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Deepak Ram Exclusive
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CLASSICfeel, Deepak Ram Exclusive >>
For unlike Western classical music, Indian classical music has never removed itself from the concepts of improvisation. While throughout the development of western classical music the distance between composer and performer (or replicator?) grew, the performer is composer in this non-western classical genre. So then it is not strange that there is an association between jazz and this genre, and South Africa is therefore not without its exponents.
North Indian classical music has been the focus of Deepak Ram’s life and research, and while many South Africans may know him from his associations with the group Tananas, he remains devoted to this cause. His formal training began in SA in 1975, under Sri Jeram Bhana, and after only two years he went on to study further in Mumbai, India, under India’s master flute maker, Sri Suryakant Limaye.
According to the traditional Indian method of study, the process of mastering an instrument is one of “study under a master.” Deepak refers to his own tuition as such, calling it “a discipleship.” In 1982 Deepak realized his dream of becoming a disciple of the flautist Pandit Hariprasad Chaurasia, and embarked on what by all indications was an amazing period of growth.
Hariprasad Chaurasia is a widely revered and respected musician, in many instances being recognized as the master of the Indian bamboo flute or bansuri. He has done much to popularize the instrument, even performing and recording with saxophonist Jan Garbarek (of the ECM label), as well as guitarist John McLaughlin. Deepak’s education time was further rounded by simultaneously studying tabla under Sri Yashwant Padhye and music theory and voice under Pandit Rajaram Shukla. Deepak’s commitment to research and study is evident throughout his life, and in 1996 he earned a masters degree in music from Rhodes University, for a research paper concerning the relationship between western and Indian music.
Deepak is also a gifted teacher, and has the ability to effectively communicate his knowledge and love of Indian classical music. He lectured fulltime for four years at the University of Durban-Westville and most recently; he has served as visiting professor in Indian Music at the University of California, Santa Cruz (where he is currently based). His role as mentor has taken him around the world, performing and conducting many workshops in the United Kingdom, Ireland, Holland, France and Austria, among others.
But what of his recordings? His albums have been highly acclaimed and he clinched “Best Instrumental Album” at the 2000 South African Music Awards for his album Searching for Satyam. This album is a perfect example of the cross-fertilization of styles, bringing jazz and funky elements to the bansuri, while the western guitar is infused with Indian and Middle Eastern elements.
Deepak’s most recent CD release is called Beauty in Diversity (a fitting title for a South African musician), and dates from 2002. It features Sujata Ghanekar on voice, Ian Herman on drums (another South African musician resident in the US and the ex-drummer for Tananas), Dan Robbins on bass, Rabin Ram on sarod and Vivek Ram on sitar. While the album was recorded in California, the number of South African musicians on this recording outweighs the US influences and adds meaning to the title. This album displays Deepak’s love for the cross-cultural mixing of influences, and highlights the chameleon-like ability of great improvisers to float between genres. By all indications this album is a highlight for the “Jazz meets Indian” catalogue.
For a more traditional or classical approach, check out the Golden Horn release Prasad (Blessing), which was recorded in October of 2001. This album features the musicianship of Deepak on bansuri, Pandit Swapan Chaudhuri on tabla and Bhavani Siegel on tanpura. This album focuses on the Indian classical art, a music which is based on exploration and improvisation of two entities – melody and rhythm – within strict boundaries as governed by what are known as the Raga and Tala systems. Western classical music is dominated by harmony (chordal relationships), and this difference is what makes Indian classical music initially sound foreign to the uninitiated western ear, but once you set aside this expectation, the beauty is breathtaking.
Deepak is fast becoming recognized as a prime exponent of the bansuri, so why not pick up one of his recordings? Not only will you be supporting one of our finest local ‘classical’ musicians, but you may also gain respect for a music that precedes Bach!
--Jonathan Crossley 09/01/05
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