Rabin Lal Shrestha

Hom Nath Upadhyaya is a renowned Nepali tabla maestro celebrated for his mastery of classical, semi‑classical, and folk rhythms. Trained in the rich traditions of Hindustani classical music, he became one of Nepal’s most influential percussionists, performing internationally and collaborating with leading artists. His contributions include teaching at Tribhuvan University, mentoring new generations of musicians, and representing Nepal on global stages. Known for his precision, melodic clarity, and deep understanding of rhythmic cycles, Upadhyaya has played a vital role in preserving and promoting Nepali classical music. His performances and compositions continue to inspire students, audiences, and cultural institutions across Nepal and the diaspora.

Dev Rana, one of the most iconic drummers of Nepal was born on June 18, 1952 in Sungai Petani, Malaysia. Rana has entertained the music lovers for almost five decades and has massive respect from the audiences as well as today's rockstars.

JB Lama is one of Nepal’s senior and most respected flutists, widely recognized for his decades‑long contribution to Nepali modern, folk, and film music. He has collaborated with legendary icons including Narayan Gopal, Gopal Yonjan, Nati Kaji, Fatteh Man, and many others, shaping the sound of Nepali music across multiple eras. Lama is also credited with creating his own flute‑playing pattern, a stylistic signature still followed by many contemporary flutists.

Manohari Singh (1931–2010), born in Kolkata to a Nepalese Bhusal family, is celebrated as one of South Asia’s finest woodwind and orchestral arrangers. Though globally known for his work with R.D. Burman, his Nepali heritage and musical upbringing in a Nepali household shaped his tonal sensibility, melodic phrasing, and emotional depth — qualities that strongly resonated with Nepali film composers.His mastery of alto saxophone, flute, piccolo, clarinet, mandolin, and bansuri made him a sought‑after session musician whose sound influenced the orchestral palette of Nepali film music in the 1980s–1990s. Many Nepali composers — especially those working in Mumbai and Kolkata studios — relied on his phrasing style, brass‑woodwind layering, and melodic counterlines as a reference point.Although he did not score many Nepali films directly, his arrangement style, brass band roots, and Nepali musical lineage helped shape the cross‑border sound that Nepali cinema adopted during its modern era. His work as part of the Basu–Manohari duo also inspired Nepali arrangers who studied Indian studio orchestration.