It is my great pleasure to announce a new addition to Kalimba Studio,
writer-producer, MICHAEL J NELSON. Michael has a number of recent broadcast credits including promotional music for network shows like Law and Order, The West Wing, E-Ring, ER, American Idol and The Apprentice to name a few. His production style encompasses a cutting edge contemporary palette that used multiple synths, samples and acoustic production to create styles as diverse as orchestral music to hip hop. Besides his current broadcast credits, he regularly adds his talents to arranging, producing and even re-mixing tracks for songwriters, artists and publishers including Universal Music Publishing and BMG. He brings a highly competitive edge to Kalimba Studios which is now able to offer a cross platform Mac and PC base format.
Michael is also forming a production group that will be encompass a group of veteran composers, arrangers, orchestrators and producers featuring a multitude of experience and offerings. Initially, Kalimba Studio will serve as a base for this new operation.
Another facet from Michael's creative and marketing endeavors includes web development (HTML and Flash) from his company TOP TALENT MEDIA. Along with web-work, they've produced a EPKs and marketing plans for music-types and companies. If you want something custom with a unique look, they can create a site and promotional plan that reflect your personal tastes and style.
For more information on Michael, and to get just a glimpse of his work,
check out www.epicsoul.com
Monday, November 28, 2005
Tuesday, November 22, 2005
2005 The Year in Review
Here is a run through of MUSICAL HIGHLIGHTS and activities for me and KALIMBA STUDIO from this year. It has been a satisfying year and as always, I'm honored to be able to play and hang with such great people and players!
** There are a few titles and names that I can't remember while I'm writing this out-of-town. I'll have them up when I get home and look them up~!
*Transferred and Remastered Two LP's: BIG AND BOB and THE PIPER ROAD SPRING BAND. JUNE 2005. This is the Bob Mason's Bluegrass band of over 25 years. These are being re-released as CD's.
*On the weekend of May 13-15, I played with Chapel Hill's FOOTLOOSE at the LEAF FESTIVAL in Black Mountain, NC. We played for 4 dances and had over 200 dancers for each dance. We shared the dances with THE GUILLES, from Scotland, a wonderful trio with highland pipes/tin whistle, fiddle and piano.
*I recorded a percussion part on "I've Forgotten You" on RHONDA VINCENT'S new release, LIVE. It was recorded at the Dog House in Nashville, engineered by Neal Cappellino. Unfortunately, there are no credits for the few studio musicians used on this cd.
*Recorded and Produced a 2 song demo for PAT LAKOTTA, a writer from Maryland that I met at Paul Reisler's song writing intensive camp. The song, "Window Shopping, is a funny story about a lady looking for love, trying it on, and returning it.
*Vanderbilt professor, DR. GREG BARZ has mastered a cd for his book, SINGING FOR LIFE HIV/AIDS and the MUSIC OF UGANDA. I mastered it in a new program called "PEAK". It consists of field recordings that he made while in Kenya. The cd is an accompaniment to his book. This was done in June, 2005.
http://www.routledge-ny.com/shopping_cart/products/product_detail.asp?sku=&isbn=0415972906&parent_id=&pc=
*BOB MASON and RANDY VINCENT have recorded 4 different song pitches at Kalimba since the summer. The first two were called On Behalf of You and Moon Tower. Previously in October, they recorded, End of the Sky and Dancing Up a Storm. These were song pitches for Blake Shelton and Montgomery Gentry.
*On September 17, I played with GABRIELLE MAREN, a bluegrass artist produced by BOB MASON and RANDY VINCENT at the French Quarter cafe in Nashville. In the past year, I have recorded 6 songs for Abby and currently they are being pitched to JOHN DORIS and RICKY SCAGGS for a possible artist development deal. Her songs were written by Randy and Bob and include, Thinking Like a Mountain, Agnes Coats, Faith is Blind and Winter Dreams.
*Acoustic trio, THE FIELDS, lead by Scottish fiddler, JOHN DAVIDSON, recorded a 4 song demo live in Kalimba Studio in October. The trio consists of fiddle, vocal/guitar and upright bass. This is a unique sounding group with a vocalist in the style of John Mayer. I really dug'um! John also plays with Nashville artist, Shelly Williams.
*The former voice of the HISTORY CHANNEL, HARLAN RECTOR, recorded vocal and choir tracks for the continuation of his Christian release, AM. The project is being produced by RICK TELLARI.
*Jazz harmonica player, PHIL GAZELLE, recorded bass, drum, scratch guitar and scratch harmonica tracks for his new release, Swinging Easy, Hitting Hard. The players were drummer, CHRIS BROWN, bassist, ROGER SPENCE, guitarist, ANDY RESSE and Phil. The session went down live with no overdubs. This is Phil's first cd in almost 30 years and boy is it a treat. He plays jazz standards with a diatonic harp - in others words he plays notes that don't exist naturally on his instrument.
*On January 24 and 25th, I recorded percussion for Seattle artist, LEVI WARE. The sessions took place at the famed, CASTLE STUDIO, noted for being the former hideout for gangster, AL CAPONE. The session was produced and engineered by NEAL CAPPELLINO. The music was contemporary songwriter pop. This SSL room is a joy to record in and some photos are located on the My Life page on this site.
On September 9 and 10, I did a mini tour with FOOTLOOSE. We did contra dances in Lexington and Cincinnati respectively.
*On the weekend of April 29-30, I went as a guest to BETH NIELSEN CHAPMAN'S first annual SONGWRITING WORKSHOP at Vanderbilt's Dyer Observatory near Radnor Lake in Nashville. She had PAUL REISLER, JULIE PORTMAN (PERFORMANCE, THEATER TEACHER AND ARTIST) and herself. I highly recommend this event to any aspiring songwriter! Her method is gentle and direct and she imparts a great deal of information. Look for her upcoming cd, WORLD HYMNS. It will contain her performance of "Yemaya" from my cd, Ancient Hand. I'm really excited about this one! Beth's site is http://bethnielsenchapman.com/
This song is available through itunes or the cd is at www.CDBABY.com
*I attended PAUL REISLER'S SONGWRITING INTENSIVE from July 11-16. For more information see the previous listing in this blog on the camp. This event is HIGHLY recommended for any aspiring songwriter.
*On March 15, a memorial gathering was held for Irish musician, HUNTER LEE at the Sherlock Holms pub in Nashville. Through an article written by JACK SILVERMAN of the NASHVILLE SCENE, Hunter's brother was located and came down from Missouri to attend. Hunter recorded on three different projects at KALIMBA STUDIO, SECRET COMMONWEATH, Uninvited Guests, CADY'S FINLAYSON'S, Shines Like Silver and FUTUREMAN'S, The Seamless Script. He died while living in New Orleans in July of 2003. A short film was shown by independent film maker, JEFF WILSON who had accumulated footage on him while shooting a film that Hunter was going to play the lead in.
*SHANE THERIOT and I recorded our annual Christmas track to be released. Last year we recorded "What Child is This" and "Deck the Halls" as a percussion and guitar duet. We made cd's and sent them out with our Christmas cards. Since that in itself was so labor intensive, this year, I will be posting our Christmas Gift here for a free download, hopefully in time for Christmas!
If you just can't wait, What Child is This" from last year is available under free downloads in the media section.
*FUTUREMAN of the Flecktones has been working at Kalimba this month (November) preparing his new epic orchestral piece, "The Americans" and "Secret Kings". I have recorded some percussion parts to used including some marimba parts. He'll be back in December to record a bass parts from a new young talent coming down from Indiana. I do not yet know his name.
*In late October, I participated in a KID PAN ALLEY teaching day with PAUL REISLER. I went with a handful of other musicians and Paul and helped compose a new song with the kids in several elementary schools in Nashville. Each musician got to demonstrate their instruments to the kids. This is a really wonderful organization that Paul has started with great success and I urge you to check it out and see if you can Paul at your school!
http://www.paulreisler.com/
** There are a few titles and names that I can't remember while I'm writing this out-of-town. I'll have them up when I get home and look them up~!
*Transferred and Remastered Two LP's: BIG AND BOB and THE PIPER ROAD SPRING BAND. JUNE 2005. This is the Bob Mason's Bluegrass band of over 25 years. These are being re-released as CD's.
*On the weekend of May 13-15, I played with Chapel Hill's FOOTLOOSE at the LEAF FESTIVAL in Black Mountain, NC. We played for 4 dances and had over 200 dancers for each dance. We shared the dances with THE GUILLES, from Scotland, a wonderful trio with highland pipes/tin whistle, fiddle and piano.
*I recorded a percussion part on "I've Forgotten You" on RHONDA VINCENT'S new release, LIVE. It was recorded at the Dog House in Nashville, engineered by Neal Cappellino. Unfortunately, there are no credits for the few studio musicians used on this cd.
*Recorded and Produced a 2 song demo for PAT LAKOTTA, a writer from Maryland that I met at Paul Reisler's song writing intensive camp. The song, "Window Shopping, is a funny story about a lady looking for love, trying it on, and returning it.
*Vanderbilt professor, DR. GREG BARZ has mastered a cd for his book, SINGING FOR LIFE HIV/AIDS and the MUSIC OF UGANDA. I mastered it in a new program called "PEAK". It consists of field recordings that he made while in Kenya. The cd is an accompaniment to his book. This was done in June, 2005.
http://www.routledge-ny.com/shopping_cart/products/product_detail.asp?sku=&isbn=0415972906&parent_id=&pc=
*BOB MASON and RANDY VINCENT have recorded 4 different song pitches at Kalimba since the summer. The first two were called On Behalf of You and Moon Tower. Previously in October, they recorded, End of the Sky and Dancing Up a Storm. These were song pitches for Blake Shelton and Montgomery Gentry.
*On September 17, I played with GABRIELLE MAREN, a bluegrass artist produced by BOB MASON and RANDY VINCENT at the French Quarter cafe in Nashville. In the past year, I have recorded 6 songs for Abby and currently they are being pitched to JOHN DORIS and RICKY SCAGGS for a possible artist development deal. Her songs were written by Randy and Bob and include, Thinking Like a Mountain, Agnes Coats, Faith is Blind and Winter Dreams.
*Acoustic trio, THE FIELDS, lead by Scottish fiddler, JOHN DAVIDSON, recorded a 4 song demo live in Kalimba Studio in October. The trio consists of fiddle, vocal/guitar and upright bass. This is a unique sounding group with a vocalist in the style of John Mayer. I really dug'um! John also plays with Nashville artist, Shelly Williams.
*The former voice of the HISTORY CHANNEL, HARLAN RECTOR, recorded vocal and choir tracks for the continuation of his Christian release, AM. The project is being produced by RICK TELLARI.
*Jazz harmonica player, PHIL GAZELLE, recorded bass, drum, scratch guitar and scratch harmonica tracks for his new release, Swinging Easy, Hitting Hard. The players were drummer, CHRIS BROWN, bassist, ROGER SPENCE, guitarist, ANDY RESSE and Phil. The session went down live with no overdubs. This is Phil's first cd in almost 30 years and boy is it a treat. He plays jazz standards with a diatonic harp - in others words he plays notes that don't exist naturally on his instrument.
*On January 24 and 25th, I recorded percussion for Seattle artist, LEVI WARE. The sessions took place at the famed, CASTLE STUDIO, noted for being the former hideout for gangster, AL CAPONE. The session was produced and engineered by NEAL CAPPELLINO. The music was contemporary songwriter pop. This SSL room is a joy to record in and some photos are located on the My Life page on this site.
On September 9 and 10, I did a mini tour with FOOTLOOSE. We did contra dances in Lexington and Cincinnati respectively.
*On the weekend of April 29-30, I went as a guest to BETH NIELSEN CHAPMAN'S first annual SONGWRITING WORKSHOP at Vanderbilt's Dyer Observatory near Radnor Lake in Nashville. She had PAUL REISLER, JULIE PORTMAN (PERFORMANCE, THEATER TEACHER AND ARTIST) and herself. I highly recommend this event to any aspiring songwriter! Her method is gentle and direct and she imparts a great deal of information. Look for her upcoming cd, WORLD HYMNS. It will contain her performance of "Yemaya" from my cd, Ancient Hand. I'm really excited about this one! Beth's site is http://bethnielsenchapman.com/
This song is available through itunes or the cd is at www.CDBABY.com
*I attended PAUL REISLER'S SONGWRITING INTENSIVE from July 11-16. For more information see the previous listing in this blog on the camp. This event is HIGHLY recommended for any aspiring songwriter.
*On March 15, a memorial gathering was held for Irish musician, HUNTER LEE at the Sherlock Holms pub in Nashville. Through an article written by JACK SILVERMAN of the NASHVILLE SCENE, Hunter's brother was located and came down from Missouri to attend. Hunter recorded on three different projects at KALIMBA STUDIO, SECRET COMMONWEATH, Uninvited Guests, CADY'S FINLAYSON'S, Shines Like Silver and FUTUREMAN'S, The Seamless Script. He died while living in New Orleans in July of 2003. A short film was shown by independent film maker, JEFF WILSON who had accumulated footage on him while shooting a film that Hunter was going to play the lead in.
*SHANE THERIOT and I recorded our annual Christmas track to be released. Last year we recorded "What Child is This" and "Deck the Halls" as a percussion and guitar duet. We made cd's and sent them out with our Christmas cards. Since that in itself was so labor intensive, this year, I will be posting our Christmas Gift here for a free download, hopefully in time for Christmas!
If you just can't wait, What Child is This" from last year is available under free downloads in the media section.
*FUTUREMAN of the Flecktones has been working at Kalimba this month (November) preparing his new epic orchestral piece, "The Americans" and "Secret Kings". I have recorded some percussion parts to used including some marimba parts. He'll be back in December to record a bass parts from a new young talent coming down from Indiana. I do not yet know his name.
*In late October, I participated in a KID PAN ALLEY teaching day with PAUL REISLER. I went with a handful of other musicians and Paul and helped compose a new song with the kids in several elementary schools in Nashville. Each musician got to demonstrate their instruments to the kids. This is a really wonderful organization that Paul has started with great success and I urge you to check it out and see if you can Paul at your school!
http://www.paulreisler.com/
Friday, October 28, 2005
Footloose CD, "TRIP TO THE MOON" is Released
The Chapel Hill based group, FOOTLOOSE, released "Trip to the Moon" in September, 2005. I recorded and mixed the cd at Kalimba Studio, here in Nashville. Produced by David DiGiuseppe and myself, it is the follow up cd to the 2004 release, "Everdance" and their first cd with a major drumming presence since the 1989 release, "Footloose". "Trip to the Moon" is quoted as "featuring dance tunes with powerful, drum-laden grooves." The drums and percussion were done alone in separate sessions, where I acted as both player and engineer.
Footloose plays primarily for New England style contra dances, which are like square dances but done in long lines down the hall instead of big squares. In the contra world, Footloose is known for tight arrangements, and unique orchestration. This record consist of fiddle/banjo (Rex McGee), accordion/cittern (David DiGiuseppe), clarinet/soprano sax (Dean Herington), piano/bass/accordion (Pete Campbell) and percussion (Jim Roberts).
As PERCUSSION goes, this cd was a chance to really stretch out by using a lot of colors to support the interesting textures that Footloose is typically known for. In addition to drum set, I also played, djembe, congas, bodhran, shekere, sleigh bells, dumbek, bongo, panderio, tamborim, surdo, triangle, bells, thunder drum (spring drum), rik, caxixi, castanets, and cowbell.
The band typically covers a gamut of musical styles, but in this cd some notable additions have been made to the repertoire. One unusual style was a Brazilian Choro, "A Bicada do Tico Tico", where I used a straight Brazilian treatment with panderio, tamborim, and surdo. We also did some unusual things. In "Carpathian Tune," I played on Rex's banjo with chop sticks (noted as banjosticks) while Rex changed the bar chords on the frets. This was to simulate a Eastern European dulcimer instrument known as a "cymbalon." Becky's Lesnto" uses middle eastern dumbek and rik with drum set, maracas, shaker and a Brazilian woven shaker known as a caxixi (ca-she-she). It is followed by Ćoćek, a tune of Macedonian influence. Thus, I was able to use some traditional as well as non-traditional treatments in Dean's "snake charmer" feature. "Le Vin" is a Tango waltz with Choro harmony (written by David) and I used castanets to compliment that tune. The title track set, "Trip to the Moon" is a swing set so I used a more traditional drum set treatment. One of the more ambitious sets was the Irish oriented, "Bundle and Go/Palamara/Paddy Fahy's Reel." Because this music is rhythmic as it melodic, it gave me a chance to stretch out and create a large array of rhythm instruments which included drum set with dumbek, congas, and shakers. Another Irish tune, "Maid Behind the Barrel", I did an unusual treatment by playing the Irish bodhran with brushes. We brought out the sub-frequencies of the drum while at the same time having a nice subtle high end attack with the brushes hitting the head. "Ragtime Annie" is a straight ahead bluegrass tune which I used a West African Djembe. This was reminiscent of the treatment of a CD that I did with the Horse Flies ("Two Traditions") using ethnic percussion with old-time tunes. In the dark, old Kentucky tune "Johnny Court the Widow" (which David and I first played together when we first met in the 1980's), I played sustained chords on a marimba. To add to the vibe, I used a spring drum (listed as a thunder drum) which emulates thunder and darkness. In this piece, I also used a Roland Handsonic, for some outer earthly sounds, along with rainstick and other HTS (High Tinkly Stuff). The original fiddle version was tuned to an alternative modal tuning which gave it its foreboding atmosphere, thus the treatment. Notably missing from this cd is tunes in the French-Canadian style, which the band is also noted for.
I first recorded with Footloose in 1989 and I did some touring with them with percussion and drum set. It was a very early use of percussion in the contra dance world and looked upon by some as sacrilege. Sometimes I would show up to a dance with a drum set and the sponsor of the dance would look at me in horror! Today, I'm happy to say that many groups use percussion and along with the Clayfoot Strutters and others, we helped bring about a change in attitude. Time has proven that dancers really like the addition of drums as it really kicks them into high gear. This CD is my answer to the critics who want to keep music from processing in new and creative ways in the name of tradition. After all these years, I'm really happy to have this as an example of "YES!, This can work!". That is what this cd means to me personally. Playing percussion and drums is an art form and should be used where and when the music calls for it."
I hope you purchase and enjoy this CD. It was a true labor of love for those involved and it was an honor to be involved with such wonderful people and musicians.
http://www.cdbaby.com/cd/footloosemusic
http://www.efolkmusic.org/ArtMusic/viewalbum.asp?ProductCode=52_7865&Artist=Footloose&AID=52#52_7865
Footloose plays primarily for New England style contra dances, which are like square dances but done in long lines down the hall instead of big squares. In the contra world, Footloose is known for tight arrangements, and unique orchestration. This record consist of fiddle/banjo (Rex McGee), accordion/cittern (David DiGiuseppe), clarinet/soprano sax (Dean Herington), piano/bass/accordion (Pete Campbell) and percussion (Jim Roberts).
As PERCUSSION goes, this cd was a chance to really stretch out by using a lot of colors to support the interesting textures that Footloose is typically known for. In addition to drum set, I also played, djembe, congas, bodhran, shekere, sleigh bells, dumbek, bongo, panderio, tamborim, surdo, triangle, bells, thunder drum (spring drum), rik, caxixi, castanets, and cowbell.
The band typically covers a gamut of musical styles, but in this cd some notable additions have been made to the repertoire. One unusual style was a Brazilian Choro, "A Bicada do Tico Tico", where I used a straight Brazilian treatment with panderio, tamborim, and surdo. We also did some unusual things. In "Carpathian Tune," I played on Rex's banjo with chop sticks (noted as banjosticks) while Rex changed the bar chords on the frets. This was to simulate a Eastern European dulcimer instrument known as a "cymbalon." Becky's Lesnto" uses middle eastern dumbek and rik with drum set, maracas, shaker and a Brazilian woven shaker known as a caxixi (ca-she-she). It is followed by Ćoćek, a tune of Macedonian influence. Thus, I was able to use some traditional as well as non-traditional treatments in Dean's "snake charmer" feature. "Le Vin" is a Tango waltz with Choro harmony (written by David) and I used castanets to compliment that tune. The title track set, "Trip to the Moon" is a swing set so I used a more traditional drum set treatment. One of the more ambitious sets was the Irish oriented, "Bundle and Go/Palamara/Paddy Fahy's Reel." Because this music is rhythmic as it melodic, it gave me a chance to stretch out and create a large array of rhythm instruments which included drum set with dumbek, congas, and shakers. Another Irish tune, "Maid Behind the Barrel", I did an unusual treatment by playing the Irish bodhran with brushes. We brought out the sub-frequencies of the drum while at the same time having a nice subtle high end attack with the brushes hitting the head. "Ragtime Annie" is a straight ahead bluegrass tune which I used a West African Djembe. This was reminiscent of the treatment of a CD that I did with the Horse Flies ("Two Traditions") using ethnic percussion with old-time tunes. In the dark, old Kentucky tune "Johnny Court the Widow" (which David and I first played together when we first met in the 1980's), I played sustained chords on a marimba. To add to the vibe, I used a spring drum (listed as a thunder drum) which emulates thunder and darkness. In this piece, I also used a Roland Handsonic, for some outer earthly sounds, along with rainstick and other HTS (High Tinkly Stuff). The original fiddle version was tuned to an alternative modal tuning which gave it its foreboding atmosphere, thus the treatment. Notably missing from this cd is tunes in the French-Canadian style, which the band is also noted for.
I first recorded with Footloose in 1989 and I did some touring with them with percussion and drum set. It was a very early use of percussion in the contra dance world and looked upon by some as sacrilege. Sometimes I would show up to a dance with a drum set and the sponsor of the dance would look at me in horror! Today, I'm happy to say that many groups use percussion and along with the Clayfoot Strutters and others, we helped bring about a change in attitude. Time has proven that dancers really like the addition of drums as it really kicks them into high gear. This CD is my answer to the critics who want to keep music from processing in new and creative ways in the name of tradition. After all these years, I'm really happy to have this as an example of "YES!, This can work!". That is what this cd means to me personally. Playing percussion and drums is an art form and should be used where and when the music calls for it."
I hope you purchase and enjoy this CD. It was a true labor of love for those involved and it was an honor to be involved with such wonderful people and musicians.
http://www.cdbaby.com/cd/footloosemusic
http://www.efolkmusic.org/ArtMusic/viewalbum.asp?ProductCode=52_7865&Artist=Footloose&AID=52#52_7865
Thursday, September 29, 2005
Victor Wooten's Reunion Camp / F.U.N.K. Fest
August ended in a flurry of musical activity. Flecktones' bassist, Victor Wooten held a reunion camp for his annual "Bass and Nature Camp" students at Montgomery Bell State Park, near Burn, TN. Victor has a far reaching concept of combining elements of nature with music since of course "music is natural" He brings in trackers and survivalists as well as renown bassests' such as Chuck Rainey and Bob Babbit (Did you see standing in the Shadows of Motown?). I've been honored and privileged to be able to attend and sit in on percussion during jam sessions and some the bass nights where every bass player gets to jam with a band. This camp featured a "groove class" and the bassists' played with a band that consisted of brothers Reggie and Joe Wooten, JB Blair, Howard Levy, and myself. It was a really fun night of various styles and personalities and everyone was made to feel important. This is a key theme that runs through all of Victor's camps and one which I personally love. Also, after each player finished, Victor, Steve Bailey, Chuck Rainey, Bob Babbit and Howard Levy all gave constructive comments on what they liked and how to better fit with the groove. In the age of soloist bass playing, some players go for the icing and forget the cake. Players concentrated on making solid foundations that supported the band. Playing with professionals and having comments was a tremendous opportunity for all. Players chose the tune they wanted to play and styles where quite diverse.
F. U. N. K. Fest (Friends of Nature and Knowledge - Aug 26-28) was held in Blue Buckle, IN and was the ending of the camp as well as being an exciting, new concept for music festivals. It was held on a festival site made famous by Bill Monroe and was ready made for this type of event. This was the first festival that I have ever witnessed that attempted to combine music and nature activities on a broad scale. In addition to the a variety of artists that included the Dirty Dozen Brass Band, Keller Williams, and Umphrey's McGee, participants could also go on a plant walk, learn about bio-fuel, do a blindfold rope walk and build a fire with a bow drill. Even in its first year, the festival helped create widespread awareness of our interdependence with nature and introduce many new musical talents as well.
My own experience included performing as a guest on Sunday with Roy "Futureman" Wooten of the Flecktones. The Futureman Project also includes Jeremiah Abel on keyboards and Robert Provine on guitar. Futureman combines elements of Americana in a web of poignant messages from sampled leaders and artists. He uses Miles Davis, rain forest, soul, gospel and atmospheric backdrop for virtuoso flurries. Roy has a way of combining and creating like few artists that I have seen or played with. It is exciting to witness and participate in his work as it continually unfolds. I'll try to review some of his past and future works at a later date.
After our show Sunday afternoon, we moved to the big stage to get ready for the all-star jam. Some of the campers participated as well as the Dirty Dozen Brass Band, Victor Wooten, Anthony Wellington and others. Umphrey's McGee was to play immediately afterwards and thier percussionist graciously allowed me to use his set-up. It started out with Futureman playing a drum solo and after a few minutes, I joined him. Then more players and the jam was on. Finally, the Dirty Dozen came on stage it was a real hoot-in-anny. About midway thru, the stage lights went out but we kept blowing. Unfortunately, Hurricane Katrina hit New orleans later that night. Those guys were worried but seemed very happy to be that far north. Little did we know...
What a fun night. Then it was back to Nashville. A new type of festival has been born!
F. U. N. K. Fest (Friends of Nature and Knowledge - Aug 26-28) was held in Blue Buckle, IN and was the ending of the camp as well as being an exciting, new concept for music festivals. It was held on a festival site made famous by Bill Monroe and was ready made for this type of event. This was the first festival that I have ever witnessed that attempted to combine music and nature activities on a broad scale. In addition to the a variety of artists that included the Dirty Dozen Brass Band, Keller Williams, and Umphrey's McGee, participants could also go on a plant walk, learn about bio-fuel, do a blindfold rope walk and build a fire with a bow drill. Even in its first year, the festival helped create widespread awareness of our interdependence with nature and introduce many new musical talents as well.
My own experience included performing as a guest on Sunday with Roy "Futureman" Wooten of the Flecktones. The Futureman Project also includes Jeremiah Abel on keyboards and Robert Provine on guitar. Futureman combines elements of Americana in a web of poignant messages from sampled leaders and artists. He uses Miles Davis, rain forest, soul, gospel and atmospheric backdrop for virtuoso flurries. Roy has a way of combining and creating like few artists that I have seen or played with. It is exciting to witness and participate in his work as it continually unfolds. I'll try to review some of his past and future works at a later date.
After our show Sunday afternoon, we moved to the big stage to get ready for the all-star jam. Some of the campers participated as well as the Dirty Dozen Brass Band, Victor Wooten, Anthony Wellington and others. Umphrey's McGee was to play immediately afterwards and thier percussionist graciously allowed me to use his set-up. It started out with Futureman playing a drum solo and after a few minutes, I joined him. Then more players and the jam was on. Finally, the Dirty Dozen came on stage it was a real hoot-in-anny. About midway thru, the stage lights went out but we kept blowing. Unfortunately, Hurricane Katrina hit New orleans later that night. Those guys were worried but seemed very happy to be that far north. Little did we know...
What a fun night. Then it was back to Nashville. A new type of festival has been born!
Friday, August 26, 2005
Great World Music Recordings
Song camp participant, Lorraine Duisit visited here in Nashville from August 17-19. During that time, I was able to share some music that has inspired me over the years which she also seemed to like and appreciate. She suggested that I share it with rest of the group so here it is. I hope that you find it as compelling as I have over the years.
Ballaké/Sissoko "Déli"
From Francophone West Africa (Mali), this is a unique recording by my standards. The primary instruments featured are Kora and Balafon. This showcases excellent interplay between West African Kora master Ballaké Sissoko and Aboubacar Dembélé, The production took place in a relaxed atmosphere, like a jazz session or Cuban descarga. They sometimes combined Mississppi blues with griotic Kora and Balafon tradition in a way that I have never heard before, even though there is a clear relationship between these traditions. I stumbled on to this recording by accident in a drum shop somewhere and I'm still loving it. The cover is printed in French with English translations and is on Label Bleu/Indigo.
Another favorite from Mali is by Oumou Sangare called "Ko Sira" (Road to the River). I heard it on NPR and it still effects me today as it did then. Her vocals are translucent, like filtered light. It is a hypnotic experience along with fine production from noted world music producer, Nick Gold and percussionist, Massambou Wele Diallo. This disc also features master musicians from West Africa, It uses tradition as a launching pad for modern day interpretations. Please get this disc! You won't regret it. (World Circuit/Nonesuch)
The next three discs are from Peter Gabriels' Real World label. Always featuring talented musicians that the world wouldn't hear otherwise, these artists are no exception. Kenyan singer, Ayub Ogada delivers a haunting vocal delivery accompanied mostly by an East African harp called a Nyatiti. "En Mana Kuoyo" was Ayub's first recoding with Real World in 1993 and remains one of the quintessential records of Luo artists.
Hukwe Zawose passed away over a year ago but the disc "Chibite" will always be considered a unique and riveting recording. He is accompanied by his nephew, Charles Zawose, whom he raised. They perform as duet on a traditional Tanzanian instrument called a Illimba (thumb piano) as well as traditional violins and flutes (called Filimbi). The rhythmic pulse is accented with Nguga (ankle bells). It was the Illimba that first draws you in. When I saw them at the WOMAD Festival in Seattle some years back, I was transformed on the spot to a magical place that has never quite left me. The hypnotic nature of these instruments combined with the unearthly vocal style of Hukwe presents a authentic and ancient African listening experience that is unique as it is pleasurable. Almost outer worldly. Check it out.
If you are in for a pure vocal experience, don't miss Tibetian singer, Yungchen Lhamo. Her recording, "Coming Home", is a lot like living in a dream state. Produced by Hector Zazou, the accompaniment is sparse and reflective. Every note, both sung and played, is there for a reason. This cd is dedicated to the the Dalai Lama. The title track is sung as a mantra, which is written on the disc so that your cd becomes a pray wheel. They are meant to generate loving compassion. I only hope that listening to it rubs off on me as well.
Last but certainly not least, is a different type of disc that has far reaches from the patterns of Africa. It is Steve Reich, "Music for 18 Musicians". As a player, my true love is working with color and texture in music. It doesn't get any better than "18"! This monumental piece (67'42'') was written in 1976 and builds the music around patterns of voices, keyboard percussion, clarinets, violin, cello, piano and maracas. The harmony produced is particularly overwhelming, certainly with a quality that I could best describe as a drop of music you might hear in a heavenly choir if you believe in that sort of thing. It is inspired by the 13th century Parisian master, Pérotin. It is also reminicent of Indonesian Gamelan music and has definite patterns transformations built on various African claves or foundations. If you love texture, you have to own this disc! (Nonesuch)
Ballaké/Sissoko "Déli"
From Francophone West Africa (Mali), this is a unique recording by my standards. The primary instruments featured are Kora and Balafon. This showcases excellent interplay between West African Kora master Ballaké Sissoko and Aboubacar Dembélé, The production took place in a relaxed atmosphere, like a jazz session or Cuban descarga. They sometimes combined Mississppi blues with griotic Kora and Balafon tradition in a way that I have never heard before, even though there is a clear relationship between these traditions. I stumbled on to this recording by accident in a drum shop somewhere and I'm still loving it. The cover is printed in French with English translations and is on Label Bleu/Indigo.
Another favorite from Mali is by Oumou Sangare called "Ko Sira" (Road to the River). I heard it on NPR and it still effects me today as it did then. Her vocals are translucent, like filtered light. It is a hypnotic experience along with fine production from noted world music producer, Nick Gold and percussionist, Massambou Wele Diallo. This disc also features master musicians from West Africa, It uses tradition as a launching pad for modern day interpretations. Please get this disc! You won't regret it. (World Circuit/Nonesuch)
The next three discs are from Peter Gabriels' Real World label. Always featuring talented musicians that the world wouldn't hear otherwise, these artists are no exception. Kenyan singer, Ayub Ogada delivers a haunting vocal delivery accompanied mostly by an East African harp called a Nyatiti. "En Mana Kuoyo" was Ayub's first recoding with Real World in 1993 and remains one of the quintessential records of Luo artists.
Hukwe Zawose passed away over a year ago but the disc "Chibite" will always be considered a unique and riveting recording. He is accompanied by his nephew, Charles Zawose, whom he raised. They perform as duet on a traditional Tanzanian instrument called a Illimba (thumb piano) as well as traditional violins and flutes (called Filimbi). The rhythmic pulse is accented with Nguga (ankle bells). It was the Illimba that first draws you in. When I saw them at the WOMAD Festival in Seattle some years back, I was transformed on the spot to a magical place that has never quite left me. The hypnotic nature of these instruments combined with the unearthly vocal style of Hukwe presents a authentic and ancient African listening experience that is unique as it is pleasurable. Almost outer worldly. Check it out.
If you are in for a pure vocal experience, don't miss Tibetian singer, Yungchen Lhamo. Her recording, "Coming Home", is a lot like living in a dream state. Produced by Hector Zazou, the accompaniment is sparse and reflective. Every note, both sung and played, is there for a reason. This cd is dedicated to the the Dalai Lama. The title track is sung as a mantra, which is written on the disc so that your cd becomes a pray wheel. They are meant to generate loving compassion. I only hope that listening to it rubs off on me as well.
Last but certainly not least, is a different type of disc that has far reaches from the patterns of Africa. It is Steve Reich, "Music for 18 Musicians". As a player, my true love is working with color and texture in music. It doesn't get any better than "18"! This monumental piece (67'42'') was written in 1976 and builds the music around patterns of voices, keyboard percussion, clarinets, violin, cello, piano and maracas. The harmony produced is particularly overwhelming, certainly with a quality that I could best describe as a drop of music you might hear in a heavenly choir if you believe in that sort of thing. It is inspired by the 13th century Parisian master, Pérotin. It is also reminicent of Indonesian Gamelan music and has definite patterns transformations built on various African claves or foundations. If you love texture, you have to own this disc! (Nonesuch)
Thursday, July 21, 2005
Song Camp Intensive Review
Paul Reisler and Julie Portman's Song Camp Intensive was more impressive than I ever could have imagined! The quality of writing as well as the quality of people was extremely high, especially for the wide range of styles that were demonstrated.
Personally, I was able to learn some new writing technics as well as accompany most of the 25 participants. This was a heck of a lot of fun! At the end of every day, everyone gathered in a circle in the "music barn" so to speak and present something
original to the group. As a percussionist, this was a great exercise. It forced me to pull a lot of different tricks out of the hat. One had to be an entertainer as well as a composer or writer. With having played no less than 7 or 8 'solo" presentations, it served as fertile ground for developing a solo percussion show. As some of you know, I have been in the process of trying to get that idea in action for a while. The camp made me realize that I could do a real stripped down version, with a hand full of
instruments and come up with a lot of creative ideas. This is very exciting to me! To Paul's credit, everyone was encouraged to create to their fullest potential. I have never seen such as diverse group that was as supportive of each other in the way that this group was. We even did a concert at the end presenting our best origianl material. I highly reccommend this camp to anyone remotely interested in writing. You can't go wrong and I'm sure you will have the experience of a lifetime as I did. Paul and Julie are world class teachers and performers. John McCutchin was also a guest for one afternoon. Another great experience.
The camp also offered me a chance to do some teaching as well. Paul and I did a rhythm workshop one afternoon. Again, this forced me to pull out some old things out of the hat. I also got a chance to teach a "mini" class. I taught on another of my passions, "goal setting, motivation and Napoleon Hill. Soon there will some information on the site about Mr. Hill. His book, "Think and Grow Rich" helped me change my life in a very positive direction. I was very grateful for both of these teaching experiences. I will have more on Napoleon Hill on this site very soon - stay tuned and visit often. I will return the first week in August after a much needed rest.
Peace - JIM
Personally, I was able to learn some new writing technics as well as accompany most of the 25 participants. This was a heck of a lot of fun! At the end of every day, everyone gathered in a circle in the "music barn" so to speak and present something
original to the group. As a percussionist, this was a great exercise. It forced me to pull a lot of different tricks out of the hat. One had to be an entertainer as well as a composer or writer. With having played no less than 7 or 8 'solo" presentations, it served as fertile ground for developing a solo percussion show. As some of you know, I have been in the process of trying to get that idea in action for a while. The camp made me realize that I could do a real stripped down version, with a hand full of
instruments and come up with a lot of creative ideas. This is very exciting to me! To Paul's credit, everyone was encouraged to create to their fullest potential. I have never seen such as diverse group that was as supportive of each other in the way that this group was. We even did a concert at the end presenting our best origianl material. I highly reccommend this camp to anyone remotely interested in writing. You can't go wrong and I'm sure you will have the experience of a lifetime as I did. Paul and Julie are world class teachers and performers. John McCutchin was also a guest for one afternoon. Another great experience.
The camp also offered me a chance to do some teaching as well. Paul and I did a rhythm workshop one afternoon. Again, this forced me to pull out some old things out of the hat. I also got a chance to teach a "mini" class. I taught on another of my passions, "goal setting, motivation and Napoleon Hill. Soon there will some information on the site about Mr. Hill. His book, "Think and Grow Rich" helped me change my life in a very positive direction. I was very grateful for both of these teaching experiences. I will have more on Napoleon Hill on this site very soon - stay tuned and visit often. I will return the first week in August after a much needed rest.
Peace - JIM
Thursday, July 07, 2005
Welcome/Song Writing Camp
Greetings everyone! Thanks for stopping by. Jan Pulsford has been creating this beautiful web site for me this week and I love it! I hope you find your way around easily. There are free downloads, pics, information and PDF bios/disc. Feel free to contact me or leave a message here if you're not in a hurry. I'll get back to you ASAP!
I'm leaving for a late 4th celebration in the beautiful VA mountains the weekend of July 9-11 and then on to Paul Reisler's songwriting camp for the week. I will teach some rhythm to writers with Paul. But mostly, I'll be learning more song writing skills. It helps make me a better producer as well as a song writer. I will be back on the 18th of July.
I'm looking forward to hearing from you soon. More pics, and production info to follow.
I leave you with this:
"The quieter you become, the more you can hear." Baba Ram Das
I'm leaving for a late 4th celebration in the beautiful VA mountains the weekend of July 9-11 and then on to Paul Reisler's songwriting camp for the week. I will teach some rhythm to writers with Paul. But mostly, I'll be learning more song writing skills. It helps make me a better producer as well as a song writer. I will be back on the 18th of July.
I'm looking forward to hearing from you soon. More pics, and production info to follow.
I leave you with this:
"The quieter you become, the more you can hear." Baba Ram Das
Wednesday, July 06, 2005
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