There’s nothing Western about Catherine Potter, Canada’s first Bansuri player.  Her attire, her music, her ways... everything about her is indelibly Indian. 

A student of Pandit Hariprasad Chaurasia for 25 years now, Catherine is, in fact, more Indian than any Indian.

She performed in the City as a part of the Duniya Project at the 11th East West Dance and Music Encounter by the Bangalore School of Music. The pieces composed for her tour are products of her Indian experience —  the spirit of the people, the crowded streets, sunrise and so on. She effortlessly blended ancient and traditional Indian raagas with the jazzy rhythm of flamenco and gamelan.

“I use a lot of raagas and taals from the Indian music and in the instrumentation I pick jazz because of the double bass, electric guitar. There’s a lot of improvisation and experimentation as well,” Catherine told Metrolife. 

Spending most of her time in learning different genres of music, Catherine says the Indian music tradition is rich and she’d love to delve into every detail of it.

She was always enticed by the Bansuri. “I like the instrument only because of its tone. It’s a real challenge to play it. It may comes across as simple in construction but it calls for the use of sophisticated techniques,” says Catherine. 

She holds a MA in Ethnomusicology from the Universite de Montreal and a BFA in Jazz Studies from Concordia University. She is a trained in Western classical, West-African and is a Balinese musician. 

Catherine collaborated with double-bass player, Nicholas Caloia, drummer Thorn Gossage, Ravi Naimpally on the tabla and Bill Parsons on the guitar for the concert in the City. Each of the instruments, so powerful and individualistic in its appeal, coalesced into the Bansuri. The pieces were deep rooted in Indian classical tone.

“All music has similar roots. It is complementary. You have to look at elements that are compatible and each musician has to know each other's tradition. That’s what we do,” says Catherine.

The concert was lively and entertaining. Catherine’s first piece titled, Rag Bhairagi, was inspired by the early morning sun. It was meditative and soothing just like the smooth rays of the morning sun.

Gori, a joyful and playful piece was based on Catherine’s own experience in India. She had a lot of people address her as gori, meaning fair in Hindi. The sprightly tune is dedicated to all those who’d love to call her that.

Another piece, dedicated to her guru Chaurasia titled, Hariji Dhum, is based on Bhatiyali, a Bengali folk song. A visit to the Kali temple 25 years ago in Kolkata inspired Catherine to compose a piece on Kalima.

The music was powerful and dark. Kutila, based on the crescent on Lord Shiva’s head, was fiery and forceful. It’s based on the chandra, the moon and its relation to Lord Shiva.

The Duniya Project, which she created years ago drew musicians from other traditions, is a unique world fusion ensemble blending together the best of North Indian classical music, jazz and contemporary sounds.

A native of Montreal, Catherine feels music has a common language which must be woven together to create something new and appealing.

The project, complied in a CD was released in the City recently. It is priced at Rs 295. Visit www.catherinepotter.net

Catherine’s concert in the City had elements for the Bangalore audience. “I concluded with Hamsadhwani which I played for the first time. The city seems to be open to all kinds of music,” says Catherine.