Led by the acclaimed percussionist and Mammal Hands member Jesse Barrett, this trio is a masterclass in musical boundary-crossing. Known for his virtuosic tabla playing and deep roots in North Indian classical music, Jesse joins forces with long-time collaborators Peter Beardsworth and Owen Morgan to create something truly unique: a sound that is part meditative soundscape, part propulsive jazz.
Their music feels like a conversation across centuries – blending the discipline of traditional taals with the fluid, experimental energy of the UK jazz scene. Ahead of their much-anticipated debut album, Adhyatma, the trio is bringing their hypnotic live show to the Sonic Wave night at The Cut in Halesworth on March 14th. Expect a performance that is as much about spiritual exploration as it is about incredible musicianship.
We get to chat:
HC: Jesse, you’ve been described as ‘virtuosic’ by The Guardian for your tabla and percussion work. How does the trio format allow you to push the physical and sonic boundaries of the tabla compared to your solo work?
Jesse: What I’m doing in this trio is pushing the combination of drum kit and tabla. Since leaving Mammal Hands I have been focused on developing a floor seated set of drums specifically designed to blend well with the tabla and allow for a more seamless exploration of the space between those worlds. Bringing the philosophy of the tabla to the fore, and allowing that feeling to permeate the whole set up.
HC: Your new album is out now, why was Adhyatma the right name for this specific collection of songs?
Jesse: Adhyatma roughly translates as “the wisdom of the self”. Making the record was a really reflective and intuitive process and it felt like it was coming from something subconscious and wise that I needed to follow.
HC: Having spent years with Mammal Hands, how did the writing process for Adhyatma differ? Was there a specific moment or sound that made you realize these compositions needed their own new trio?
Jesse: The main difference was that I was making the bulk of the album on my own and it was very experimental. I would make a whole tune and then ask Pete and or Owen to come and play around with what I had done. Then I’d make more edits and find the finished tune from there. It’s a testament to how good they both are that they could so seamlessly find a way into that approach. But I don’t really “write” for the trio when we play live. That side of it is completely open and it behaves more as an improvisational unit. Both Pete and Owen are amazing improvisers, so it’s just really fun.
HC: Peter is a known multi-instrumentalist. On this upcoming record, what are some of the more “unexpected” textures or instruments we can look forward to hearing?
Jesse: Pete just plays flute on the record but live he dives into quite a few sounds. Synth, FX set ups and sometimes voice and sax too. The record is so varied sound wise its hard to explain. There’s so many textures and different bits of sound design its a best to just give it a listen!
HC: The album reportedly blurs the lines between ancient and modern. How do you balance the strict, traditional structures of North Indian taals with the fluidity of modern electronics and jazz?
Jesse: There are some tracks that adhere strictly to a set taal structure like “liminal flowers pt 1” which is in a 12 beat cycle. And some that are much more loose and free flowing. I think I just try different approaches out and if I like the results I keep going! Tabla is an extremely flexible and lyrical instrument, so it can be used in many ways other than the very traditional approach in Hindustani music, while staying true to its roots.
HC: What’s the ideal setting for someone to listen to the new album for the first time – headphones in the dark or a crowded room?
Jesse: Definitely it’s a chill out album. It’s for healing and having a sonic brain bath. I’d say headphones looking out of the window at the rain, or eye’s closed.
HC: You’re sharing the bill with the Anna Mudeka. Are there any shared musical philosophies or ‘rhythmic dialogues’ you see between her Zimbabwean influences and your own North Indian/jazz explorations?
Jesse: To me music is all one, and all musicians share one language. Anna Mudeka is such a stalwart in East Anglia and I have massive respect for what she has given to the scene over the years.
HC: What’s the one thing you want the audience at Sonic Wave to feel the moment you hit the stage on March 14th?
Jesse: I hope people feel open and comfortable, and I hope we can all unite in that moment and have some fun!
Thank you for your time.
LINKS FOR JESSE BARRETT TRIO:
https://www.vibhaasjessebarrett.com/
https://vibhaas.bandcamp.com/
https://www.instagram.com/vibhaasjessebarrett/
