Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

I wanted to be able to play guitar. I wanted to be able to make music hurt.

Oftentimes, musicians can play notes accurately, but they don't play music with the notes. I could see he pulled all the music out of the notes that he was playing.

The two musicians use no sheet music, play personal requests and interact with the crowd. They're a blast.

Pran Nath always encouraged me to do my own composition and experiments with Western classical music, along with the pure study of Indian classical music. I think he also felt that something of this depth could also be assimilated in America and would be uniquely our own, since it's been transplanted here.

Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time.