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!
Thursday, September 29, 2005
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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