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Baird Hersey
About me: Baird Hersey is probably best know as a composer and guitarist. In the '70s and '80s he wrote for and played with his big band "The Year Of The Ear". The group's performances and recordings were highly regarded for their blend of rhythmic percussion and innovative horn arrangements.
Hersey's is a National Endowment for the Arts Composition Fellow. His diverse career has encompassed; commissions from the Harvard University, New Mexico Council for the Arts, The Brooklyn Bridge Centennial Sound and Light Spectacular, The HVP Symphony Orchestra, and performances throughout the US and Europe in such different setting as the Berlin Jazz Festival and MTV. He has also composed extensively for television.
He has been a student of yoga and overtone singing for 20 years. In 1997 He began the practice of Ashtanga Yoga. The result was a change in his life, his music and his career. "Gathering in the Light" is his 11th album Hersey has recorded for Arista, Buddha, Bent Records and Satsang Music.. He has studied with Sri K. Pattabhi Jois in Mysore India and with The Gyuto Monks.
Anthar Kharana
About me: Anthar Kharana, is a composer and multi-instrumentalist born in a small town called Ocana in the North of Colombia and years later he moved to Bogota. He grew up in a musical family and his first link with music was at the age of nine. He has been involved in many musical projects and bands, offering him a wide vision about different ways of putting together sounds and intentions, feelings and thoughts. Starting with rough punk in his early years as a result of the oppressive political situation in Colombia, to then begin training himself as a counter-tenor (highest male voice’s pitch in opera) afterwards, giving him the ability to increase his voice range and to reach high pitches that sounds like female voice.
<center><img src="http://www.antharkharana.com/Anthar/anthar-overtone-net.jpg"/></center>
After years of practice he developed the complex technique of Throat Singing, including Khoomii from Mongolia also known as Polyphonic Voice, and other overtone styles incluiding western harmonics which made an important step whilst working with Vibrational Sound Healing. As part of that process, together with his passion for different ancient cultures, he started to investigate about the power of sound and how it generates changes in many different ways and levels of conciousness.
Anthar is also an educator and has been touring the UK facilitating Traditional Colombian drumming and Tribal Voice workshops in different festivals and schools. He teaches and shares the roots of Colombian traditions and rhythms of the Indigenous people who were living (and still) on the Carribbean Coast of Colombia and got mixed with African slaves brought with the Spanish colony at the end of the 16th century.
for more info please visit:
<a href="http://www.khantara.com">www.khantara.com</a>
Jan Heinke
About me: (or what i am looking for in music)
to work with iron, sometimes in a forge, otherwise as a musician and composer
the difference between click, tock and bing (i am attracted by slowness, or call it laziness, that causes a microscopical view (not only) on sounds and noises)
the visible/tactile aspect of distinct sounds or the audible aspect of shape and material (means also that strange theater of abstract numbers called music and how it touches our imagination, senses or moods, how it creates visible forms)
the mathematical view on music or the musical view on numbers (helps me to find the "scapes", sounds, rhythms and harmonies wich i desire to listen)
each place and each point in time has anything distinctive, each landscape or situation is represented by remarkable sounds, often they reveal a surprising musical quality (how to approach such moments?)
our audible environment contains information about structure, nature, culture (how to explore and integrate this in musical concepts?)
the full range of different sounds we are able to produce with our voice(s)
(we are living in an age/place of abundance) esp. the hidden treasure in polyphonic or contrapuntal overtone singing
AHOI artists+events by Mahide
About me: KHUKH MONGOL was founded 1997 by Dashtseren Erdenbold. KHUKH MONGOL means blue Mongolia referring to the special meaning of the colour blue for the Mongolian people. They have a strong appreciation for the rich deep-blue colour of their homelands sky, something the country is well-known for. On nearly 300 days in the year the sky of Mongolia is clear and blue. Also, it is alleged, that all new-born Mongolian children have a blue mark on their backs.
The members of KHUKH MONGOL came together 1997 in Ulaan Baator and have travelled since then under the direction of Dashtseren Erdenebold as musical Ambassadors of Mongolia through the world.
KHUKH MONGOL contains of studied singers and musicians of typical Mongolian instruments such as horse head violin, dulcimer, flute and bass. In the group is also the wife of the leader, the Khoeoemii,a female singer Purevsuren Usukhjargal, which masters this singing technique as one of three women in Mongolia !
As a further musical characteristic, their son, the seven-year-old Erdenebold Tuguldur is to be heard with Overtone-Voice & Throat-Singing on the track: "Tavan Hasag".
Since 1998 the group had many great appearances with their comprehensive repertoire from traditional instrumental music, songs (Khoomi, Magtaal praise) and dances (religious mask dance Tsam, traditional mask dance, traditional dance Bijelgee) in whole Western Europe, USA and Japan. The musicians and dancers of Khukh Mongol participated successfully in numerous jazz- and folk music festivals in Germany, France, Italy, the Netherlands and Belgium. Khukh Mongol performs in traditional Mongolian costumes that are made up of mainly of heavy brocade material in wonderful designs and brilliant colours. All musicians from Khukh Mongol are professionals who studied Mongolian folk music.
Kasper Søeborg Ohlsen
About me: Kasper Soeborg is an experienced musician, Guitar-player and Composer with 6 CD’s and 3 books containing original guitar-music as documentation on the Olafssongs label.
Over the years Kasper Soeborg's repertoire has spanned from psychedelic rock to computer music , so one may say he has emerged from the "melting-pot" of jazz, fusion, flamenco, folk and classical with a style and spirit that is very much his own ”Worldmusic”, including studies and experiments/workshops in harmonics and overtone singing. In the autumn 99 Spanish guitar and Flamenco studies in Sevilla, Andalusia, Spain, supported by "Statens Kunstfond" (the State Art-fondation of Denmark) developed his art. This has, since then, led to many travels to Andalusia, Spain. From 1989 Kasper Soeborg has been giving koncerts in Denmark, Sweeden, The Czech republic, Poland, France and the Kola-Peninsula over Moscow to Chuvashia in Russia. Also Canada ( as a part of "The SuperDanish" festival and New York in 2004 as well as several tours in Greenland, and the Faroe Islands. La Semaine de la Musique Instrumentale 2007 in Tunesia. 5. Bimbache OpenArt Festival en El Hierro (Canarias) 2009. International promotion at MIDEM (Cannes, France)1995-99,and 2003-5. International promotion at WOMEX 2003 and 2005 (Newcastle) and 2006 , 2007, 2008 (Sevilla),2009 (Copenhagen
Bernd Michael Sommer
About me: Singing with artists on records
was a source of joy since I was a child.
Then: the Beatles!
I could not get enough of their music
and their contemporaries´.
When I got a guitar and founded my first band,
I was in heaven.
We copied the music of our heroes
and composed music of our own.
After having finished high school,
I studied Jazz.
I learnt how to play the piano
and some other instruments.
For a couple of years,
I toured and recorded with various formations.
At age forty,
I studied musicology, psychology and American Literature
at the Universität des Saarlandes.
Being a bad sight-reader,
I researched on the subject
and wrote a dissertation on it.
In 2004, I met
Chris Amrhein and Christian Bollmann,
and the world of overtones revealed its wonders.
It felt like being home - and it still does.
Music, sound and rhythm let us feel
what we really are.
Especially overtone music
is very strong in this respect,
because it leads into silence.
Since then, I have been exploring
the world of overtones,
and I love to give concerts and courses.
I also have been meeting
lots of people
who I feel in resonance with.
Thank you, universe!
Let´s continue the celebration of life!
Alexandre Viain / Jeevan Mukti
About me: Jeevan Mukti - Liberation in Life
Jeevan Mukti is Alexandre Viain from Germany/France. He is a passionate multi talented artist who loves to express himself in every way possible: singing, painting, drawing, dancing, playing music.
In 2002 he began to study Raj Yoga and to meditate regularly. He began to realize his true nature as embodied eternal spiritual light, living in a body without attachment to it. ( It..s so easy to forget and to fall back into body conciousness, sometimes it..s so hard to remember ;-)
His intention is to heal and transformate himself for the world can heal itself and transformate into a peaceful place full of love and respect for each other. He tries to spread the loving, peaceful and powerful light wherever he is able to.
His DJ-Sound ranges from spiritual chants of almost every culture over meditative ambient scapes up to downbeats and danceable psy dub. He is very intuitive in DJing and he loves to communicate with his audience. His DJ Set is very varied, emotional deep and uplifting.
Actually he is working on a new live act including live drums and percussions, guitar and (overtone) singing. It will be pure spiritual joy for your eyes, ears and your heart.
* May you be as powerful as the soft water, which washes rigidity and harshness henceforth *
Yaad, Pyar and Namasté to all of you lovely beeings out there :-)
Thank You, I love You :-)
Karmatit stage really means that a soul is beyond the pull of body consciousness and bondage of Karma while being embodied-( like Mukti means liberation of soul from the body and Jeevan-mukti means liberation from vices and bondage while remaining in the body.) In Jeevan-mukti or Karmatit stage the soul remains in the body without being conscious of it.
The power of truth is such that it never needs to be proved.
SoRIAH
About me: The Portland musician and ritual artist known as Soriah (a.k.a. Enrique Ugalde) first came into being more than 10 years ago. His unique
vision has evolved to draw equally from performance and musical traditions both modern and ancient--- raga, shamanism, the revisionist arts of electro-acoustics, noise, butoh, and free improvisation.
One element which pervasively informs his work, is traditional Tuvan throat singing. Soriah has extensively trained in, and received recognition for his achievements with, this style of overtone singing. Most recently, he was honored as the Third Place winner in the International Symposium of Khoomei Competition, and "Best Foreigner" in the 2008 Ustuu-Khooree World Music Festival in Tuva, where the form originated.
As much as the complex musical underpinnings of Soriah's music reach back to Central Asia, he traces his roots back to his father’s homeland of Mexico. His explorations of the cities and wilderness of Mexico and considerable research into the Aztec mysteries, as well as the
present-day animism of Tuvan Shamanism, have deeply influenced his
pan-cultural ethos.
Through costume, movement and meditation Soriah evokes an otherworld of profound mystical import. Though the settings for his performances have ranged from arenas, concert halls and churches, to swamps, caves, tree tops and even an abandoned nuclear reactor, his project carries its own sense of place and time, which transcend the concrete world.
The recorded works of Soriah are chiefly available from Beta-Lactam
Ring Records; along with compilation appearances on URCK's
"Post-Asiatic" series, Sonick Sorcery's "Visions From The Garden", and
Mobilization's "How To Destroy the Universe Part 5".
Credits also include live and recorded guest appearances with Blixa Bargeld, Perry Ferrel, The Legendary Pink Dots, Jarboe, Master Tuvan Throat Singers Chirgilchin, Psychic TV, The Church, Chrome, GWAR, The Polyphonic Spree, and The Dresden Dolls, as well many other local and international acts.
The newest official recording, " A T L A N "--- in collaboration with Ashkelon Sain (Trance to the Sun, Submarine Fleet)--- is scheduled for release in Spring of 2009.
Stuart Hinds
About me: I am active as composer, singer, choral conductor, and teacher. The majority of my compositions involve the use of overtone singing, including works for solo voice, for voice with instruments, and choral works. I have presented concerts, lecture-demonstrations, and workshops throughout the US and Europe. I am a published author and composer, with articles in the Journal of Singing and Choral Journal, and choral compositions with Friedrich Hofmeister Musikverlag. I earned a Doctor of Musical Arts degree in music composition from The University of Michigan. Check out my website <a href="http://www.stuarthinds.com" target="_blank"><b>www.stuarthinds.com</b></a> for more informations, booking and workshop and c oncert schedule in English. <br/>Below are informations in German:
<hr/>Stuart Hinds ist als Komponist, Sänger, Dozent und Chorleiter aktiv. Die meisten seiner Kompositionen sind vor allem für virtuose Obertonsängerinnen und –sänger geschrieben. Darunter sind Werke für Solo-Stimme, instrumentale Stücke und Kompositionen für Sprach-und Chormusik. <br/> <br/>Stuart Hinds gibt Konzerte, Unterricht und Workshops in den USA und Kanada, Deutschland, Belgien, Österreich und in Tschechien. Seine musikalischen Werke sind in Artikeln der „Zeitschrift für Gesang“ und dem „Chormusik Journal“ erschienen. Im Friedrich Hofmeister Musikverlag sind neuerdings Chorwerke von Stuart Hinds veröffentlicht worden. Stuart Hinds promovierte an der Universität in Michigan zum „Doktor of Musical Arts in Komposition“.<br/> Stuart Hinds ist einzigartig unter den Obertonsängern. Er hat diesen Gesang mit Virtuosität zu einer neuen Kunstfertigkeit geführt. Er erlangt ein bisher selten erreichtes Level musikalischen Ausdrucks, wenn er zeitgleich über den traditionellen Bordunklang stimmlich zwei unterschiedliche musikalischen Linien entwickelt. Seine Kompositionen sprengen dabei die Grenzen des üblichen Obertongesangs und kreieren ein völlig neues Genre der Musik, die jeden Musikstil umfassen. <br/> <br/> Stuart Hinds Werk spiegelt zum einen seine klassische Ausbildung wieder, mit musikalischen Einflüssen unterschiedlichster Kulturen – sein einzigartiger Stil begeistert ein weites Spektrum von Zuhörern. So schrieb ein schwedischer Musikkritiker; dass „Hinds ein wahrer Meister der Obertongesangstechnik ist“ und kommentierte: „Ich habe bisher noch nie so etwas gehört. Seine Musik zeigt eine wahre und unverfälschte Kunstfertigkeit. Ich schätze mich glücklich, dass ich auf seine Musik gestoßen bin, welche mir nicht nur musikalisch Freude bereit, sondern mich zudem spirituell erhebt.“ <br/><br/>
Bernard Kleikamp
About me: I can at least answer the question how I got interested in music. I think it runs in the family. Apparently my granddad (father's father) was an amateur musician in his bachelor's days. He then lived in the village of Tudderen in Germany, near Sittard in the south of The Netherlands, and was playing the flute in a sort of local flute and drum marching band. And during carnival he would play the accordion and sing songs. I got this information from my 84-year old aunt the other day, who told me that after he married, my grandfather was never seen performing music again... My grandma (mother's mother) lived in West-Frisia and was a singer. I think she was one of the informants of Dr. B. Veurman and Dr. D. Bax in their classic folk song collection "Songs and Dances of West-Frisia" ("Liederen en Dansen uit West-Friesland" published in 1944). My mother was a singer too, all her life she was an alto in a fairly reputed choir in the town of Hoorn, where I was born. She taught me all the songs that she had learned from her mother. And I was always interested in music, I went to music school, had piano lessons, but at an early age decided I did not want to be a performing musician. I felt much better at ease off stage than on stage. After secondary school I went to university (in Amsterdam), studying drama and ethnomusicology, and got involved in the organisation of the local folkclub and folkfestival in Leiden (where I live since 1969). And from there it gradually expanded. There's a story about the early years of PAN Records and how I got to be its owner in the liner notes to the Crooks CD (PAN 151), the CD is sold out now, but will eventually be available again via digital distribution.
I have a special interest in overtone singing and the music of Tuva, Khakassia, Mongolia, Altai, and Bashkortostan. As far as I can tell, PAN Records (the record company that I own) was the first company in the West (there were already a few LPs on Melodiya) to release a CD with overtone songs from Tuva (maybe with the exception of Smithsonian Folkways, I am not sure when that one was released). My company was also the first to organise tours with overtone singers from Tuva (1991), and I also brought them to the USA and Canada (1992 and 1993) where later they became world famous as Huun Huur Tu, but I wasn't involved then anymore, as the band had split up and I decided to stay loyal to Gennadi Tumat (see PAN 2090), whom I thought to be the more talented. He was also the most whimsical, and for years we talked about making a solo-CD, but he could never find the discipline to do studio work for long periods. You can read all about that in the liner notes to PAN 2090.
I am actively promoting the traditional music from Holland, and there are quite a lot of such CDs in the PAN catalogue (PAN 2004, 2025, 188, 157, 159, 179, 191, 192, 204, 205, 208, 210, 211, 214, 216, 218, 220).
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