88742a3fc72079bf40d7e6e0b11d7c7b92d7aa48f861" data-rendition-name="original" width="2250" height="2812" loading="lazy" alt="Jazzmandu 2023"> </figure>  Under the Surface is an extraordinary combination of three generations of Dutch musicians seeking communion in improvisation. Sanne Rambag’s voice rhymes, whispers and sings over the melodic lines of Bram Stadhouders’ guitar and the subtle percussion style of Joost Lijbaart, transporting listeners into an almost dreamlike new reality. Their music offers both intellectual and emotional pleasure, springing from unshackled improvisation yet far from abstract, adopting surprising forms akin to thoughtful composition. Their eponymous debut album, released to great acclaim in 2017, was nominated for the Edison, an annual Dutch award for outstanding musical achievement. The group’s live album Trinity, from 2019, captures the essence of a sound they have shared with audiences at major festivals across Europe, Asia, South America, Africa, and the Middle East.&nbsp; Joost Lijbaart – Drums and percussion | Sanne Rambags – Vocals Bram Stadhouders – Guitar and electronics <h2>Samundra Band (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_32a9090130f97fabf3d9d2a4aa39ce9380183e111f19a6a24933c1c523155cd1.jpg" data-media-id="editor_6" data-image-id="20231102051124_32a9090130f97fabf3d9d2a4aa39ce9380183e111f19a6a24933c1c523155cd1" data-rendition-name="original" width="2250" height="1776" loading="lazy" alt="Jazzmandu 2023"> </figure>  Formed in 2004, Samundra celebrates and safeguards the Gandharba community’s long tradition of performing Nepali folk music. Holding firm to typical folk instruments, the ensemble plays age-old Nepali tunes recomposed in new forms, updating cherished old music for contemporary tastes. Anil Gandharba – sarangi | Subash Gandharba – bansuri Pujan Gandharba – madal | Ramkrishna Gandharba – arbajo Buddha Gandharba – kartal <h2>Eastern Classical Musicians (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_1994ff06190b57547f1dd5618c06657fcc120f763295fe77e1c6f93ed4950e47.jpg" data-media-id="editor_7" data-image-id="20231102051124_1994ff06190b57547f1dd5618c06657fcc120f763295fe77e1c6f93ed4950e47" data-rendition-name="original" width="2250" height="1260" loading="lazy" alt="Jazzmandu 2023"> </figure>  Jonisha Poudel – Vocals As a gifted exponent of khayal, the preeminent genre of Hindustani classical music, Jonisha Poudel has already made a deep mark at a young age. Trained under the guidance of Shree K.C., one of Nepal’s most respected khayal and dhrupad vocalists, she has won multiple honours and performed at many prestigious classical music festivals.&nbsp; Santosh Bhakta – Ishraj Santosh Bhakta Shrestha has dedicated himself to the ishraj for two and a half decades and has achieved tremendous mastery of this classical instrument. A pupil of Mohan Joshi, Shrestha has performed and toured in Nepal and abroad and has contributed to hundreds of recordings. Dhan Bahadur Gurung – Flute Dhan Bahadur Gurung began his training in the flute at the Kalanidhi School of Music – the same school where he is a teacher today. He has honed his skill with the legendary Ustaad Hariprasad Chaurasia and was selected as the best &nbsp;flautist in the Shastriya Sangeet Samiti competition in 2008. <h2>SCHEDULE</h2> Concert for Students Thursday, 2 November 11am-1:30pm Venue: St. Xaviers School, Jawlakhel Entry by invitation only. &nbsp; Grooving at Upstairs Thursday, 2 November 7pm-9pm Venue: Jazz Upstairs, Lazimpat Rs900 Gates open at 6:30pm Valley Jams Friday, 3 November 7pm-9pm Rs700 Gates open at 6:30pm and close at 7pm. Venues: Jazz Upstairs, Lazimpat Electric Pagoda, Thamel Evoke, Jhamsikhel EDN, Sanepa Jazz Bazaar Date: Saturday, 4 November Time: 3pm-10pm Venue: Gokarna Forest Resort Price: Rs1,500 Gates open 2pm and close at 7pm. &nbsp; Sounds Of Latin Jazz Monday, 6 November 7pm-9pm Venue: Mulchok, Baber Mahal Revisited Rs1,800 Gates open at 6pm and close at 8pm. Masterclasses Tuesday, 7 November 11am-1:30pm Venues: The Music Room, Bhatbhateni Yalamaya Kendra, Patan Dhoka FREE ENTRY (limited seating) &nbsp; Jazz At Patan Tuesday, 7 November 7pm-9pm Venue: Yalamaya Kendra, Patan Dhoka Rs1,800 Gates open at 6:30pm and close at 8pm. Seated by 6:45pm. Jazzmandu Finale Wednesday, 8 November 5:30pm-10pm Venue: Hotel Yak &amp; Yeti, Darbar Marg Rs1,500 Gates open at 4:30pm and close at 8pm.

Just Jazz in Kathmandu

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c129c7e80680e0c95fajpeg.jpg" alt="" width="1024" height="683"/>The wait is over: the annual Surya Nepal Kathmandu Jazz Festival is back in town after a two-year Covid hiatus, spreading the message of peace and compassion through music.Begun in 2002 and founded by Chhedup Bomzan of The Jazz Upstairs Bar and Navin Chettri, drummer and vocalist of Cadenza, ‘Jazzmandu’ is in its 18th year and keeps alive its aim to bring quality jazz to Nepal, transcending cultural boundaries with world-famous musicians getting together in Kathmandu for a week of entertainment this festive season.Just as jazz incorporates elements from folk and traditional music, adding unique melodies and modulations, Surya Nepal Jazzmandu 2022 showcases the best that the genre has to offer in a vibrant cultural exchange.Line-up includes the Jamie Baum Sextet from the USA, Jin Jim from Germany, Catia Werneck from Brazil and France, and Yumi Ito from Switzerland. Nepal’s very own Jonisha Poudel, Cadenza Collective and Samundra Band will also perform.Read also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazzing-up-in-kathmandu,3316">Jazz it up ‘Mandu</a>, Sahina Shrestha<a href="http://archive.nepalitimes.com/news.php?id=4306#.W9Ktg3szbIV">All that Jazz</a>Over the years, the jazz festival has been putting Nepal on the world music map, bringing the exquisite international sounds of jazz to Nepalis and taking Nepali musicians to the world. Twenty years ago, there were only a handful of jazz musicians in Nepal, but now aspirant instrumentalists queue to learn the style at the Kathmandu Jazz Conservatory. Here too, jazz has developed into a dazzling form of art, with its own distinct identity.The festival promises to enrich lives, promote creativity, encourage sharing of international sounds and ideas, pushing the limits and boundaries of musical expectations, nurturing the talents of Nepali musicians.“I hope that over the years, Jazzmandu has had a positive impact on our youth and evolving music culture,” says Nabin Chhetri, artistic director of Surya Nepal Jazzmandu 2022 and member of Cadenza. “We have a special free concert just for young students every year and this year we are also bringing back the Jazz for the Next Generation music competition.”There is also a three-day free sound workshop from 10 to 12 October with a sound engineer from Switzerland. The theme this year is ‘Music for unity, peace and compassion’ and the festival runs from 13-19 October across many venues in the Valley.<hr/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c169c7e80680e0c95fbjpeg.jpg" alt="" width="2560" height="1811">The Jamie Baum Sextet (USA)Widely considered among the top jazz flutists and composers in the world, Jamie brings to Jazzmandu some of the most compelling musicians from the New York jazz scene today.Jamie’s passion for South Asian music was heightened over several tours in the region between 2001 and 2009, including two visits to Jazzmandu. She wrote “Honouring Nepal: The Shiva Suite”, commissioned by the Rubin Museum of Himalayan Art, to pay tribute to Nepal after the 2015 earthquake and performed at the Monterey Jazz Festival in 2016. Now, “The Shiva Suite” is coming to Nepal for the first time.<a href="https://jamiebaum.com/">www.jamiebaum.com</a>Jamie Baum – flute, compositionsKenny Warren – trumpetBrad Shepik – guitarZack Lober – bassJulian Shore – pianoJeff Hirshfield – drumsCatia Werneck (Brazil/France)Born into a family of musicians in Rio de Janeiro, Catia began to sing and play from a young age before touring abroad and moving to Paris to further her career. Starting with an early collaboration in France with the Boto Novos Tempos collective, she has gone on to tour across the world and perform at major international jazz festivals.She continues to perform and record in Brazil, showcasing her mastery and creativity in the styles of bossa nova, samba, jongo (a forerunner to samba), and more.<a href="https://jazzmandu.org/_wp_link_placeholder">www.catiawerneck.com</a>Catia Werneck – vocalsNoé Chantraine – piano/keyboardsBenjamin Asnar – bassNavin Chettri – drums<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c199c7e80680e0c95fcjpeg.jpg" alt="" width="2560" height="1811"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c1c9c7e80680e0c95fdjpeg.jpg" alt="" width="2000" height="1600">Yumi Ito (Switzerland)The destruction of Earth, the committal of a friend to a psychiatric hospital, the death of her unknown neighbour from heroin use — Yumi weaves into her music stories about society that matter, no matter how large or small, how bright or dark.Her sound — an amalgam of jazz, art-pop, electronica, free improvisation and neo-classical music — might seem tricky but really isn’t: the musician, composer, producer and arranger navigates a clear stylistic path of her own making, always telling a story along the way.<a href="https://www.yumiito.ch/">www.yumiito.ch</a>Yumi Ito – vocals, compositionsKuba Dworak – bassIago Fernandez – drumsJin Jim (Germany)“Vertical lift-off” is how the broadcaster NDR described Jin Jim’s meteoric rise on the German jazz scene. In 2013, the same year Jin Jim was founded, the band was voted by the public into the finals of the JazzTube Festival in Bonn.Jin Jim’s sound is powered by a mix of latin, jazz and rock influences that create a rhythmically complex yet harmonically accessible whole.<a href="https://jinjim.com/">www.jinjim.com</a>Daniel Manrique Smith – C/alto/ bass fluteJohann May – guitarBen Tai Trawinski – double bassNico Stallmann – drums<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c209c7e80680e0c95fejpeg.jpg" alt="" width="1024" height="683"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c239c7e80680e0c95ffjpeg.jpg" alt="" width="2560" height="1707">Cadenza Collective (Nepal)With a signature blend of jazz, afro-funk and Nepali folk music, Cadenza Collective plays music that’s irresistible for your ears and your booty. Led by the drummer and composer Navin Chettri, the group boasts a hard-driving performance style and has amassed six albums of original music.In addition to pumping up the improvised music scene in Nepal, Cadenza has played across the world and collaborated with a stellar list of both Western and traditional Nepali musicians.<a href="http://www.cadenzacollective.com/">www.cadenzacollective.com</a>Navin Chettri – lead vocals/ drums/percussionPravin Chettri – alto saxophone/vocalsRajat Rai – guitar/vocalsSamir Chettri – bass/vocalsSamundra Band (Nepal)Formed in 2004, Samundra celebrates and safeguards the Gandharba community’s long tradition of performing Nepali folk music. Holding firm to typical folk instruments, the ensemble plays age-old Nepali tunes recomposed in new forms, updating cherished old music for contemporary tastes.<a href="http://www.samundraband.blogspot.com/">www.samundraband.blogspot.com</a>Anil Gandharba – sarangiSubash Gandharba – bansuriPujan Gandharba – madalRamkrishnaGandharba – arbajoBuddha Gandharba – kartal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c269c7e80680e0c9600jpeg.jpg" alt="" width="2560" height="2022"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c2a9c7e80680e0c9601jpeg.jpg" alt="" width="2560" height="1811">Jonisha Poudel (Nepal)As a gifted exponent of khayal, the preeminent genre of Hindustani classical music, Jonisha Poudel has already made a deep mark at a young age. Trained under the guidance of Shree K.C., one of Nepal’s most respected khayal and dhrupad vocalists, she has won multiple honours and performed at many prestigious classical music festivals.Her talent ranges beyond classical music as well: she has recorded hit songs for the Nepali film industry and been the lead vocalist for the band Vastu.<a href="https://www.facebook.com/Jonishapoudelofficial/">www.facebook.com/jonishapoudelofficial</a>Jonisha Poudel – vocalsSantosh Bhakta – ishrajShree K.C. – harmoniumNimesh Kapali – tabla<hr/>Jazz for the Next GenerationConcert for Young Students / Music CompetitionDate: Thursday, 13 OctoberTime: 11:00am – 1:30pmVenue: Malpi College, GairidharaEntry by invitation only! Groovin’ at UpstairsDate: Thursday, 13 OctoberTime: 7:00pm – 9:00pmVenue: Jazz Upstairs, LazimpatPrice: Rs700Gates open at 6:30pm.Cadenza Collective gather new and old friends for an explosive jam at Kathmandu's most storied jazz club. Valley JamsDate: Friday, 14 OctoberTime: 7:00pm – 9:00pmPrice: Rs700Gates open at 6:30pm and close at 7:00pm.Venues:Jazz Upstairs, Lazimpat – Jamie Baum Sextet (USA)Electric Pagoda, Thamel – Jin Jim (Germany)Evoke, Jhamsikhel – Catia Werneck (Brazil /France)Maitri Marg – Yumi Ito (Switzerland)Visiting Jazzmandu 2022 acts perform intimate sets at venues across the Kathmandu Valley. Jazz BazaarDate: Saturday, 15 OctoberTime: 3:00pm – 10:00pmVenue: Gokarna Forest ResortPrice: Rs1500Gates open at 2:00pm and close at 7:00pm.A day and night of incredible music under an open sky at the lush Gokarna Forest Resort.Sounds of Brazilian Jazz &amp; Nepali Afro-FunkDate: Monday, 17 OctoberTime: 7:00pm – 9:00pmVenue: Aloft, ThamelPrice: Rs1700Gates open at 6:00pm and close at 8:00pm.A classy evening in Thamel with music spanning Brazil, West Africa and Nepal. Jazz at PatanDate: Tuesday, 18 OctoberTime: 7:00pm – 9:00pmVenue: Yalamaya Kendra, Patan DhokaPrice: Rs1700Gates open at 6:30pm and close at 8:00pm.Please be seated by 6:45pm.Nepali classical music fuses with jazz on a magical night in the old city of Patan. Jazzmandu FinaleDate: Wednesday, 19 OctoberTime: 5:30pm – 10:00pmVenue: Hotel Yak &amp; Yeti, Durbar MargPrice: Rs1500Gates open at 4:30pm and close at 8:00pm.The full festival line-up comes together for one last jam to close out Jazzmandu 2022.

And all that Jazzmandu

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934009c7e80680e03dfcfjpeg.jpg" alt="" width="800" height="1074"/><figcaption>All Photos: Jazzmandu facebook</figcaption></figure>The 16th edition of Nepal’s first and only jazz festival Surya Nepal Jazzmandu 2018 began on 1 November with a free concert for school children at Alliance Française, Jhamsikhel. The rhythm and instruments may have been unfamiliar, but the students enjoyed the lively music, dancing to the beat – proving jazz is indeed universal.They sang along and whistled to international music, from Brazilian beats to European melodies, as musicians interacted with them. The day ended with a performance by Cadenza, the group which first brought Jazzmandu to Nepal, at their home base Jazz Upstairs.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934039c7e80680e03dfd0jpeg.jpg" alt="" width="1400" height="1126">The following day had jazz gigs at various venues around town. Adrien Brandeis performed piano-led soulful melodies at Manny’s Eatery &amp; Tapas Bar, while Dave Feusi and The Groove Gang presented groove jazz, building their rhythms around saxophones. At Jazz Upstairs, Cynthia Abraham’s husky voice and Eduardo Mendonca’s Brazilian bass gelled well to wow the audiences. Nick’s Cousins presented jazz with a punch of rock at House of Music, a show geared at audiences who enjoy exploratory jazz.The next day was for large stages and group revelries. Free shuttle buses departed to Gokarna Forest resort where musicians wowed crowds at the edge of the forest on 3 November. True to Jazzmandu’s goals, the day showcased not just international artists, but also gave them something to take back and learn about Nepali music, as international artists jammed with a team of sarangi players from Nepal.Read also:<a href="https://www.nepalitimes.com/here-now/kathmandu-and-all-that-jazz/" target="_blank" rel="noopener">Kathmandu, and all that jazz …</a>, Sewa Bhattarai<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazzing-up-in-kathmandu,3316" target="_blank" rel="noopener">Jazz it up in 'Mandu</a>, Sahina Shrestha<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934069c7e80680e03dfd1jpeg.jpg" alt="" width="640" height="897">On 5 November, the day Nepal worshipped crows, audiences got a South American flavour of jazz, with ‘Sounds of Latin Jazz’ at Dhokaima Cafe. The exuberant audience enjoyed the loud and vibrant music with enthusiastic applause.Students of jazz were able to interact with visiting musicians at the Kathmandu Jazz Conservatory, where vocal and instrumental workshops were held. Like the concert for schoolchildren, this event was also free but with limited seating.“One of Jazzmandu’s main concerns is promoting music education and cross-cultural understanding of music,” says organiser Samir Chettri, also a member of Cadenza. “We have always made these opportunities accessible to those who are interested, and we hope to develop an appreciation for international styles of music through these programmes.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934099c7e80680e03dfd2jpeg.jpg" alt="" width="800" height="874">Kantipur Temple House saw true jazz style fusion as Cynthia Abraham and Maria Fajardo sang soulfully to the tunes of Rabin Lal Shrestha’s tabla, and other eastern classical instruments. An attentive crowd quietly savoured jazz becoming more vibrant with the infusion of eastern classical music.Jazzmandu bid adieu to its 16th year with a finale timed for Dog Day on 6 November at the Yak &amp; Yeti. The week-long extravaganza ended with all the performers coming together for a rousing evening of entertainment. Like every year, Jazzmandu entertained audiences while raising the bar for contemporary music in Nepal.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazz-comes-to-town,2670" target="_blank" rel="noopener">Fuel up on jazz</a>, Madeline Zutt<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Enriching-and-exclusive-jazzmandu-Kathmandu,3984" target="_blank" rel="noopener">Enriching-and exclusive?</a>, Rubeena D Shrestha<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/6369340c9c7e80680e03dfd3jpeg.jpg" alt="" width="1400" height="934">

Jazzmandu Finale

Fenerbahçe Beko won the Turkish Airlines EuroLeague finals in Abu Dhabi, held 23-25 May, defeating Monaco 81-70 in the final. Olympiacos, who defeated Panathinaikos 97-93, finished the series in third place. The Most Valuable Player (MVP) of the final match, Nigel Hayes-Davis from Fenerbahçe Beko, received a prize of 1,000,000 Miles&amp;Smiles from Turkish Airlines’ Chief Commercial Officer Ahmet Olmuştur. The carrier has been the title sponsor of the Turkish Airlines EuroLeague, a top tier tournament, since 2010.

Turkish Basketball

Thousands of Nepali students dreaming of an American education have been forced to look elsewhere as the Trump administration’s visa restrictions make their future uncertain.
The US was long considered a top destination for higher studies, making Nepal the 10th biggest country of origin for international students in America.&nbsp;
However, that number has seen a significant decline with the total for Nepali students now at 16,482. Some 8,000 Nepali students obtained no-objection certificates to study in the US from the Ministry of Education in the past year.&nbsp;
India, Australia, Canada, South Korea, United Kingdom and Japan are the other popular destinations for Nepali students. There are no clear numbers for Nepalis going to India, but a slight decline was noted this year after the deaths of two female students.
The US State Department has issued a circular to its embassies not to issue new visas to applicants until further notice. US Secretary of State Marco Rubio in the directive stated that the department planned to expand the screening of applicants' social media.&nbsp;
While new applicants are barred including those applying for visitor visas, students with scheduled interviews are allowed to proceed.
“Many of our students are affected by the new restrictions, but those who had applied for student visas earlier have got interview dates,” one Kathmandu-based college counsellor told us.
Meanwhile, even foreign students with spotless records already in the US have not been spared, as visa scrutiny intensifies under the new policy. In a move that underscores the growing sense of insecurity, many US colleges advised international students to carry their passports and documents at all times, even when traveling locally.
“Me and my friends did not go home this summer because we were not sure we would be allowed back, so we just went to Niagara Falls,” said a Nepali undergrad in Ohio, who like many interviewed for this report did not want her name used for fear of repercussion.
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Nepali students have adopted a cautious stance, with many choosing not to return home during summer vacation due to fear of visa revocations as well as travel bans. Meanwhile, over 7,000 Nepalis with Temporary Protected Status (TPS) will have to come back to Nepal by 5 August or face deportation. Thirty-seven were flown back to Kathmandu on Omni Air last week.
“The US is one of the most sought-after destinations for higher education, and the ban will definitely impact bright students,” says Narottam Aryal of the King’s College in Kathmandu.
Indeed, Nepali undergraduates admitted into Ivy League colleges for the 2025 academic year have been asked to look for alternatives. The entire Fulbright Foreign Scholarships Board resigned on Wednesday citing interference from the Trump administration on the selection of this year’s cohort. Some Nepali students already on Fulbright scholarships have noted disruptions, delays and even cancellation of stipends.&nbsp;
The student visa restrictions were initially just for foreign students admitted to Harvard University, but it was later extended to all Chinese students and now to all students. Universities like Columbia which actively recruit foreign students, face sharp enrolment declines, threatening their financial stability and diversity.
An Indian female PhD candidate at Columbia University had her visa revoked by the US State Department, and said she was targeted on the basis of her social media posts on Israeli military attacks in Gaza. Social media vetting of political activism has raised concerns about privacy and freedom of expression in a country where such rights were a given.
Many students have been informed via email that their visas have been revoked for getting speeding or parking tickets, but even others with no criminal record have been affected. The fear of deportation looms large amongst international students, including those from Nepal.&nbsp;
For most Nepalis who migrate to the US for education, the journey is a high-stakes investment. They come largely from middle-class families, often rely on a patchwork of scholarships, work-study programs, loans, or even the sale of family assets to afford fees.
Most Nepali students pursue STEM subjects which offer extended Optional Practical Training (OPT) periods that help fund their education. But with the US backsliding on education and humanitarian matters, countries like the UK and Canada are becoming more attractive despite their own recent stricter controls on student visas.&nbsp;
The UK universities saw a 63% rise in Nepali students’ admissions in 2024. Japan is another popular destination with 64,816 Nepali students enrolled as of 2024.
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Already, China, Hong Kong and Malaysia are poised to benefit from the increased scrutiny of US student visas. Several Hong Kong universities are offering unconditional admission to affected students, while Malaysian institutions are targeting previously US-bound Asian students. China and India have 330,000 and 280,000 students respectively in America, but the numbers for China have seen a sharp drop in the past year.
Elsewhere, branch campuses of American institutions such as NYU in Abu Dhabi, Georgetown in Dubai and Northwestern in Doha are getting more admission applications, and universities in the Gulf region are expanding infrastructure to accommodate those who would otherwise have gone to the US.&nbsp;
Even educational institutions in Nepal are hopeful that the US visa restrictions can be an opportunity to at least keep Nepali undergrads in Nepal, and also attract foreign students from the region.&nbsp;
“Many students might choose to complete their undergraduate degree here in Nepal and then move abroad for their Master’s degree later,” says Aryal of King’s College. “There was a need for quality higher education in Nepal anyway in terms of innovation and opportunities, so this could be the time to reduce our dependence on other countries.”
Nepal’s strategic position between India and China makes it sensitive to US policy shifts. India, a key ally, is also under US scrutiny for potential student travel restrictions. Chinese universities are already offering more scholarships to Nepali talent to capitalise on the US retreat.
American universities have challenged student visa restrictions in the courts. A federal court in Boston revoked the blanket ban on Harvard, and the State Department has ordered the resumption of processing student and exchange visitor visas.&nbsp;
Some are still hoping that President Trump will backtrack on the student visa restrictions, just like he has done with many of his more drastic executive orders.
Even so, the visa see-saw and longer-term uncertainties about living in the United States and its education system means students across the world are making alternative plans.
Says Aryal: “Policies of foreign countries change according to their needs, so excessive dependence was never a good idea. We should work to create different opportunities and choices of higher education within Nepal, so students are retained.” &nbsp;

America no longer prime destination for Nepali students

That winter day in January 1664 marked an exceptional event in the reign of King Pratap Malla of Kathmandu. It was 15 Paush 784 of the Nepal Sambat and for the first time, a historical event was being immortalised on canvas for generations to come.&nbsp; The occasion was the grand Tuladaan ceremony of the King’s youngest son Chakrabartendra Malla from his wife Anantapriya, an Indian princess from Cooch Behar in present-day Assam.&nbsp; During the ritual, the prince was weighed against gold, silver, pearls, and other precious stones, which were then offered to Goddess Taleju Bhavani, the guardian deity of the Malla dynasty.&nbsp; The 170 x120cm painting captures the time of King Pratap Malla in all its splendour and is more than a personal tribute to his son: it is a significant visual historical document. It was evidently completed five years later in 1669, and could be considered a photographic record, with retrospective recreation of the event by the unknown artist. A Tuladaan ceremony is performed to purify one’s karma, quell impending bad luck, or as an act of charity and devotion. Chakrabartendra Malla was not well, and the ritual was performed in hopes of restoring his health. King Pratap Malla had arranged for each of his sons to take turns ruling Kathmandu so they got administrative experience. But Chakrabartendra died just two days after assuming power in 1670 (790 NS). This painting is considered the earliest known example in which the composition is dominated by an architectural landscape: the Taleju Temple. Given the stylistic features such as side-profile facial depictions and the rendering of human forms, it is believed that the Nepali artist was trained by a Rajput master.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051.jpg" data-media-id="editor_0" data-image-id="20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051" data-rendition-name="original" width="3248" height="4395" loading="lazy" alt="Tuladaan NT"> </figure>  During that era, there were regular exchanges of artists between Northern India and Kathmandu Valley. The painting is also a melding of Nepali, Tibetan, Mughal, and Rajput art styles of the time. Pratap Malla could have been inspired by a painting of Mughal Emperor Jahangir’s Tuladaan ceremony for his son Khurram in 1607. The Mallas and Mughals shared cordial relations, which is reflected in the cultural influences seen in the art and attire of the period.&nbsp; The clothing of the Malla ruling class, in particular, features colourful tunics, turbans, and jewelry that display strong Rajput and Mughal stylistic elements. The musicians in the upper tier are also dressed in Indian-style clothing, while the ensemble on the lower steps wear local attire, notably without turbans. Their hairstyles also differ, with the lower group wearing their hair tied in a bun at the front. This national treasure is currently in storage at the Collège de France in Paris, and has never been publicly displayed. Nepal’s art scholars like Gautam Vajracharya, Pratap Aditya Pal and Anne Vergati have written about this iconic paubha in the past, but the only detailed study is from the perspective of music history by researcher Richard Widdess who had access to high resolution copies of the original.&nbsp; Widdess from the Department of Music at the School of Oriental and African Studies (SOAS) in London describes the paubha as the most significant and richly detailed documentation of music in Nepali art. He identifies distinct musical ensembles on the terraces of the temple, and remarkably most of them are actively used today. One of them reflects the Mughal naqqārakhāna model — a loud outdoor ensemble typically composed of kettledrums, trumpets, and cymbals, traditionally performed from the gateway of the emperor’s palace to announce his entrances and exits. The depiction of such an ensemble in the tulādāna painting is likely the earliest known representation of a complete naqqārakhāna in Nepal — considered the forerunner of the panche baja, the traditional Nepali ensemble. On the stepped pyramid base of the temple are two groups of musicians playing local instruments: dhimey, bhushya, and dha. They are unmistakably Newar musicians, wearing short skirts and short-sleeved tops, with bare heads and legs—clearly distinguished as local performers.&nbsp; Higher still on the temple pyramid are musicians of apparently higher status, positioned close to the king, and his courtiers, possibly professional court musicians from India, well-versed in rāga and tāla. A dāphā group is also clearly depicted, identifiable by their characteristic instruments.&nbsp; Dāphā bhajan is likely the oldest surviving tradition of Newar devotional singing, and this paubha is the oldest visual record of it. Pratap Malla himself is believed to have composed songs that continue to be performed by dāphā groups throughout Kathmandu till today.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3.jpg" data-media-id="editor_1" data-image-id="2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3" data-rendition-name="original" width="596" height="768" loading="lazy" alt="Priceless paubha in Paris NT"> </figure>  The artist’s thorough attention to musical detail may be attributed to King Pratap Malla’s own deep interest in music. His inscriptions on this painting and elsewhere proclaim his mastery of all branches of knowledge, including music. He is also known as the author of dance dramas and poems, penning his name as Kavindra (king of poets). Some noteworthy elements of new art techniques stand out: for example, the roof of the temple is filled with realistically rendered white doves, pigeons, and crows. This is a rare feature in paubha, where animals and birds are stylised, mythological forms. This remarkably talented unknown artist has managed to also render an orthographic projection: the front and side view of Nepal’s first architectural paubha. The Taleju Temple, with its staggering multi-tiered structure and numerous steps and platforms, is masterfully translated into layers within the painting. This represents a significant artistic achievement of the time, especially considering that dimensional perspectives had not started in deity-based paubha.&nbsp; The artist has also made a meticulous effort to capture architectural details such as the toran (ornamental arch) and temple struts with impressive precision. There are flickering lamps along the steps and some people carrying what appear to be oil pots.&nbsp; It is a full moon night and the dark sky is adorned with all the gods and goddesses, who are depicted as blessing the ceremony while seated on stylised thangka clouds. There is a lot happening in this painting, with people engaged in various activities. The artist has also rendered a forest backdrop behind the temple, complete with deer, trees, and flowers. Could there have once been a royal garden behind the Taleju Temple?&nbsp; More details and clarity can only be achieved if we are able to view the original or a high-resolution scanned version of the artwork. Many countries proudly display art depicting historical events in their national museums with great reverence. France, for example, has The Coronation of Emperor Napoleon and Empress Joséphine by Jacques-Louis David (1808–1822), along with numerous paintings of the Napoleonic Wars. Many were commissioned by Napoleon himself for future generations to remember.&nbsp; For Nepal, the equivalent is the Tuladaan paubha which is a visual record capturing a historic moment involving one of Kathmandu’s greatest kings, on the very day the event took place. Sadly, we await the day when this masterpiece is displayed, shared in high resolution for detailed study, or more rightfully — repatriated to its homeland, where it truly belongs. &nbsp; Shaguni Singh Sakya is the Director of the Museum of Nepali Arts (MoNA) at Kathmandu Guest House in Thamel. <h2>Gods homeward bound</h2> The Nepal Heritage Recovery Campaign and Nepal’s Department of Archaeology are convening the first international conference on the Recovery of Cultural Heritage from 16-18 June in Patan. The conference will address urgent issues of theft, illicit trafficking, the campaign to repatriate looted cultural artifacts, and explore how the return of sacred antiquities contributes to justice, healing, and reconciliation for communities and nations affected by cultural loss. American art crime professor Erin L Thompson and Saubhagya Pradhananga of the Department of Archaeology will deliver the keynote. Meanwhile, author and Nepali Times publisher Kunda Dixit will lead a conversation on Illicit Trafficking: Public Opinion and Role of Media with Erin Thompson, Amr Al Azm, associate professor of Middle East History and Anthropology at Shawnee State University in Ohio, as well as Bradley J Gordon, a lawyer based in Phnom Penh. There will be sessions looking at repatriation perspectives from Cambodia, India, Vietnam, China and Poland, international frameworks for repatriation, emerging digital technologies in the repatriation of cultural heritage, cultural property agreements, museums as well as trends in the art market, and heritage diplomacy and the role of media.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6.jpg" data-media-id="editor_2" data-image-id="2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6" data-rendition-name="original" width="1080" height="1350" loading="lazy" alt="Heritage recovery NT"> </figure>  <h2> </h2> Some of the other highlights include James K. Reap, a professor in the Master of Historic Preservation Program at the University of Georgia who has a session on the US response to illicit trafficking. Art historian Lea Saint-Raymond is taking on “Gods at Auction: The Market for Himalayan Artefacts”, while lecturer of criminology at the University of Glasgow Emiline Smith is delving into transformative approaches to heritage ownership and repatriation. Helena Arose of Antiquities Coalition and Melina Antoniadis of NOSTOS Strategies that specialise on the return home of cultural heritage as well as Hao Liu of International Cultural Heritage Law at the School of Law at Shandong University are some of the others attending. The Nepal Heritage Recovery Campaign was set up in 2020 to develop a coordinated movement to reclaim Nepal’s stolen gods and goddesses, with an aim to ensure that recovered items are returned to their original shrines, niches or sanctums. Ahead of the conference opening organisers have arranged for a film screening of Loot &amp; Return: 4 Documentaries at YalaMaya Kendra in Patan Dhoka between 14-15 June. Following the conference is a multimedia exhibition titled Absent Gods: Nepal’s Lost Heritage from 31 July to 4 August at Patan Museum.

Priceless paubha in Paris

While Nepal was hosting the Sagarmatha Sambaad international climate conference in Kathmandu this month, on Mt Everest it was pretty much business as usual.&nbsp; The signs of climate breakdown are all there: a river now runs through Base Camp in summer, the Khumbu Icefall is more unstable, and there are more &nbsp;frequent avalanches. When expeditions arrived in March, the mountains were bare: it had not snowed since September, but then blizzards dumped unseasonal snow in May. And despite climate worries, such is the pull of Himalayan mountaineering that the Everest Industry showed no signs of slowdown. More than 600 international climbers and their Nepali guides had made it to the summit of the world’s highest mountain. At one point there were an estimated 2,000 people in the tent city on the Khumbu Glacier. All the ropes and ladders on the Icefall came down on Thursday, marking the official end of the spring climbing season, and just in time to avoid a monsoon cyclone approaching from the Bay of Bengal. It has been an action-packed season. One factor could be that Everest fees will go up from September: each foreign climber needs to pay a $15,000 royalty, up from the present $11,000. The cost for a Nepali climber on the South Col route will also go up: from Rs75,000 to Rs150,000.&nbsp; The fee to climb Everest in autumn is $7,500 (up from $5,500), but most climbers still prefer spring. Winter permit fee (December-February) is only $3,750 per person and the mountain is now also open for monsoon (June-August) climbs, when the fee is ever lower at $2,750. The revised rule also makes it mandatory for every two climbers on an 8,000m peak to hire one Nepali mountain guide.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046.jpg" data-media-id="editor_0" data-image-id="2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046" data-rendition-name="original" width="931" height="732" loading="lazy" alt="The Everest Industry graph 1"> </figure>  In addition, climbers also have to pay for porters and guides, equipment, Base Camp costs, Ice Fall and fixed rope team fees, so climbing Everest does not come cheap. But such is the draw of climbing the world’s highest peak that some say the increased fees will not diminish the crowds next year. The government has tried to spread expeditions out to other seasons and other 8,000ers, but with not much success. Earlier this year, Nepal unilaterally increased the number of 8,000m peaks to 14 by adding six more sub-summits to broaden the choice for climbers. Added were: Yalung Kang (8,505m), Yalung Kang West (8,077m) &nbsp;Kangchenjunga Central (8,473m), Kangchenjunga South (8,476m), Lhotse Middle (8,410m) and Lhotse Shar (8,400m).&nbsp; The announcement could go against the accepted topographic criteria that a stand alone peak has to be at least 300m higher than an adjoining prominence, and at more than 3km isolation from it. The UIAA (Union Internationale des Associations d'Alpinisme) still recognises only 14 mountains as eight-thousanders, and only eight of those are in Nepal, or on the border with China. Nepal’s revised mountaineering regulations also increased the insurance coverage of high-altitude workers to protect porters and high altitude guides who usually take more risks on the mountains. Rescue teams and clean-up campaigners to collect trash and remove bodies of dead climbers up to Camp IV of Mt Everest do not need permits.&nbsp; The Sagarmatha Pollution Control Committee is now using drones to fly down trash in 20kg sacks. Each climber is also required to bring down at least 6kg of waste and not just their own, but this rule is erratically enforced. With five fatalities on Everest and Lhotse, Spring 2025 had a historically low death toll. Another five climbers died on Annapurna, Kangchenjunga and Makalu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a.jpg" data-media-id="editor_1" data-image-id="2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a" data-rendition-name="original" width="665" height="740" loading="lazy" alt="The Everest industry graph 2"> </figure>  Journalist Ben Ayers who ran the Everest Live social media channel from Everest Base Camp with daily updates credited the low death rate to dramatic rescues of climbers from the ‘Death Zone’ by their Nepali guides and longline helievacs — the visuals all uploaded on YouTube.&nbsp; “Ironically, this perception of safety is bringing more and more inexperienced climbers to the mountain, and they need more rescues,” Ayers said in one of his dispatches.&nbsp; American expedition chronicler and summiteer Alan Arnette suspects there is a lot of under-reporting given that the jet stream and storms were lashing Everest even till late in the season. He told us: “I heard a lot about frostbite and rescues that were not made public. It’s become practically impossible to cover the details on Everest. All the teams report nice news, and they don’t talk about bad stuff to avoid hurting businesses.” Although trash on Nepal’s mountains makes headlines, what does not receive as much attention is the climate impact of so many expeditions. The Sagarmatha Sambaad conference sidestepped this issue, which is ironic given that the impact of climate breakdown is most evident on Himalayan peaks and their glaciers.&nbsp; <h2>Need for Speed</h2> The big stories this year have been about speed-running from their home cities to the top of Everest. Ukrainian entrepreneur Andrew Ushakov flew out of JFK on 15 May at 10:15AM Nepal time, and was on the summit 3 days, 23 hours, and 7 minutes later on 19 May at 9:22AM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885.jpg" data-media-id="editor_2" data-image-id="20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885" data-rendition-name="original" width="1440" height="1800" loading="lazy" alt="The Everest Industry"> <figcaption>Andrew Ushakov at the summt. Photo: ELITE EXPED</figcaption> </figure>  “I could never find the time for the traditional 40-50 days of acclimatisation,” Ushakov explained matter-of-factly. His ‘Everest Sea-to-Summit’ climb was possible because he spent 400 hours in hypoxic sleep tents over the past four years in New York. However, Ushakov did use ropes already fixed, hired four Nepali guides, helicoptered to Base Camp, and used much more oxygen than an average climber. And after the climb, Ushakov was arrested at Kathmandu airport for being in possession of $20,000 of undeclared cash and spent a night in jail and fined $60,000.&nbsp; The other speedsters were Garth Miller, Alastair Cairns, Anthony Stazicker, and Kev Godlington, all former British Army commandos. They left London and summited five days later on 21 May, and flew right back. They also used hypoxic tents to simulate the thin air high on Everest.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8.jpg" data-media-id="editor_3" data-image-id="20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8" data-rendition-name="original" width="810" height="668" loading="lazy" alt="The Everest Industry "> <figcaption>All four members of the Furtenbach team at the summit. Photo: Sandro Gromen-Hayes</figcaption> </figure>  But more controversial was their use of xenon gas therapy in a German hospital to ramp up the production of oxygen-carrying haemoglobins in their blood. Xenon is banned by the World Anti-Doping Agency for being performance enhancing in sports. Expedition leader Lukas Furtenbach said this rule does not apply to mountaineering, as it is not a regulated sport like swimming. Nepal has no rules about xenon, but the Department of Tourism said it was launching an ‘investigation’ to decide on future policy since it is difficult to ban xenon, but allow oxygen. The controversy has also divided the mountaineering community, with some climbers saying they just want to maximise their chances of survival. Spending less time on the mountain could make climbing safer by reducing avalanche risk. It would also mean less trash on the mountains, but it would reduce the income of Nepal’s expedition industry. It is also unclear how much of the success was due to xenon therapy and whether the ex-special forces were already in good physical shape.&nbsp; The need for speed hides the fact that climbing in the Himalaya is dangerous business, and climbers cannot sprint to the top just by huffing xenon. But ultra-fast climbs could be charged more, and the revenue generated can be used to establish state-of-the-art rescue operations, and increase pay and insurance for guides. Two other speed chasers this season were Swiss-Ecuadorian Karl Egloff and American Tyler Andrews, both on Everest without oxygen. Andrews choppered to Base Camp to catch a weather window, but turned back from 8,500m due to high winds. Heavy snow and wind also forced Egloff to descend from 7,000m. Slow and steady climbers like Anja Blacha from Germany did make it to the summit without oxygen, while Kami Rita Sherpa broke his own record with his 31st Everest summit as he led a 26-strong Indian Army group. There were 468 permits issued for foreign climbers from 48 expeditions to Everest this spring. Nepal’s other eight-thousanders together had only 17 expeditions. Nepal has more than 1,000 peaks above 6,000m, and has opened only 476 of them for climbing.&nbsp;

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