Jazz in Goa is no longer just the soundtrack of a bygone era—it’s alive, electric, and being led by the youth who will take centre stage at two vibrant concerts on April 30 as part of the International Jazz Day celebrations
ADITHI SHARMA | NT BUZZ
Goa is all set jazz things up today with engrossing performances featuring a mélange of young and veteran artistes across venues in Panaji and Benaulim.
In the capital city, Jazz Goa—helmed by veteran bassist Colin D’Cruz—will host its 14th edition of the International Jazz Day concert at the Jardim Garcia de Orta.
The event, true to Jazz Goa’s philosophy, is non-ticketed, non-elitist, and inclusive. And from 12-year-old Nigel Rebello to 78-year-old jazz veteran Allan Moraes, the line-up showcases the full spectrum of music beyond barriers of age.
What is noteworthy is that 13-year-old Mehaila Rodrigues is set to open this concert. Sharing her love for this genre, the youngster reveals that she was first introduced to it at home. “Jazz is interesting and fun. My father liked listening to jazz music, and one day he got me into learning the saxophone,” she recalls. His interest soon turned into encouragement when he contacted D’Cruz after discovering him on YouTube. “Colin called me to play for Jazz Day 2023, and that’s how my journey began.”
Now, two years later, she is once again stepping into the spotlight. For this year’s performance, her preparation has been simple but focused. “I didn’t prepare much. I was told which song to play, and as per that, I practised for a few days,” she shares. She also mentions that working with professional musicians has taught her not only about jazz but about collaboration. “It has taught me how to communicate with other professional artists and gain knowledge. It made me more confident about performing in front of an audience,” she says, adding that she will definitely love to explore it further in the future.
As jazz grapples with remaining relevant to new audiences, Rodrigues believes concerts like these can play a pivotal role. “Young audiences can be encouraged to appreciate jazz more actively by listening to it and by attending concerts,” she says simply.
Notable Goan singers such as Hema Sardesai, Sonia Shirsat, Seby Fernandes, and Zezinho Fernandes are also set to grace the stage, joined by outstation artistes including Vivienne Pocha, Merlin D’Souza, and UK’s West End star Jan Graveson.
Performing for the second time with Jazz Goa, Shirsat says, “Jazz is a beautiful genre, which I listen to like I would, any other genre.” Her band has a good line-up of songs which are well-known to the Goan audience, “For this year’s performance, we’re performing Portuguese ballads and morna,” she says, adding that while jazz is considered old style, youth will connect to music that they like— because it goes beyond any barriers of age, language, countries or genre. “If they’re exposed to it, they will definitely like it— whatever style of music it may be. For that we could organise more events, concerts and performances so that if they like it, they can pursue it,” she says.
Another performer, pianist and performer Praneet David Lal, recalls discovering jazz at age 15 upon hearing Louis Armstrong’s ‘Blueberry Hill’. “The thrill of playing jazz was something else—it was beyond the confines of other genres,” he says. “Jazz allows freedom of expression through embellishments and dynamics. I’ve tried to keep my solos slightly away from the melody line to keep things interesting.” For the Panaji concert, Lal is set to perform ‘Blue Skies’ and accompany other artistes as well.
Meanwhile in South Goa, The Live Music Project (TLMP), co-founded by Vinesh Iyer, has curated another event at Silva Heritage in Benaulim. The TLMP stage will spotlight Goa’s emerging jazz voices with a performance by Jazzmatazz, a young trio comprising Swizel Costa (vocals and alto saxophone), Clifton Sequeira (keyboard and flute), and Sreenath Sreenivasan (drums).
Their performance is a statement—one that fuses the sophistication of jazz with the spirit of youth. “Jazz doesn’t feel vintage, it feels timeless,” says Sreenivasan. “The emotions it expresses—joy, sorrow, hope, resilience—are things we experience today too.” Clifton adds that their exposure to legends like Thelonious Monk, Miles Davis, and Herbie Hancock helped them see jazz not just as music, but as a way to express one’s authentic voice. “It’s constantly evolving, and that’s what makes it exciting and challenging,” he says.
For Costa, preparing for the concert goes beyond practice. “Every rehearsal, reveals something new. We’ve learned to listen closely to each other and complement each other in real time—it’s about staying spontaneous and responding to the moment,” she explains. Jazzmatazz’s performance includes a diverse repertoire—funk, bossa nova, classic jazz standards, and even Konkani reinterpretations—aimed at connecting across generations.
But Jazzmatazz’s journey wasn’t without challenges. “Coming from a classical music background, improvisation was a new experience,” says Sequeira. “It took a lot of study and practice to internalise the jazz idiom.”
Preparing to participate in the International Jazz Day concert taught the band important lessons about trust and collaboration. “Jazz thrives when musicians and listeners connect in real time,” reflects Costa. “This concert reminds us how vital community support is to keeping the music alive.”
And introducing teenagers to jazz is central to both Jazz Goa and TLMP’s long-standing vision. D’Cruz, a pioneer of Goa’s jazz movement, speaks about the necessity of passing the torch. “Over the past few years, I’ve encountered more youngsters than oldies taking up jazz. They have grasping power far beyond their elders and can play at an incredibly high level even in their teens. That’s why I make sure every International Jazz Day concert opens with young talent.”
According to Iyer, who has been curating contemporary jazz experiences through TLMP and the Goa International Jazz Live Festival since 2013, jazz is evolving in India. “Jazz is not just swing. It’s improvisation. That’s what we want to highlight—its openness to new sounds and vibrations,” he says. By showcasing young bands like Jazzmatazz, TLMP is creating a new wave of jazz appreciation among Goa’s youth.
“This year, we wanted to celebrate the next-gen jazz musicians from Goa, especially with two of the Jazzmatazz members coming from South Goa,” Iyer explains.
Looking ahead, both TLMP and Jazz Goa have ambitious plans. TLMP is preparing to launch a South Goa Jazz Club in collaboration with the Future School of Performing Arts, host weekly concerts, and revive its flagship jazz festival that has been on hold since the pandemic. “There’s a lot cooking,” says Iyer. “We’ve seen a growth in audience interest, especially from creative communities and city settlers who’ve moved to Goa post-COVID. Jazz is now a cool, happening scene.”
However, challenges remain. As Iyer notes, “Local audiences still lean toward traditional jazz and expect free entry. We’ve had to shift that perception and show the value of curated content and the effort behind each production.”
D’Cruz echoes this sentiment while emphasising the educational potential of jazz. “Jazz musicians must have long legs—one foot in the past, the other in the future,” he says. “There are three steps to being a good musician: imitate, assimilate, innovate. Even the greatest learnt from their idols. Our goal is to create the next generation of innovators.”
