Was that as a result of your training with Pandit Pran Nath?
Yes, definitely. That was an attempt to play raga, so I got the idea that there were other things to do in music other than to go from scales. But I would listen to him doing a rag. I would have my eyes closed and be listening for 15 minutes and then realize that he had only touched the first three notes of the raga, because of the many ways of approaching, and weaving. And this whole form, a way of forming notes, that’s like a radical thing. No one ever says anything about that in western music. So then I tried to transpose that, and I started adding the other things of my own environment. Our jungle of the North, has to do with electronics and radio. So I added a harmonizer, which gives me an extra pitch. And I started playing parallel intervals, and using curves that I was learning from Indian music, rather than playing Indian-styled music, and having a tambura background and a tabla or rhythmic underpinning. I thought of another way of orchestrating that, so to speak. The backgroun