Flautist-composer Deepak Ram has been described as a versatile musician. His first love is North Indian classical music. Deepak has performed in the United States of America (where he is currently based), South Africa, United Kingdom, Ireland, France, Austria, Germany, Lebanon, Turkey and Holland and had the honor of accompanying his teacher, Pandit Hariprasad Chaurasia, in Geneva, London and Paris.

Deepak was nominated as Best Male Artist and Best Instrumental Album, South African Music Awards, 1999 and was awarded Best Instrumental Album, South African Music Awards, 2000.

IndiaBeat caught up with Deepak in Kolkata recently.

Indiabeat : Deepak, tell us about your earliest musical influences in South Africa ?

Deepak : I grew up listening to lot of different music genres. My parents listened to a lot to bhajans, and filmi songs, while my two older brothers were listening to John Coltrane, Miles Davis and a host of jazz and funk musicians. My real influence was an album that my brother brought home once: “Portrait of Genius” by Pt.. Ravi Shankar. This album stirred something deep within me. Since I was not allowed to handle the LP’s myself, when my brothers were not home, I used to go through their extensive LP collection and discovered other Indian classical albums, and discovered sheer joy.

There were a lot of street musicians too in my hometown, young African kids playing home-made guitars from oil cans. My first instrument was a guitar made from five gallon oil can.

Indiabeat : You came to India in 1977 to learn the flute from the late Suryakant Limaye. And a few years later you became a student of maestro Hariprasad Chaurasia. Tell us of your early days as a student and a musician in India ?

Deepak : Shri Suryakant V Limaye whom I called Babaji and his family took me into their home and hearts and presided over my studies. Babaji was India’s greatest bansuri-maker, and had a phenomenal ear for perfect shruti. He initially taught me and then took me to Pt..Vijay Raghav Rao. I found life in Mumbai difficult despite the unconditional love I got from the Limaye family; I was only sixteen, so returned home to South Africa prematurely. I came back to Mumbai in 1981 and Babaji took me to Pt.. Hariprasad Chaurasia.This I consider my second birth. I also studied vocal with Pt.. Rajaram Shukla and tabla under Pt.. Yashwant Padhye.

Indiabeat : Your first love remains North Indian classical music. Can you share with us some of your most memorable jugalbandis ?

Deepak : As far as listening to Jugalbandi’s the most phenomenal ones are by Pt. Ravi Shankar and Ustad Ali Akbar Khan. I have not done much Jugalbandi myself, in recent years I can only remember one, with a young sarod-player from Kolkata Arnab Chakraborty. I would love to play with Sarangi though.

Indiabeat : You have played with a host of international musicians. Tell us of your most exciting and memorable collaborations ?

Deepak : There are many but the ones that come to mind are: a duo with the great Jazz-pianist Bheki Mseleku in London 1997. I have also played a lot with Pianist Darius Brubeck, and Oud master: Dhafer Yousseff. My most recent collaboration which I enjoyed tremendously was with Guitarist Vic Juris, Bassist Tony Marino and percussionist Jamey Haddad, this project will be released early this year.

Indiabeat : You teach music as well. What aspects of Indian classical music do your students wish to learn more of from you ?

Deepak : When I do lectures in Universities, students are often interested in the philosophy behind the music. This is also one of my interests, Nada Yoga and its allied practices. As far as teaching the actual instruments and music, students are often in a rush to perform, especially in the west.

Indiabeat : Indo fusion music arguably started in the 1960s. Where in your opinion are the sound of Indo fusion heading ?

Deepak : Indo-Fusion started much before the 1960’s while we do not have recordings. During the British Raj, a relative of Swami Vivekanand, Shri Habu Dutta was experimenting with Indian and western music collaboration. The Maihar ensemble of the great Baba Ustad Allaudin Khan had many western and Indian instruments playing together. Fusion can take many different forms, some are well thought of and through composed, while others are spontaneous. Some explore the instrumental differences, while some attempt. to reconcile the differences. It will of course continue and be more prolific, since musicians are traveling and will travel much more. My only fear is that the ‘original’ art forms must not be watered down to accommodate syncretism. There are already groups who have e.g. tabla-players etc, who have barely studied the instrument.

Indiabeat : We are at the start of a brand new year. What are your plans for the year, musically speaking ?

Deepak : I am currently finishing an album, that will feature jazz standards by John Coltrane and Miles Davis performed on bansuri. Improvising over chord-changes is a challenge for an exponent of Indian music, but exciting too. I have also a new classical album with Pt. Anindo Chatterjee on tabla. And I will record another ‘fusion’ album in Mumbai later this year.

Indiabeat : Any comments on the IndiaBeat project ?

Deepak : It’s a wonderful site and resource for listeners and musicians alike. I hope it will continue to grow and become the one stop for this growing genre.

Indiabeat : Thanks Deepak and have a great visit to India !