Every now and then, you hear a piece of music that sounds so unique, so rare, that you wonder who else knows about it, who else has heard it, and who else feels about it the way you do.
As a music composition major concentrating in avant-garde 20th-century classical music, I'd heard a lot of things that I knew most other music lovers hadn't, and I didn't think that anything could simply shock me with its originality. But I still remember the day I listened to a recording of Kecak (pronounced "Ketyak," and better-known as the Ramayana Monkey Chant), for the first time.
I had been listening to gamelan recordings to appreciate the influence that gamelan is said to have had over composers ranging from Claude Debussey to John Cage. The flip side of one such album, Music of the Venerable Dark Cloud, had the "Ramayana Monkey Chant" as well. This was no gamelan orchestra, but the most striking vocal music I had heard in my life.
Kecak is a Balinese worship service that fuses dance, drama and music together. Dozens to hundreds of men wearing the traditional Balinese sarong sit in concentric circles around a stage area, where over the course of the night, actors and actresses dramatize the triumph of good over evil as told in the Ramayana. The music is sometimes unison, and often stratified, with sung parts sometimes overlaying the chanting, and sometimes the chanting itself has several layers. But the chanting is what's most striking. Often it's "double-tonguing" ... a rapid, difficult, taka-taka-taka, that goes on for long periods, in perfect unison, stopping and starting in an instant when the chorus changes to another mode of chanting.
But why am I trying to describe the indescribable... Get a taste of it yourself!
Guitar maestro Pandit Debashish Bhattacharya is one of the world's phenomena, creator of a unique "Trinity of Slide Guitars." Born to musician parents, Pandit Debashish Bhattacharya, a child prodigy, was initiated into Indian classical singing, but was drawn to the guitar because of the ability to emulate the human voice by using the slide. The highly innovative mind of Debashish has given the Hindustani slide guitar a new dimension.
Debashish studied under Maestro Ustad Ali Akbar Khan (sarod), Pandit Ajoy Chalraborty (khayal, vocal) and the legendary Pandit Brij Bhushan Kabra, the godfather of Indian classical guitar, and has performed world wide with a "who's who" of master musicians, including John McLaughlin, Zakir Hussain, and Selva Ganesh in the Remember Shakti Concert.
His work has earned him the President of India Award in 1984, the Asiatic Society Gold Medal in 2005, and BBC Planet Award for World Music in 2007.
RockOm's Tom Crenshaw had the privilege to interview Debashish in early 2008 and to witness a phenomenal concert in Savannah, Georgia, at the Savannah Music Festival, where Debashish debuted his "Song of Life" composition as performed by master guitarists Derek Trucks, Jerry Douglas, Bob Brozman, and Debashish himself. Tom remarks, "For close to ten minutes these giants of slide guitar held the audience in the palm of their hands trading licks back and forth, and singing dynamically through strings and fingers something entirely unheard-of up until that moment. I've never before witnessed or heard anything like these four masters speaking through their music in such a passionate and moving manner. There was a time when all four guitarists and the tabla percussionist were playing simultaneously and every single note, every beat made perfect sense! When the composition was over the audience erupted in a resounding, almost deafening applause. It was quite a moment- one I'll never forget!"
RockOm: I sometimes say that music is spiritual in nature- in that what flows through us musically seems to come from a higher realm. Do you agree?
Debashish Bhattacharya: No, not at all. Music is man's hard work with extreme passion. When it pleases us, it transports us to a level of the mind where we feel disconnected with all material things momentarily. If you call this spirituality, so be it. Spirituality lies in the philosophy shaping up any music and or true practice of humanity; it is not a package or brand to sell a product.
RockOm: Do you feel that your spirituality is communicated through your music and if so, how?
Debashish Bhattacharya: As I said, spirituality lies in the philosophy shaping up any music. Spirituality is also related to non-fake humanity. Of course, my music is deep-rooted in philosophy, which is why Indian classical or raga music has survived thousands of years. That so many people are learning, practicing, and listening to it all over the world is a percolation of its spirituality. My music is liked by millions around the world, so the aesthetics rooted in philosophy transcribes spiritual feelings in their minds; it is the music itself. In true presentation it shows what it is. This is a natural process of communication, but only possible in the hands of a dedicated and true artist.
RockOm: What do you think it is about music that breaks down barriers and divisions between people?
Debashish Bhattacharya: I call it emotional attachment. Subconscious self-identification with one and all. Only music evokes the realization that we are all human beings, "Brothers and Sisters," as the great Swami Vivekananda addressed audiences at the Chicago World's Religions meeting decades [ago.]
RockOm: Besides your own music, is there any one artist or album that you continually return to (more than others) for inspiration, depth, or spiritual revelation and why?
Debashish Bhattacharya: I always fall back upon Ustad Ali Akbar Khan, Pandit Ravi Shankar, and Ray Charles. Why? I think they shape my thinking, intellect, heart, hands, eyes, and all organs like vitamins.
RockOm: Is there a difference between hearing music and feeling music? How do you explain this?
Debashish Bhattacharya: I think that is a radical issue, which needs to be addressed rather seriously. Do you relate to your feelings phone ringtones, horns, jingles, lounge, titillating promos, and squeaks and squirms? All that comes without philosophy of life is "passing sound."
RockOm: Just as you've invented new musical instruments to express what you hear and feel inside, what do you think future master musicians will come up with?
Debashish Bhattacharya: I have invented sounds deep rooted in Indian tradition and use them to trans-create music that is eternal. I have been able to do something though I did not have any role model in front of me. I can't say for others.
RockOm: How are we limited here in the West with regard to writing and performing music of a spiritual nature?
Debashish Bhattacharya: Try to find an answer to why you think you are limited, if you believe so. I think only then you can get your answer of the question.
RockOm: How important is it for you to "get out of your own way," so to speak, when performing? Do you lose yourself while performing or must you remain fixated and aware of what you are doing at all times?
Debashish Bhattacharya: I do not believe in talking while performing. That's not done. I am deeply absorbed while performing, as I believe that I must deliver my best to my audience.
RockOm: Is playing music similar to praying or meditating?
Debashish Bhattacharya: Yes. If one concentrates while praying will he not do so while playing music?
RockOm: Does music have the power to heal and can you give any example of healing you have witnessed?
Debashish Bhattacharya: Healing varies from person to person. Yes, many of my fans listen to a certain piece of mine, at a certain time, to feel good. That's surely healing. But a general remedy is difficult to formulate in such abstract fine arts.
RockOm: Is everyone inherently musical to some degree?
Debashish Bhattacharya: Well, not really. I know of many who are least musical but make tons of money by selling music!
RockOm: What is the most important thing we should know about you and your music, Pandit?
Debashish Bhattacharya: The most important thing about me to know is my name Debashish Bhattacharya and my music - classical raga, music of India.
When you think of Native American music, do you only think of the old Westerns that depicted drums and dancers around a campfire? Not only is that extremely stereotypical, it is just wrong.
Native American music today is still rooted in the music of the flute, and yes, the drums, but it is so much more than that! It is given through emotions. Native American music still showcases these as the key instruments that carry the tune; however, often you will find that many other instruments are also giving the piece more depth and power.
There are many more traditional recording artists still working on the songs of their and their forefathers youth, gently evolving them with time. There are also many new groups that have taken the traditional music and built upon it to create new, equally as beautiful and meaningful pieces of music that are a delight to hear.
Native American flute music has stayed extremely popular over the years, defying the trend to move toward a more worldly style. It is often accompanied by vocals but generally little else as the flute creates music that is transcendent all by itself.
Drums and other percussion instruments are still as important today as they ever were. They carry the tempo with their varying beats.
The most important part of Native American music, though, is the vocals. With its elastic nature you will find yourself following the complexities that create some of the most emotional music you will ever hear. It will take you on a journey through your own soul to find who you are. When paired with the flute, it creates timeless peace and tranquility. As the forefront of a group or band, it is the vocals that catch and hold your attention, whether it is in a Native tongue or not.
Powwow music seems to be the most popular second to the flute. It surrounds itself with the beating of the drum and the voices chanting in rhythm. It is the base music for dancing, often accompanied by the beat of the bells or jingles on the dancers garments.
Voted the Best Native American Music Album at the 2008 Grammy Awards was an album by Johnny Whitehorse called Totemic Flute Chants. This album gives you a way to work with your animal guides with twelve songs such as Bear, Wolf, Earth Mother and nine more.
Robert Mirabal is another popular Native American artist producing many stunning works in both the traditional sound with his native tongues, Tiwa, and also in English. He is an accomplished flutist, vocalist, and percussionist who is showcase in his works.
Dave Wolfs Robe is not only extremely talented, but he is also well known for many of his projects aimed to bring flute history and share the culture with many people. He is bringing the issues of the Native American people to the forefront such as the environment and how it is affecting indigenous peoples. He has produced three CDs and is bringing the fourth to culmination. He has had his music included in the Devil's Tower National Park CD and is hoping to broaden knowledge and peace, compassion and healing through the music of his flute.
Mary Youngblood has been playing music for more than twenty-five years and was the first Native American woman to record an album of music from the sacred flute. She has won numerous awards including a Grammy in 2003 for Beneath the Raven Moon. Mary has been classically trained on several instruments but is well known as the Premiere Native American female Flutist.
Every now and then, you hear a piece of music that sounds so unique, so rare, that you wonder who else knows about it, who else has heard it, and who else feels about it the way you do. 
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