"Pran Nath's voice is one of a kind; no singer finds more kinds of expression in the smallest spaces between notes. And few improvising musicians I know can equal the sheer brilliance of his invention I imagine it must have been like that hearing Bach improvise at the organ. An astonishing pair of ragas was recorded a few years ago by Gramavision and remains available on cassette."

Mark Swed, 7 DAYS October 1989

"To represent the North, there is no one better than Pandit Pran Nath. His influence needs no further cataloguing. In comparison with the other samples, what we feel here is a natural minimalism and the austerity of the ascetic... Like one must with anything that is to be properly entered, you surrender to the magnificent reach of the vocal line."

Carle VP Groome, EAR MAGAZINE June 1988

"The evening raga on the new album, Raga Darbari, works its magic with the help of minutely flattened intervals recalling the harmonic ambiance of the blues. It is a deeply moving, emotionally intense performance, with enough detail and nuance to repay repeated listening."

Robert Palmer, THE NEW YORK TIMES 7/27/86

"To hear the music of Pandit Pran Nath is to enter an extraordinary domain, where the tones of his voice pour into the soul like liquid. His music at once calms and centers the listener, speaking directly to the soul in a magical world of pure white."

Robert Pace, EAR MAGAZINE Dec '87/Jan '88

"Pran Nath's Ragas of Morning & Night has nothing to do with entertainment, everything to do with meditation and everything to do with New Age music, so much of which is profoundly influenced by traditional Indian music. As we listen, we are drawn in, captivated and eventually transported to psycho-spiritual clarity. Ragas is an intense album for serious listeners who regard listening as a process of inner development."

Lee Underwood, JAZZIZ Dec '86/Jan '87

"His performance had an intent, painstaking but easeful deliberateness that drew the listener into concentration. The exactitude of his intonation, especially of the tiniest intervals, is a marvel."

Will Crutchfield, THE NEW YORK TIMES June 11, 1986

"Top Albums of 1986: # 6. Ragas of Morning & Night / Pandit Pran Nath / Gramavision"

Robert Palmer, THE NEW YORK TIMES January 7, 1987

"Pandit Pran Nath is a profound inspiration to all musicians, for his extraordinary musical gifts and his utter, selfless dedication to the evolution of the soul through music."

Robert Pace, EAR MAGAZINE Dec '87/Jan '88

"The tonal quality of Nath's voice is uniquely compelling, and his repetition of certain intervals over the basic drone produces a trance-like state among his listeners or, as one put it, 'a natural high.'"

Robert Palmer, ROLLING STONE

"In town these days is Pandit Pran Nath, a Punjabi who has so mastered the classical ragas that he has few equals anywhere in India."

Shanta Serbjeet Singh, THE TRIBUNE, New Delhi

"I have never heard better intonation from any living musician. This incredible intonation and his remarkable sense of melody soon convinced me that his singing was the most beautiful I had ever heard."

La Monte Young, THE VILLAGE VOICE

"Pandit Pran Nath has had an unusual and profound influence on new American music. Pran Nath's teachings have been felt not only by Young and Riley and those who study with them, but by the many other composers and students who have worked with him in his courses and master classes at such schools as Mills College in Oakland and the University of California at San Diego. And, almost incidentally, his own concerts, with their sinuous and indes-cribably subtle expositions of the most minute microtonal ornamentations, provide a very rare pleasure in themselves."

John Rockwell, HIGH FIDELITY/musical america

"Pandit Pran Nath, whose name means 'master of breath,' plays a Stradivarius of v*oices; it is sometimes difficult to believe he is "merely" singing. Rich, resonant, vibratoless tones seem to emerge from his head, his chest, his fingers, as he sits and sways slightly from side to side, describing in the air with fluid hand and arm movements the musical shapes he is sculpting from the drone of his accompanying tambouras. To put it another way, he doesn't 'hit' notes, he materializes them. He gives the impression that he is working with solids rather than the most evanescent of mediums."

Robert Palmer, THE REAL PAPER, Boston

"The listener may find that his preconceptions regarding how one listens to music are being annihilated and restructured. But on another level, Pran Nath can be appreciated as a weaver of ravishing melodies. This is probably the dimension of his art which has attracted Sonny Rollins and other jazz musicians." Robert Palmer, THE REAL PAPER, Boston

"The most remarkable of Pran Nath's many virtues is his unerring sense of intonation."

J. Andrew Grieg, SOHO NEWS, New York

"Pran Nath is gifted with a deep, commanding voice and in terms of intonation and fine shading of pitch he is beyond compare." Robert Palmer, THE NEW YORK TIMES

"Even to an innocent Western ear, the melismatic ornamentation, the vocal slides merging with the tambouras's drone tone, and the microtonal variations were immediately affecting; musical material was heard transmuted by serene contemplation."

Edward Rothstein, THE NEW YORK TIMES

"Mr. Pran Nath has become the principal musical guru to a growing number of young American composers."

John Rockwell, THE NEW YORK TIMES

"Known more as a musician's musician than a popular performer, Pran Nath is credited by many as having given a new dimension to the Kirana style. At the turn of the century it was Khan Sahib Wahid Khan (Pran Nath's teacher) who had resuscitated the khayal and almost singlehandedly made the Kirana style one of the most popular and influential in the history of classical Indian music. Not only in preserving the purity of his style but in enriching it immeasurably, lies the contribution of Pandit Pran Nath."

Shanta Serbjeet Singh, THE ECONOMIC TIMES, New Delhi

"Pandit Pran Nath has given much of his later life to America and Europe and has influenced many of our younger composers."

Bernard Holland, THE NEW YORK TIMES