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History

2008 Festival

The Performers:

17 Hippies (Germany)
Cuarenta y Cinco (New Mexico, USA)
Lila Downs (Mexico)
Forro in the Dark (Brazil/USA)
Genticorum (Quebec, Canada)
HAPA (Hawaii)
Mor Karbasi (Israel)
Lo Còr de la Plana (France)
Los Matachines de Bernalillo (New Mexico)
Thomas Mapfumo (Zimbabwe)
Mexican Institute of Sound (Mexico)
Orchid Ensemble (China/Canada)
Reelroadъ (Russian Federation)
Clark Tenakhongva (Hopi)
Vieux Farka Touré (Mali)
Savina Yannatou (Greece)
Mary Youngblood (Seminole/Aleut)

Press:

2008 Press

Videos:

Check out the ¡Globalquerque! video channel! Dozens of great clips from the 2008 festival. Most provided by Jerry Wellman. (Thanks Jerry!) Videos on vimeo and YouTube.

Photos:

- Excellent artist photos by Neil Parker

Visitor/Artist Feedback:

"I thought this was gonna just be World Music—it is truly WORLD-CLASS music as well!"
—Karla L.

"[¡Globalquerque!] was the coolest world music event I've been to in the last decade. Highly recommended."
—Christy Williams Dutton, Program Director, KZMU Moab, Utah

"What a spectacular, varied, and rich program!  Highlights for us were 17 Hippies, Savina Yannatou, and Lo Cor de la Plana.  I also thought Jefferson Voorhees did a heroic and artistically sensitive job with drumming for Mor Karbasi... especially on one rehearsal.  She did not have easy music!  Congratulations AGAIN for a splendid festival."
—Katie H.

"Another great Globalquerque! I was there Sat. night.  The performers were stellar.  The venue is beyond compare.  What an incredible musical happening."
—Robin

"The activities on Saturday for families were great!  I brought my granddaughter and we spent the entire afternoon there and had a blast.  Good show all around."
—Ann

"personally and professionally—i loved Globalquerque this year - even more than the past years...and i have loved them all! i was totally enchanted by several groups!  and it is always the groups i don't expect to like that i actually love the most!  who knew that i would be a total convert to latin techno-pop!?  but, suprisingly, i fell COMPLETELY IN-LOVE with the music from the Mexican Institute of Sound...please, bring them back (as long as there is a dance floor!)  next time, let's do a School Day with them!"
—Shelle Sánchez, NHCC Director of Education

"I truly enjoyed Globalquerque.  I recently relocated to the Duke City from the Bay Area in California and was very impressed with the caliber of musicians you had at this event.  My daughter lives in NYC and when I told her about who was here for Globalquerque—she was mightily impressed!  They plan on coming out here next year to attend.  I think you will find that this event is truly going to become a destination for lots of people over time."
—Barb H.

"Globalquerque was absolutely amazing."
—Kelly R.

"A Big Congrats to Neal, Tom and the whole team for putting on a wonderful festival!  The lineup was great, everything ran smoothly, and the sunbaked, stately grounds of the National Hispanic Cultural Center proves a truly welcoming environment.  It was a great pleasure to be part of it." 
—Jonathan Bernard, Orchid Ensemble

"My family and I truly enjoyed ¡Globalquerque!. I was surprised to find out who my kids' favorite artists turned out to be. The a cappella group from France stunned my boys; they sat still in awe during the entire act. HAPA was wonderful. They engulfed the crowd and interacted beautifully. We've seen Polynesian performances before, but this venue was so intimate it blew the rest away. And the Mexican Institute of Sound took me back to the clubs in Mexico City and Juarez. My eldest son was mesmerized by Mor Karbasi, and it took my boyfriend and me back to the tapa bars in Rota. We had a wonderful night, hated to see it end.  Thank you!"
—Alighieri Saenz

"Globalquerque was such a success! Te felicito. It was so beautiful out and the music was just superb." 
—Rosi Amador, Sol y Canto

"It was GREAT"
—Christy Mendoza, Cultural Arts Director, Clovis Community College

"Globalquerque rocked this year indeed!"
—PePe Monstrito

"Thanks go to you for a wonderful event. Nowhere else would I get to hear live music from so many different countries. It is a perfect venue too--so relaxed and free-flowing."  
—Chris Desai

"Once again you guys have put together a great event. The performers you bring are really great.  I'l be there next year."  
—Lorenzo Lacovara

"To all of you at Globalquerque, I wish I could shake your hand and say 'thank you' face to face for the incredible feat that was accomplished this past weekend.  I have done event planning and know what it takes to tackle just one-tenth of what you did. Though I know there’s probably room for improvement, there’s a good chance you out-did yourselves on this one!  I took my teenage daughter, who is planning to be a voice major, to primarily see Mor Karbasi and Savina Yannatou. Afterwards, Ms. Karbasi even spent a few minutes privately with her and offered even more inspiration than what she had already received just from hearing them. More was accomplished (or should I say 'Mor') than just incredible entertainment.  I can’t wait for the next one. Thank you again."  
—Steve Herrera

"Thank you both for all your year-long efforts to give us this wonderful festival!"  
—Susanna de Falla

"i absolutely enjoyed the lineup. as a musician, i am inspired by how many facets there are to this thing we call music. so many interpretations and sounds. thanks for your contribution to my listening world and thanks to all the musicians i saw who have given me a different perspective that i might try."
—jj otero

"This was my first Globalquerque!  Great event! I liked just about everything I heard and wished I'd been to both nights. I had no idea this was so cool."
—Jim Lynch

"This was my second time attending and I think the event continues to get stronger.  Warm weather treated the large but comfortable crowds quite well. The range of music was wonderful and it's always a delight to see familiar faces mixed with bands new to me.  There's nothing like fun dance music under the stars on a cool New Mexican evening. but there wasn't a performance that doesn't deserve acclaim.  It's proof that  Globalquerque is coming into its own.  Tom and Neal have made the festival a little better each year and are really learning to use this unique site to advantage.  I've already marked my calendar for next year!"
—Elaine Erb, Music Director, KGNU, Boulder (Full review here)

 

17 Hippies (Germany)

- Check out this full concert recording, live at the Kennedy Center

picFor the past 12 years Berlin's very own "orchester spezial," 17 Hippies, have been playing their whirling, crashing, diving, bobbing and weaving mixture of music from around the world, all over Europe... and beyond. Imagine a mix of Eastern melodies, Balkan rhythms, French chanson, Anglo song writing, Cajun tunes, all perfectly blended together, creating their own unique "Berlin Style" of... yes... pop music. Oh, and they sing in German, English and French.

This energetic music is the distillation of many genres. The musicians' musical backgrounds reveal influences from rock-pop to classical and jazz, and is reflected in the instruments they play: accordion, trombone, trumpet, violin, cello, woodwinds, mandolin, ukulele, banjo, Irish bouzouki, guitar, double bass, Indian harmonium and more.

"They do everything so well, these 17 Hippies, writing songs with memorable melodies that they sing effortlessly in German, French or English... So let's get things straight. They don't play electric guitars and there aren't exactly 17 of them—there could be more, but usually fewer than 10 members go on tour. They're not hippies, either, although they are based in Berlin, perhaps the last European city where musicians can find apartments with rents so low, it's possible to follow your instincts and not surrender to commercial requirements. They also sound as if they're enjoying themselves and that they don't take themselves too seriously."
The Guardian (London)

 

Cuarenta y Cinco (New Mexico, USA)

- See them performing at the New Mexico Hispano Music Awards!

45Cuarenta y Cinco has been recognized as one of New Mexico's top groups since its formation in 1991. Their upbeat music is rooted in the traditional sounds of New Mexico, blending rancheras, cumbias, balses, boleros, country/western, oldies and modern rock. Known for their high energy dance music, Cuarenta y Cinco has long ruled northern New Mexico and been a favorite of many people throughout the southwest. With 10-plus years under their belt and a willingness to work hard, Cuarenta y Cinco will be a force in New Mexico as long as there is a market for good dance music. They were the New Mexico Hispano Music Award's band of the year in 2004 and were nominated again in 2007.

 

Lila Downs (Mexico)

- New CD gets rave reviews! 4 1/2 stars in the All Music Guide

photoLila Downs grew up in the Sierra Madre mountains of southern Mexico, in the state of Oaxaca, and also in Minnesota in the U.S.A. She started singing mariachi songs when she was 8. When she turned 14, she started voice lessons in Los Angeles, continued voice lessons in Oaxaca city at Bellas Artes, and moved back to Minnesota for college where she studied voice and anthropology at the University of Minnesota. Lila was to become an opera singer when she dropped out, followed the Grateful Dead for a while, sold jewelry on the streets, and moved back to the mountains of Oaxaca where she learned to weave cloth. She later did her college thesis on the symbolism created by the Triqui women in their weaving, a language which narrates the history of this autonomous Indian group.

Lila began singing in the club scenes of Oaxaca and Philadelphia along with Paul Cohen, an expatriate saxophonist who had also been a clown and juggler in the circus. They began collaborating together on songs that would slowly mature into their most recent recordings. This musical process began taking form during the soothing and warm Oaxacan nights, at a bar called "El Sol y La Luna." Lila presently lives in Coyoacan and collaborates with musicians from Mexico, Canada, Cuba, Peru, Argentina and Paraguay. She performs her own compositions and also taps into the vast reservior of native mesoamerican music, by singing songs in the the Indian languages of Mexico such as Mixtec, Zapotec, Maya and Nahuatl.

 

Forro in the Dark (Brazil/USA)

- Check out this full concert recording, live at the Kennedy Center

forroForro in the Dark gets its name from the forro, a type of dance and music that's been popular in northeastern Brazil for more than 100 years. The style's traditional incarnation involves a three-piece band with a triangle, an accordion and a bass-like drum called a zabumba. But Forro in the Dark doesn't conform to those limitations, instead taking the lively and emotional genre to new heights by drawing on influences ranging from Enrique Iglesias to Beck. The resulting music sounds optimistic and celebratory, occasionally instrumental and always compelling.

The band was born when frontman Mauro Refosco threw a birthday party and invited a few friends to play with him; soon, Forro in the Dark began a tradition of sold-out weekly performances. The Village Voice calls it "the party music of northeastern Brazil... your hips are destined to dance."

 

Genticorum (Quebec, Canada)

photoGenticorum are fast becoming one of the most sought-after proponents of Québécois musical culture, firmly rooted in the soil of their native land. The energetic and original traditional "power trio" also incorporates the dynamism of today's North American and European folk cultures in their music.

Weaving wooden flute, fiddle, acoustic guitar, jaw harp, bass and foot percussion with strong vocal harmonies, they offer a blend of traditional songs and tunes as well as original compositions. Their
distinctive sound, sense of humour and stage presence make them a supreme crowd pleaser. Since their debut in 2000, Genticorum has forged a solid place for itself on the folk and world music circuit, playing festivals, concerts and dances.

Their sophomore album Malins Plaisirs won the Canadian Folk Music Award 2005 in the "Best Ensemble" category and was nominated for JUNO (Canada) and Felix (Québec) Awards in 2006.

 

HAPA (Hawai'i)

hapaLike the Hawai'ian Islands themselves, HAPA's Pan-Polynesian music is an amalgam of infuences ranging from ancient genealogical chants to the strummed ballads of Portuguese fisherman, Spanish cowboys, and the inspired melodies and harmonies of the traditional church choirs of the early missionaries. Add to this a dose of American acoustic folk/rock, and you have what has been described as the "most exciting and beautiful contemporary Hawai'ian music the world knows!" (Maui Times).

Often encapsulated as the "Sound of Maui," HAPA's music evokes a place that many people at different times have referred to as heavenly. The overriding quality of their music is one of beauty and serenity, found in the majestic tones of the oli (chant), mele (song), the elegant movements of the sacred dance known as hula, and the exhilarating innovative sounds of virtuoso slack key guitar. HAPA's self titled debut CD, released in 1993, swept the 1994 Na Hoku Hanohano Awards (Hawaii's equivalent of the Grammys), becoming the biggest selling CD by a group or duo in the history of recorded Hawai'ian music. Their ground-breaking music has established them internationally as the most recognized name in Hawai'ian music, with sold-out shows from Tokyo to New York.

HAPA will perform as a quartet with dancer and chanter in the Performing Arts Center on Friday and as a stripped down duo in the Fountain Courtyard on Saturday.

 

Mor Karbasi (Israel)

photoDescribed by London's Jewish Chronicle as a purveyor of "spine-tingling Gypsy Music," young London-based Israeli singer Mor Karbasi sings in Ladino, Spanish, Hebrew and on rarer occasions, English. Fortune has brought her a wonderful singing voice to add to her classically trained piano playing.

Not many songs still survive from 1492, when the Ladino speaking Jewish population in Spain fled the Inquisition—only the most beautiful are kept over such a period. Mor is bringing some of these songs back to a wider public. Her writing has been considerably assisted by her interesting lineage. She is directly descended from both Moroccan and Persian Jews. She has been and indeed is, an avid supporter of Flamenco which provides a strong flavour throughout all her songs. Her early musical performances were with Pena Flamenca in Jerusalem which immersed her in Flamenco while her mother, Shoshana Karbasi, played Moroccan piyyutim (liturgical poems) and sang Andalucian Jewish ballads at their home. She continues to be a constant influence on her daughter.

Mor's debut CD, The Beauty and the Sea, was released in March 2008. fRoots magazine called it "mesmerising... deserves to give Mor Karbasi one of the world music hits of 2008."

 

Lo Còr de la Plana (France)

photoLo Còr de la Plana (pronounce "Loh cor deh la plahn") is a gritty romp, matching six male a cappella voices with the stomping, clapping beat of a variety of hand drums, that accompany this French ensemble. Singing in the little known ancient language Occitan, the group transcends translation with wit, tenacity, and above all, intricate harmonies that soar between the dissonant and the sacred. Ripe with passion and Mediterranean roots, flavors of Arabic, African and parts of Gregorian chant, the group take you on a European journey that stirs the soul.

The group is devoted to resurrecting and modernizing the traditional repertoire that up until now has been confined to churches and religious ceremonies. From popular centers of Damase Arbaud and Notre Dame des Doms, the ensemble has added instruments like the North African bendir and the tamburello in an effort to broaden its musical range. The result is a joyful ricocheting counterpoint that needs no translation.

 

Los Matachines de Bernalillo (New Mexico, USA)

photoIn an article in the Albuquerque Journal, Michael Davis observes that "for the past 311 years, the town of Bernalillo has stopped in its tracks and its residents have danced in the streets to honor Bernalillo's patron saint, San Lorenzo. Las Fiestas de San Lorenzo includes three days of processions, prayers and dancing." A major part of the festivities are the Matachines dances—an intriguing cultural tradition that spans both Hispanic and Native American cultures. Los Matachines de Bernalillo will perform most of the dance-drama as part of ¡Globalquerque!. The full cycle will be performed several times at Las Fiestas de San Lorenzo in Bernalillo over the weekend of August 8.

For information about Matachines dances in general, there is an excellent on-line introduction at New Mexico Arts.

 

Thomas Mapfumo and The Blacks Unlimited (Zimbabwe)

kbmBefore Mapfumo, who cut his teeth playing Otis Redding and Elvis Presley covers as a teenager, all of Zimbabwe's homegrown music was made using rhythms that had been passed down for generations. The "Lion of Zimbabwe" was first to break this tradition, creating his own style of music—chimurenga, which means struggle—to accompany lyrics that called for the violent overthrow of his country's white minority rule. Mapfumo was dispatched to prison camp on charges of subversion in 1977. He arranged his release by agreeing to a special concert for his country's political leaders, but then played them only his most indignant material.

Mapfumo formed Blacks Unlimited after Zimbabwe's 1978 independence. The band's celebration songs turned to protest after Robert Mugabe was elected prime minister in 1980. (Mugabe later dissolved Zimbabwe's prime minister's office, and declared himself its president). The Lion of Zimbabwe, after years of harassment from Mugabe and his minions, moved to Oregon in the late 90s. Mapfumo continues to sing and speak out about the problems of Zimbabwe.

 

Mexican Institute of Sound (Mexico)

misFollowing the success of last year's Mexican Institute of Sound (MIS) debut Méjico Máxico, MIS is back with Piñata, an infectious pastiche of electronica, dub, cha cha cha, cumbia, spoken word and other musical treats waiting to burst out of its paper maché shell. The new album features a number of guests including members of Tom Tom Club, Fantastic Plastic Machine, and Babasonicos. In the past year, MIS has received widespread acclaim from outlets like Spin, NY Times, and Urb, as well as radio support from such tastemakers as KCRW (Los Angeles), Indie 103 (Los Angeles), KEXP (Seattle) and KUT (Austin). MIS' music has also been featured in other projects including a recent episode of ABC's hit sitcom "Ugly Betty," Dos Equis' national advertising campaign, multiple soundtracks, and the upcoming EA Games release "FIFA 2008."

Camilo Lara is the one-man dynamo behind Mexican Institute of Sound. Hailing from the sprawling metropolis that is Mexico City, Lara channels his inner rockstar, while holding down a day job as head of a major label. Like a musical superhero, Lara steps out of his executive alter ego, gets involved with the underground musica movement and begins his musical mission delivering electronic masterpieces with only the help of his computer, his nurturing imagination, and his awesome collection of vinyl. Lara's genius is not his ability to hide behind a computer screen or immerse himself in the world of modern technology (in which he's admittedly quite a clumsy participant), but rather lies in his ability to carefully select and blend diverse musical references that will surprise and delight even the most discriminating listener.

 

Orchid Ensemble (China/Canada)

- Two full concert recordings of the Orchid Ensemble at the Kennedy Center

photoThe Orchid Ensemble blends ancient musical instruments and traditions from China and beyond, creating a beautiful new sound that is both creative and distinct. The ensemble has embraced a variety of musical styles to its repertoire, ranging from the traditional and contemporary music of China, world music, new music to jazz and creative improvisation. The energetic yet endearing performance style of the ensemble consistently intrigues and delights its audiences, consistently receiving standing ovations. Acclaimed as "One of the brightest blossoms on the world music scene" (Georgia Straight), the Orchid Ensemble has been tirelessly developing an innovative musical genre based on the cultural exchange between Western and Asian musicians.

The Orchid Ensemble regularly collaborates with musicians from a wide variety of world cultures and actively commissions new works by Canadian and US composers for its unique instrumentation. The ensemble performs regularly in concerts across North America, and at prominent world, jazz and folk music festivals. Recent appearances include The John F. Kennedy Center for the Performing Arts in Washington, D.C.; Canada Day Celebrations and the National Gallery in Ottawa; Vancouver International Jazz Festival; and at Toronto's Harbourfront Centre.

 

Reelroadъ (Russian Federation)

reelroadReelroadъ plays traditional Russian music in an original post-folk style in concert halls and at festivals throughout Europe and Russia. This year the band crosses the Atlantic to perform at world music festivals in Mexico and in the United States.

Reelroadъ makes ancient Russian music come alive with modern arrangements, global rhythms and youthful energy. The use of traditional Russian vocals and folk instruments reveal the band's close ties to its roots as it plays uncommon folk songs from northern and central Russia and Siberia, music driven underground for decades.

They use different Celtic and Russian traditional instruments, including bagpipes, hurdy-gurdy, fiddle, zhaleika, bombard, and Celtic harp, alongside more modern instruments such as the bass and drums. All of Reelroadъ's members are musicians; four serve as vocalists as well, singing in the traditional Russian village voice. In addition to concert performances, Reelroadъ teaches folk dances from all over Russia in clubs and dance schools.

 

Clark Tenakhongva (Hopi)

clarkThe work "Hopi" comes from Hopituh, meaning those who live according to the way of the Hopi. For millennia, the Hopi people have lived in the great deserts of the Southwestern United States. Clark Tenakhongva is Hopi from the village of Hotevilla. He grew up singing traditional Hopi songs and speaking the language. But like so many Native children across the country, he was discouraged and even punished for speaking his traditional language. His experience has come full circle as Clark is now recording songs in his native tongue.

Tenakhongva's songs capture the gentle Hopi way of life. Prayers of rain, thanksgiving, life's beauty and the harmony of all peoples, these songs accompany the social and ceremonial dances that have enriched the Hopi people for centuries. His evocative, original songs reflect the ancient Hopi vision of life as it continues to endure in the modern world.

Clark is committed to teaching the next generation the traditions of the Hopi people and will be joined by young Hopi drummers and dancers. Clark is also a master Katsina carver. Look for him at the Santa Fe Indian Market on August 23 and 24.

 

Vieux Farka Touré (Mali)

vieuxSince his childhood, Vieux Farka Touré has been deeply inspired by the music of his father, Ali Farka Touré. Growing up in Mali's capital, Bamako, as well as in his father's hometown of Niafunké in the Sahara desert—both teeming with rich musical life—Vieux proved himself a precocious talent as a drummer and calabash player. Ali, however, grew concerned about his son's future as he observed his son's budding musical gifts. Having long suffered in the music industry himself before finally finding a home with World Circuit Records, Ali did not want his son to have to have to face the same hardships. He forbade Vieux to play music and decided that Vieux should become a soldier instead. Vieux, as stubborn as his father's moniker Farka (donkey) suggested, began instead to play along with his father's recordings in hiding, determined to pursue his musical aspirations.

In 1999, Vieux—now a young man—decided to take his destiny into his own hands. He enrolled in the National Arts Institute in Bamako, openly defying his father's wishes. It was there that Vieux truly discovered his musical calling, picking up the guitar and beginning to compose his own music. By the time he left the Arts Institute, he was already a locally celebrated guitar virtuoso, able to almost perfectly emulate his father's playing. Word began to spread throughout Bamako that Ali's successor was emerging. It was then that Toumani Diabaté—the world's premiere kora player—first took notice of Vieux, and brought him into his performing ensemble. Recognizing Vieux's abilities, Toumani urged Ali to accept his son's chosen path. Ali agreed, and under Toumani's artistic guidance, Vieux flourished. He performed in France and South Africa and even began to accompany his father on guitar. At the same time, his own stunning compositions introduced new sounds and influences into the tradition of desert blues from Northern Mali.

In 2005, Vieux reconnected with his friend Eric Herman, a North American musician and producer with whom Vieux had played while he was a student at the Arts Institute. Both Vieux and Eric realized that it was time that Vieux record his debut album. They quickly got to work in the studio to record an album for Herman's label, Modiba Productions. Toumani agreed to contribute his awesome talent on two of the tracks. Meanwhile, Ali—growing increasingly ill with cancer—performed his final recordings for Vieux's album. This was the ultimate expression of approval of his son's path, and in these historic recordings at Studio Bogolan, Ali officially passed Vieux the torch with which to light his way.

 

Savina Yannatou (Greece)

- Check out Savina and a small version of her band at the Kennedy Center
- And listen to an interview by KGNU's Nile Southern with Savina's manager Helen Kontos in preparation for their ¡Globalquerque! visit

photoBased on traditional material, mainly from the Mediterranean area, Savina Yannatou and the group Primavera en Salonico offer an open sound without borders or labels, from simple songs extending to contemporary music forms.
Insisting on acoustic instruments, half of which have their origin in the East, they attempt to exploit their specific sound, oftentimes also exploring them to the limits of their possibilities. Beyond her exquisite interpretive capacity, Savina Yannatou gives special emphasis to the expression of the music of each different language, without letting that stop her from oftentimes using her voice as one more instrument.

With a background that combines classical studies and "authentic" traditional music with improvised music and jazz, Savina Yannatou and the musicians of Primavera en Salonico find themselves like rope-dancers on the chord which connects the modal music of the East with the equivalent music of Western Europe, music of the Middle Ages and the popular polyphonies of the Mediterranean.

"Dark-toned but ambrosial, highly disciplined yet seemingly bursting with a soul of pure flame, the rather staggering Athens-born singer Savina Yannatou is a virtuosic chameleon adept at an extensive range of vocal traditions (and languages) from the Mediterranean region—not just interpreting but leaping off from these old folk musics with a daring, exploratory technique and far-flung tonal scope that allows her to stamp it all with a brash intelligence and some might say punky attitude."
L.A. Weekly

 

Mary Youngblood (Seminole/Aleut)

photoNative American Mary Youngblood, half Seminole and half Aleut, is the first woman to professionally record the Native American Flute, and the first woman to win not just one, but two Grammy Awards for Best Native American Music Album.

About her second Grammy Award, Silver Wave Records said, "...Mary Youngblood has always had the talent to stand out above the crowd, and with this honor she stakes her claim as the number one star of Native American music."

In addition to Mary's two Grammy Awards and three nominations, she was the first woman to win Flutist of the Year in both 1999 and 2000. She also won Best Female Artist in 2000 at the Native American Music Awards (NAMMYs).

Mary started piano lessons at age six, violin at eight, classical flute and guitar at ten. As an adult, when Mary received her first wooden Native flute, she was driven to pursue the mastery of this instrument so tied to her own heritage.

Now years later with five unique and accomplished albums under her belt, Mary owns over 250 hand carved Native American Style flutes in her collection and uses a wide variety of them throughout every one of her albums. Each of her flutes is masterfully crafted from different types of wood, bringing a unique sound and texture to each song.

When Mary performs, it takes only a moment to acknowledge the profound spirituality of the sacred Native American flute and its historical courtship and wooing attributes. Her haunting music is much more than a song... it's liquid poetry, a prayer.

Mary will be joined by Michael Kott, a stunning Santa Fe-based cello player who can be seen performing with Robert Mirabal and in a wide variety of ensembles, and anywhere from one to a hundred percussionists, depending on how many of you there are. Message from Mary: "Folks are encouraged to bring percussion instruments, and JAM WITH ARMY YOUNGBLOOD!" You can warm up all afternoon in drum circles led by Ghanian master drummer Laryea Addy and then help push Mary's show into the stratosphere.

 

© Globalquerque.

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