A newsletter for the Didjeridu player......Aug 2005 Volume 9 Issue 8
Runtime 34 minutes 15 seconds 47 tracks
At last, an instructional CD on the Yolngu style which covers the essential basics. This is a very basic guide focused on the foundation of the style. The more complicated rhythmic structures found in accompaniment of Yolngu Manikay (songs) are not what this disc is about. It is, rather, a detailed guide to the basic tongue movements used to create those rhythms which are completely different that the movements used in contemporary playing and subtly different than found in Western Arnhem Land playing.
The disc will be of great value to anyone interested in this style who is lacking first hand instruction from the Yolngu, in preparation for such an encounter or as a follow up to time spent in Arnhem Land. Each aspect of tongue movement is demonstrated both by vocal ‘singing' of the yirdaki part and playing yirdaki in slow, medium and fast tempo's. Also enlightening are Milkay's explanations of the differences between the parts are demonstrated with the voice and the way they are actually played. Look for that on tracks 42-44.
The disc concludes with some rather nice playing examples that combine all the basic techniques demonstrated on the disc. My only regret is that Milkay didn't ‘sing' some of these more complicated patterns so that you could better see how he combines them and transitions between the various techniques when playing more complex patterns.
I want to share some basic things which helped me better utilize this disc. You may discover other little tips as well. Keep in mind, these only helped my perception of my personal progress through the exercises. Your milage may vary and a traditional player who is willing to instruct you is ideal and would trump any of my recommendations. With that out of the way, the first tip I have is to actually sing along with all the examples in all tempos at least once before trying to play along. I just found it's easier to tell if my tongue is really making the desired movements. Second, for me, some of the tongue movements are easier to achieve with my mouth more open than it is while playing didgeridoo. So I continually experimented with singing along with the demonstrations with my mouth more and more conformed to the shape it that will be imposed on it by having the mouthpiece placed on my lips. To the final point of ‘singing' the mouth shapes into the didgeridoo without the lips buzzing. Finally, while it is very useful to play right along with Milkay on the disc, I find it very useful to listen through the example, pause the disc and play a bit, then listen some more repeating this process to be sure I am hearing both his example and my attempts clearly. Being able to record yourself will be extremely valuable here, especially if you can listen to the example and then your recorded practice side by side.
Most all the playing examples are in the key of F# with the exception of the overtone examples. Another minor complaint of mine. I rather wish the same instrument was used throughout the entire recording.
Available in the US through this website Hicks Sticks
For other countries, check Yirrkala.com
I've followed Daniel Hamilton's work for several years now. He is a world class native flute player and competent producer. Likewise, I've known Rick Dusek for many years, a Las Vegas based didgeridoo player who I've performed with on numerous occasions. This CD came as a total surprise to me on both counts. This is a dance CD and a good one. Starting off with Midnight Trance, the CD just compels one to get up and move. All the track lengths and tempos are on the money for a night out clubbing. The use of the didgeridoo with electronic dance music is not a new idea by any means. But a lot of the genre is not that musical or listenable unless under some influence chemical or otherwise. This one, however, works for me on all levels. The second track,. "Thunder Feet" is true house. Four on the floor, slamming kick drum and everything that is good house. The didge comes in deep rapid fire bursts, very reminiscent of Gondwana Land CD's. The congas and high hat are very tight and there are some thrilling breaks. "Feeding the Sharks" features nice rhythmic vocal work alternating with some very clever synth melodic work. "Tantric Ecstasy" has some nice bass perculations, synth pads and brilliant melodic synth passages. The use of the didgeridoo as a proper member of the pallette of instrumentation on this is very intelligent. Rick's tone and timing are very sharp as the dideridoo sneaks in and out of the various rhythmic themes. The production on this track is superb. The strings appearance at about the 3 minute mark is especially thrilling. "Mystic Valley Woman" is a high point of the disc. Using thrilling effected vocals and quick hitting sneak didge patterns, it's a very tribal sounding effort which is chilled to just right temperature by some jazzy keyboard pads. If you like your didges DEEP then "Chasing Coyotes" is the track for you. Deep didge, but fast tempo. Some really nice conga work on this one as well. "Voodoo Dance" is very mystic sounding with a kind of down temp island feel, very exotic sound! The final track is "Cosmic Crickets." A great finale it is too, with a drum track which sounds like it's right out of a ballroom latin soundtrack and lots of mysterious sound effects. This last track would be right at home in a movie soundtrack.
With an average track length of about 7 minutes, this solid entry into the dance genre is a worthy addition to any collector seriously charting the infusion of didgeridoo into mainstream contemporary music. An excellent value, radio ready and very entertaining.
Available at :Tower Records
And at CD Baby
Frank Heinkel
Runtine 52:05 12 Tracks
The question, "What remains when everything goes?" is a good interview question. The answer will no doubt reveal a great deal about the person behind the response. Frank's answer, for me is summed best in the opening track, "Open Roads" a sonic journey which combines throat singing, didjeridu and synthesis brilliantly. Musically, the intonation is accurate and melodically simple. The sound quality on this track is very superior and it sets a tone for this more reflective side of Frank's artistry. Then in track two we're treated to the street wise side of Frank. The busker. "Dolphin" has all the excitement of one of Franks street side performances with studio recording quality as he works the shaker, vocals and legato tonguing which are his trademarks from street busking , music festivals and everyday practice. A working didge player recorded and recorded well. "Oriental" is actually more middle eastern as classic Baladi is treated with playfulness and flare. "Let Go To Get" is a rarer side of Frank.
More meditative, deeper in pitch a a bit richer in timbre than usual. A smooth meditative listen with plucked strings and sailing bowed double bass played by Andy Zadrozny and Tyler Spencer joining Frank on didgeridoo. The mood changes for "Mango", a didge and Caxixi sprint which takes us back to the streets. "Enternte Nahe" is a tribute for Franks mother who passed away in September of 2004 that may indeed be Frank's personal answer to what remains when everything goes. Round warm trumpeted overtones introduce the piece which proceeds to explore the harmonic aspects of the didgeridoo through careful use of ambient space. It's haunting sounds remind me a bit of sections of Stephen Kent's Songs of the Burnt Earth. This is a favorable comparison and I think a fair one. It is a classic sound, played soulfully and powerfully. "Jump" takes us right back out into present space with a sax quartet, kit drums and blazing didgeridoo action. The tempo and brightness of this track wakes us from the early meditation and brings our feet right to the ground for dancing. "Maui" is quite interesting. A throat singing (in Kargyraa style) ensemble combines with madrigal chorus. A very interesting composition and it is quite complex. The break from flash didgeridoo playing and western instruments is quite refreshing.
"Bumper" again comes back to Frank's journey's around the world as a street and festival performer. A little slower in tempo, accents come from a low sounding drum, perhaps a djembe. It's a nice dance that is set up between vocal embellishments and the drum beat. "And then..." more saxophone quartet, this time in swelling crescendos or stabs with the didgeridoo sailing out of time and space as various reed voices pad the rhythm nicely. "Last Song" actually is second to the last track, but the timpani rolls which introduce the string parts would be right at home in the cinema. Some very interesting sequencing done by Mark Andre-Kneer and nice frame drum work by Mathias Kunzu combine to give this a very celtic feel.
Ending the CD, and completing the journey for us we return to throat singing. What remains is now familiar and the continuity of the album becomes quite clear. "One not two" appears to be Frank's answer to the question about what remains. I very coherent album, well recorded and produced. One that introduces an array of talent and brings the didgeridoo in contact with a variety of music styles and instrumentation.
Available on the web at LA Outback