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World Music Reviews |
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By Francesca Nemko and Lynette Diaz
Winds of Devotion by R. Carlos Nakai & Nawang Khechog
(Sounds True M1219D)
This set of devotional music was produced and arranged by Peter Kater, about whom I wrote recently in connection with his work on 10 Questions for the Dalai Lama. He appears here also, on synthesizers and background vocals and his sensitivity to this particular kind of music is once again apparent.
Presented as four Movements, each having a Buddhist theme: “ Sentient Beings;” “Wisdom;” “Compassion;” “ Heart,” there is much to appreciate in the hour and a quarter of soothing music. Both the featured artists play flute – Nakai, the Native-American version; and Khechog, of course, Tibetan. The latter also is heard on the Tibetan horn (which opens and closes the whole set). We’re first introduced to its resonant, low register sound as a solo that is soon joined by the beautiful, pure, higher-register notes of Nakai, with some very soft (almost whispered, really) chanting.
The two principals are augmented by Geoffrey Gordon on percussion, David Darling, cello; Chris White, vocals; Wade Mathews, bass. There is a lovely chorus of voices moving in and out to create a ritual of sound that is both enlivening and calming. Khechog says of this work: “On this album my chanting and music strongly emphasize Tibetan inspirational prayers on wisdom, compassion, and, especially, universal love.” This being a “season for non-violence” (Jan.30-Apr.4), playing this meaningful music for almost any experience could be rewarding and uplifting.
– Francesca Nemko
Dial M for Mantra, Jai Uttal (+ a cast of characters)
(Sounds True M11730)
I’ve always loved Jai Uttal’s voice and in this “re-mix” set, he appears on every track. In the liner notes, written by Rara Avis (drums, keys, synths.) he says: “Dial M for Mantra was born out of the deep love that I have for Jai and his music….this is a compilation of material from Jai’s album Kirtan and Ben Leinbach’s albums….it is with honor and respect that I have taken these songs, rearranged them, and added drums, bass and keyboard elements.”
Not to be redundant here, but I’ve always loved Jai Uttal’s spirit of adventure. Who else would take such sacred kirtans and mantras and allow them to be re-cast in some seriously funky dance beats. And, believe me, they are all danceable!
I don’t think anyone could resist “Dub Shack,” with Rara Avis’s rasta vocals and Uttal’s wife, Nubia Teixeira subtly chanting behind. Quite a combination. Just to clue you in to the origin of this particular “re-mix,” it comes from a Prayer to Shakyamuni Buddha – what a coming together of the traditions!
The dancing Shiva is represented here in “Nataraj – Black Phone” (no definition offered in the notes). Nataraja is one of the most important aspects of Hinduism and is represented in many artistic forms – including music. Most of the chants will be familiar to those who’ve indulged in any form of Yoga: “Radhe Govinda,” “Hari Om,” “Shri Krishna,” and “Maha Dev,” among them. The final track is somewhat different. “Gopala’s Dream” is from field recordings of children and naure put together by Amani Friend and David Dunn. That “cast of characters” I mentioned in the heading, by the way, also includes Tina Malia, vocals and Manose on Bansuri (Indian flute); as well as Uttal on his nod to ancient traditions, the harmonium.
I’ve played this CD numerous times already and continue to be uplifted and delighted by its originality.
– Francesca Nemko
Putumayo presents: Acoustic Africa
(PUT 254-2)
When one thinks of African music, usually the rich sounds of drums and other percussion come to mind. This compilaton, however, introduces listeners to the singer-songwriters of the continent who display Africa’s more reflective side. Gentle melodies and salient lyrics replace the usually effervescent beats we are used to, but the spirit of the people is not lost in the acoustic translation.
The 12 performers on the album include familiar names like Angelique Kidjo and Vusi Mahlasela, but we also hear from up-and-coming musicians like Dobet Gnahore, Laye Sow and Manecas Costa. Each performance is unique with the artist’s regional flair, and together they bestow upon us a soulful anthology.
One of the most beautiful vocalists on the album is Guinea-Bissau’s Eneida Marta. In her song, “Mindjer Doce Mel” (Woman Sweet Honey) she calls out to women, encouraging them to fight for equality. A Western harp and a calabash water drum -- a gourd placed in a tub of water -- accompany her. According to the liner notes, Marta has become an in-demand vocalist in Lisbon for local productions, and has recorded with many of Africa’s Portuguese-speaking musicians and producers.
My favorite track on the album is “Bana,” (Children) and is performed by Faya Tess and Lokua Kanza. Tess, a popular rumba and soukous singer from the Democratic Republic of the Congo, sings with Kanza over a soft Afro-Latin rhythm. Also contributing a tender Latin sound is Cape Verde’s Gabriela Mendes. The title track on her first CD is called “Tradicao” (Tradition) and is the most upbeat offering on this album. Both songs remind us that music can be cross-cultural and the blending of styles is capable of producing noteworthy results.
Djelimady Tounkara gives us the most remarkable acoustic guitar performance on the entire CD. It is not enough to say it is beautiful, for no words convey the feeling of hearing his talent. His ballad, “Fanta Bourama” is named after (and a tribute to) a married couple who welcomed him to California on his first tour of the United States.
While the subject matter in the lyrics of each song ranges from political to personal, the compilation as a whole is an arresting glimpse into a contemplative Africa. This is one of the most desirable selections from the Putumayo label.
– Lynette Diaz
Temple: Coming Home
(Sounds True M1153D)
This collection of Hebrew chants, coupled with original compositions by Eyal Rivlin and Danya Uriel has become one of my favorite meditation inducers within the last few weeks.
In the liner notes, Rivlin and Uriel explain how they are dedicated to revitalizing Jewish chanting as a form of meditation and ecstatic prayer. Drawing on the power of the repetition of ancient sacred phrases, they use Hebrew chants to create an “experiential connection to the One.” They describe their music as a sonic container for prayer, or “frequencies with intention.”
The CD is an hour-long journey through seven practices of chanting and repetition. From start to finish, the listener is first awakened and then navigated through spiritual progress, all ending with peace.
First, the listener is returned to the wholeness of Self in”Coming Home.” The next three tracks consist of the traditional words from the Shabbat Evening Liturgy, Song of Songs, and Holiday Liturgy. Composed by Rivlin and Uriel, the music submerges listeners deeper into tranquility as they welcome the Beloved, surrender to the sweetness of the love around them, and purify their hearts to offer themselves into true service.
Rivlin and Uriel explain that the “Ana el Na” chant is not a song about healing; rather it has contained within it the frequency of healing itself. They insist that whether cognitively understood or not, the words of this ancient Hebrew mantra, repeated by thousands over millennia, hold within them the power to heal. Gentle and natural, the sounds of voice and instrument together initiate deep introspection.
Ending the CD is the track “Shalom.” The sound samples used in this piece were recorded live in Israel. They are the “soundscape” one experiences when walking in the Old City of Jerusalem.
It is interesting to note that Rivlin and Uriel do not define the individual pieces of this album as “songs,” but as practices, each one carrying its own unique “medicine.” They explain that while they can be used for enjoyment and relaxation, they can also be consciously used to invoke a particular energy needed in one’s life or world. I have used this album for both and highly recommend it for those of you who enjoy music with your meditation.
– Lynette Diaz
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