Hom Nath Upadhyaya

The remarkable Nepalese guitarist, arranger Dinesh Shrestha, was born on 25th January 1978 A.D. in Putalisadak, Kathmandu, Nepal to father Kashi Bahadur Shrestha and mother Ram Kumari Shrestha. Dinesh Shrestha was an accomplished guitarist, and was best known there for his rock/blues playing and one of the founder members of “The Buds Band”. Dinesh Shrestha was taught initially by his guru Phiroj Shyangden (guitarist and founder member of 1974 A D Band) on ‘Do Re Mi Music Institute’ in Kathmandu, but it soon became apparent that the boy was a gifted guitarist. Dinesh Shrestha was appeared and performed at “Shikhar Beat Contest” for the first time at Katmandu about 1994 A.D. and making enough of an impression that the famous guitarist. His band also participated in other competition like “Tuborg Music Festival’99”whne they got the first position as “The Band Of the Year” and after they participated on other programs like “Mahashivaratri Music Festival’99”,”Kathmandu Utsav’99”, “Beat Competition’98” and more than fifty programs and concerts. He made his official debut from famous Nepalese band “The Buds” from 1994 A.D. as a lead guitarist including other band members Sudip Singh (Rhythm), Bijaya Karki (Bass/Vocal), Dipesh Shrestha (Drummer/Vocal), Sushil Shrestha (Rhythm), and received reviews that noted a strong, clean tone and a polished though undemonstrative technique. The first album titled “Birsana Sakdina” including nine songs titled “Birsana Sakdina”, ‘Bihani Ko Mirmirema” etc and Second album “Buds 2” which was popular amongst Nepalese people. He had performed by the early 1990's within the various parts of country and has since performed with outstanding success playing both solo and with Band and regularly on radio and television. Now with business and academic reasons he is separated with his band members and no new project will be plan for till now.

Ganga Thapa is a Nepali composer, producer, ethnomusicologist, and multi‑instrumentalist known for his research‑driven approach to music and his fusion of traditional Nepali sounds with contemporary arrangements. His work spans field documentation, studio production, and multi‑instrumental performance, making him a key figure in the preservation and modern reinterpretation of Nepali musical heritage.

Dhrubesh Chandra Regmi is a celebrated sitar maestro, scholar, and academician from Nepal, known for his profound contributions to classical music and musicology. Born into the illustrious Regmi musical lineage, he is the great-grandson of Pt. Dev Chandra Regmi, who pioneered the sitar tradition in Nepal. Trained under his father, Prof. Satish Chandra Regmi, Dhrubesh began playing sitar at the age of eight and gave his first concert by thirteen. He holds a Ph.D. in Music from Delhi University—the first Nepali musician to do so—with a dissertation on the history of music during the Rana period. He also completed a postdoctoral Fulbright fellowship at the City University of New York on “Music for Peace and Harmony.” A founding member of the acclaimed ensemble Sukarma, Dhrubesh has performed globally and currently serves as a Professor at Padma Kanya Multiple Campus, Tribhuvan University. His legacy bridges tradition, scholarship, and performance.

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.