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The Arts
CD REVIEW: All One Struggle is cultural identity and individual autonomy
Sunday, December 06 2009
 
Written by Jamison Mahto,
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resistance cultural cd.jpgResistant Culture: All One Struggle

It’s raining outside but I’m dressed and riding, and I’m out here bumpin’ to the Resistant Culture CD All One Struggle. Their promo says “Resistant Culture is. . .tribal music that has weaved the indigenous flute, rattle, tribal drum and chant into an organic and flowing tapestry with extreme contemporary punk and metal.” In their own words RC refers to their self-created sub genre as “tribal grind crust.” It is reminiscent of Henry Rollins and Black Flag at the height of their first national road tour.

The band line-up consists of the founding member and vocalist Anthony Rezhawk who growls more than sings the culturally referenced lyrics that are backed by hard and fast rhythms played with precision.


All My Relations arts program celebrates tenth anniversary
Sunday, December 06 2009
 
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Shirlee Stone’s vision has guided the volunteer and contracted staff since she left in late 2006 and the program has grown as the result of her original mission: to honor and strengthen relationships between contemporary American Indian artists and the living influence of preceding generations, between artists and audiences of all ethnic backgrounds, and between art and the vitality of the neighborhood.

Since All My Relations Arts opened at Ancient Traders Gallery, more than 23 exhibits including City Indians, Native Sons and the acclaimed States, Dates and Place, have been mounted in the Gallery and more than 35,000 people have seen the diverse range of contemporary American Indian fine art that has been shown at Ancient Traders Gallery. The program is a cultural collaboration of GNDC and is funded by the McKnight Foundation, Target, ArtsLab, Two Feathers Fund and other generous sponsors.
American Indian Art and Fashion Alliance launches with $400,000 Kellog grant
Thursday, August 13 2009
 
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Gail Bruce and Michael Chapman (Menominee Tribe), co-Founders of UNRESERVED: American Indian Fashion and Art Alliance, announce their first grant of $400,000 from the W.K. Kellogg Foundation. Founded in 2009, UNRESERVED’s mission is to raise the profile of American Indians, bringing untapped talent to the global marketplace by delivering business opportunities to the reservations and developing employment pathways for Indian nations through culture, creativity and commerce. 

The organization will foster emerging American Indian artists interested in exploring and pursuing careers in the worlds of fashion and art through internships, mentoring programs and career opportunities, while raising awareness about American Indians. “This is an extraordinary gesture by the Kellogg Foundation for it enables us to dream big and deeply explore opportunities in art and  fashion. The grant will help bring Native visions and voices to the forefront of these two arenas,” said Chapman.
The non-profit will mark its launch at the 87th Annual Indian Market taking place in Sante Fe, New Mexico, the weekend of August 22-23, 2009.

CD Review: The Larry Redhouse Trio’s Spirit Progression
Wednesday, March 11 2009
 
Written by Jamison Mahto,
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Jamison Mahto: Reporter/Indigenous

In The News, Indigenous In Music CD Review

This e-mail address is being protected from spam bots, you need JavaScript enabled to view it www.iicoc.com

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Today it seems as if we’ve broken through to the other side of winter and I suit up to get in the game. It’s Superbowl Sunday and jazz is not a good bike riding music but the I-pod is loaded and I’m riding.

The Larry Redhouse Trio features Larry Redhouse on piano/keyboards, Robin Horn, son of sax/flute great Paul Horn on drums, and Mike Levy on electric and acoustic bass.

My resource consultant Steve K. (a brilliant jazz pianist in his own right) states, “it’s forward moving fusion with a merry, positive lilt”, and I’m thinking, “we’ll see.”

Larry indicated in a short interview with me that the title song’s (Spirit Progression) weather report-like sound, symbolizes several concepts – one of which is the spiritual journey that jazz improvisation represents. The other concept is the spiritual progression that we need in our lives: to not be static but to progress forward through diversity and challenge.

“The cd title Spirit Progression, to me, signifies the growth we all have to do in order to live on this earth and be somewhat serene, useful and content,” says Larry.

Keep Trying is a song about some good advice and reminiscent of some of the more pop oriented fusion that this could be classified as –easy listening– if it weren’t for the complexity of the improvisational solos. This song features an interesting bass solo. It sounds like a fretless bass playing lovely melody with various time signatures that move freely between a half dozen different modes.

Suddenly the bike riding gets easier, the flow starts to establish itself and the Minneapolis skyline, originally covered in a gray mist, starts to clear. Sunlight gifts my heart with sight, the sidewalk goes iambic pentameter, people of rhythm dart from street corner to street corner, filled with the anticipation of lives lived in desperate quietude. And the poetry of urban desolation flows like a river down Hennepin Avenue in glorious flowering colors of indigo and ultraviolet. Let there be flow. For dessert there’s neon. Damn if the ride didn’t go and get poetic on me.

Having Diné ancestry, it’s natural that Larry would compose a song called The Desert, which features a brilliantly colored drum solo and some atmospheric synthesizer work. I can see the cacti on the high desert in bloom in my head as I round the corner, roll down the ramp to River Road, go over the stone arch bridge, climb the hill to University Avenue, and head east to the U of M campus.

The song Free Play is an improvisational departure from the norm that is a painting of sonic sound-colors from a beautiful jazz palette. This is true free form, devoid of constraints of any kind. Larry and trio bend the rules a little here.

I think the title of the song Not Chick is double entendre of the highest sort like - not chic? A clever play on words and the notion of chic, combined with the notion that women are more than a cute female fowl creature. Inside the texture of the song there is a bowed, acoustic bass, several tempo changes, and the interplay of styles. There are fast, precise scales and arpeggios in Larry’s piano playing.

The song Understanding hopefully represents the spirit progression as it leads to an understanding of life, loves, and people. An understanding of self that is insightful and profound.

“My Native Spirituality cannot be separated from my piano music internally. Just as I am a Northern Traditional Dancer, the same reverence I have dancing or praying in a Sweat Lodge, carries on into my jazz music,” says Larry.

I hope a Jazz category in Native Music becomes commonplace!

Larry says his mentors emphazised the need to “find your own voice”. Now that I’ve regained my writing after many struggles and challenges, I’m well on my way to finding mine. Sounds like Larry has found his.

I learned something today. I can ride bike to any type of music, there are no boundaries, only the boundary of self. If I want to soar beyond self, I’ve got to spread my wings and fly.

For more information, see the website:

www.larryredhouse.com .


CD review: Michael Joseph O-glepi/Songs for Native American Flute and Guitar
Thursday, December 25 2008
 
Written by Jamison Mahto,
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cdmusicreview.jpgOn Michael Joseph's latest CD "O-glepi" the sub-title is "Songs for Native American Flute and Guitar" but the album also includes the use of several other instruments; spare use, minimal use of special
effects – sound-bytes in the background. The sun has begun to shine and the combination of guitar and flute begins to haunt me, a romantic notion of loves gone by, of win or lose, of beauty and the beast, of flute and guitar, these sounds won't leave me alone.

The Spanish tone of the song Redrock reminds me of the Spanish origin of the guitar and I wonder then if the Spanish conquistadores brought a guitar with them. They certainly brought horses with them.
The fourth song on the CD, Traditional, plays on the little I-pod shuffle that I listen to and I am transported to a place of peace and serenity as the medicine man plays a rattle over me and prays with
such spiritual fervor that a tear wells up in my eye. The song is performed on a Traditional five-hole flute.

"O-glepi is Lakota for shadow. It is a perfect title for music that profiles the harsh, yet honorable life that the Plains peoples embraced. Even today there is no stronger example of tradition than that of the Native American people. Michael Joseph has put history to music and he has done it well."

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