The classical music of Northern India has had a pro-
found influence on me ever since I heard Ravi Shankar
in concert (in Boston circa 1971). I was also fortunate
to have had a great Sitar teacher, Ram Chakravarty of
Benares. That said, I always felt hesitant about using
this music in any other context; I felt that it would be somehow
disrespectful or sacrilegious to present Indian music in a Western
setting or to alter it in any way.
Although there are many musical works out there that are experi-
mental in the East/West fusion realm (including several works by
Ravi Shankar himself), it was hearing Ali Akbar Khan’s “Garden of
Dreams” that finally changed my thinking. In fact, Akbar Khan’s
piece sounded like a “permission” by one of India’s all-time great
musicians for this hallowed music to be allowed a “Western treat-
ment” with harmony, Western instruments, and musicians such as
Jai Uttal, all partaking in a wonderful musical feast. A new door-
way opened, through which I eagerly entered.

This album is one such journey into this New World.
A few words of explanation:
The origins of Indian classical music can be traced back thousands
of years to the earliest writings of the Vedic culture. Originally,
this music was an integral part of spiritual practice, devotion, and
meditation; however, today music is also used for other purposes
allowing many of these ancient chants, melodies, and traditional
musical forms to survive.
1. Indian music is a “living music” in that it has been passed on by
teacher to disciple for centuries. All the pieces on this album are
not Indian classical music but rather have a distinct connection
to the Indian musical form known as Raga, which literally means
“that which colors the mind” and is the form that all classical Indian
Music uses. The three principles from which the word has arisen are
color (mood), passion, and melody. Ragas have arisen from Thats or
parent scales that are similar to the modes of Ancient Greece.
2. At the root of everything is the Drone (the tamboura), which is
critical to Indian music with its constant repetition of notes usually
corresponding to the root and fifth notes of the scale. It portrays
the unchanging inner music to which we are all connected, and
provides a tonal center from which the melody emanates.
3. The Alap is always the first movement of the piece that is
performed without rhythm. This is the Raga in it’s purest form.
The priciple mood (Rasa) is presented, along with the domi-
nant notes and particular nuances of the Raga. (This is also why
this is such a meditative music--traditionally the whole piece
explores, and concentrates on, only one mood or emotion, such
as longing, joy, peace,tranquility, etc., whereas much of Western
music constantly changes and moves through many and varied
emotions and colors throughout its course.)
4. The Gat, or the second movement, is a melodic theme or
composition played within a set rhythmic time cycle (tala)
and is accompanied by drums (traditionally the tabla). This
whole section develops further though improvisation and
interplay between the melody instrument and the drummer
and always returns to the theme and the first beat of the time
cycle, called Sam.
5. The Shruti - In analysis of Indian music, musicologists divide
the octave into twenty-two finer intervals than the traditional
twelve half-steps used in most Western music. When employed
correctly, these microtones—called the shruti—have a profound
effect on the listener, stimulating the emotions and the finer
subtle senses.
Each of the instruments on this album are associated with one
of the Vedic chakras or energy centers of the body. Large drums
are associated with the first (root) chakra and correspond to the
element earth. This chakra predominantly governs manifestation
grounding, survival, and new beginnings in our lives. The root
chakra is associated with the color red.
Lighter Percussion sounds (such as bells,shakers and small drums)
are associated with the second chakra and the element of Water.
This chakra is the center of change, emotion, pleasure, and move-
ment in our lives, and it is associated with the color orange.
Stringed instruments are traditionally associated with the fourth chakra
and the element Air. Balance, love, compassion, healing, and unity are
governed by this chakra, which is associated with the color green.
Music and Meditation
Ancient cultures used deep spiritual meditation practices to raise
consciousness to realms above the physical plane. In almost all
spiritual paths and world religions there is reference to meditation
as an act of centering the mind with some sort of mantra or prayer
to achieve union or communication with the Divine. In the Vedic
culture (and others), music was an integral part of many spiritual
practices in the form of chant, which is like a musical mantra.
Sound and the Divine are considered synonymous. Hence the
Vedic saying “Nad Brahma”--sound is God.
Today, the word “meditation” has come to mean many things to
a vast range of people. For example, for some meditation simply
means sitting quietly and reflecting on things other than a hectic
work day or the issue of what to eat for dinner. Or meditation can
involve being out in nature and becoming attuned to the wonder-
ful, natural world.
The common thread in these definitions is that the result of any
kind of meditation should be a state of peace, relaxation, physical
well-being, calm, renewal, feeling refreshed, and energized. I make
no claims of any kind as to what this music will do for your well-
being. Let it be whatever it means to you. Sit back, relax, and take
a musical journey to wherever you would like to go.
Tracks
The original form of this work was a musical “stream of conscious-
ness” and was several hours long. Playing for an hour or more at a
time, the music was allowed to flow without the “conscious critic”
or any attention to form or time constraints. Later, each piece was
condensed and rearranged into what you hear now.
One constant is the tempo. The entire album occurs at a tempo of
sixty-three beats per minute. I wanted to have a tempo that would
synchronize with a state of deep relaxation. Before I began creating
the music for this album, I sat quietly and recorded my heartbeat,
which was then timed with a metronome. The recording (of the
heart) is used in the second track, “Searching the Inner Sky.”no claims of any kind as to what this music will do for your well-
being. Let it be whatever it means to you. Sit back, relax, and take
a musical journey to wherever you would like to go.