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Petr Doruzka
About me: My interest in music as a journalist started when I was a teenager back in the 1960's, my first article was printed in a semi-underground Prague music paper in 1968. Since 1988, I present my world music program on Czech National Radio, which runs now weekly, and also I write both for specialized and cultural magazines. In 1992 I became a member of the World Music Charts Europe panel, since 2002 I teach "World music for non-musicians" at the Charles University in Prague. I was first exposed to the Tuvan throat singing thanks to the CD Voices from the Land of Eagles produced by Bernard Kleikamp in 1991. In 2003-5 I served as a jury member at the Sayan Ring festival in Siberia, and in 2007 I was one of the Womex 7 Samurai.
Raphael De Cock
About me: The uilleann pipes (Irish bagpipes) discovered Raphaël in 1989 after hearing a broadcast of Liam O Flynn and Donal Lunny's concert at the Dranouter Folkfestival 1988. A few years later Raphaël became involved in jam sessions with musicians who later formed the band Shantalla. He also learned a lot from Tommy Keenan (Paddy's brother). In 1991 he started a duo called Cú Chullainn (Irish music), together with Sacha Van Loo. Later on the duo Cú Chullainn became the trio Crónán with Greet Garriau (Fluxus) as a third musician. In these bands Raphaël played the uilleann pipes as well as whistles, kantele (Finnish harp), jews harps, kaval (bulgarian flute) and sälgeflöt (swedish overtone flute). At the same time Raphaël discovered the Siberian 'throat singing' vocal styles from Tuva and the Khakass zither chatkhan.
In august 1998, he taught a 'throat singing workshop' at the Gooik Folk Music course. From then on, Crónán became the new sextet Keukkojoen. This band is specialised in many different vocal traditions from Europe and beyond. From 2001, he became one of the gaiteros in A Banda, and later on in A Contrabanda. In 2003 he replaced Jowan Merckx in some concerts with the project Profielen/Perfiles with Wannes Van De Velde, Amparo Cortes and Ialma.
Since 2004 he has been experimenting with vocal techniques from Sardinia (hopefully resulting in a new band called Tenore e Cuncordu de Marinis Santu Seminis TeCuMaSaS), and in 2006 with Chinese woodwind instruments Bawu and Hulusi. He also took up and promotes the Muchosa, one of the old style Belgian bagpipes with some microtonal possibilities which is being revived. OSUNA is a flexible project depending on the demand or personal feelings, ranging from a duo project to a quintet performing meditative listening or dance music based on tradititional vocal and instrumental music styles and improvisation.
Recently the "OSuna project" grew into a marriage between Anatolian and Siberian music, exploring the rich harmonies and dialogues between saz, tanbur and chatkhan, with surprising trips ranging from Tuvinian overtone singing, vocals from the "Mediterranean Zone", Nordic cattle calls, sean-nós songs, medieval ballads.... with sublte accompaniment of the persian drum tombak and double bass
Michael Ormiston
About me: Michael Ormiston has been composing, performing, teaching and writing about music for many years. He is a multi-instrumentalist and is currently involved as a solo performer, in a duo with Candida Valentino and a member of Miraca, Boundless, Hyperyak, Mysterious Tremendum, Praying for the Rain music groups. His original compositions have been used on TV (BBC and Channel 4), Theatre (Theatre de Complicite), Dance (Ballet Frankfurt, Spiral Dance) and performance (London Jazz Festival). His throat singing has been used on Hollywood Films (The Golden Compass, We Were Soldiers), and TV (BBC’s acclaimed series Planet Earth, Last of the Medicine Men). He has performed globally including for His Holiness The Dalai Lama. Michael is also a radio programme researcher, writer and presenter, a traditional music reviewer (Songlines magazine), a workshop leader, teacher and researcher in Mongolian music. He is one of the principal workshop leaders and performers of Eye-Music’s Colourscape.
Michael specializes in Mongolian Khöömii (overtone) singing, being one of the only non-Mongolians able to sing Khöömii. He has been studying Khöömii since 1988, attending lectures by Dr Carole Pegg (Cambridge University), Tran Quang Hai (Muse de l’homme, Paris) and Dr Alan Dejaques (Lille University). He has travelled to Mongolia six times (1993/94/97/2000/05/6) where he studied Khöömii with Tserendavaa, Gereltsogt, Ganbold, Sengedorj, Tsogtbaatar, the “Cream” of Mongolia’s Khöömii singers. In 1994 Michael was given the blessing by Gereltsogt to teach the basic practices of Khöömii Singing. Since then he has given workshops, lectures and individual lessons worldwide and in the summer of 2002 Candida and Michael toured Europe with Tserendavaa who gave both of them his blessing to teach the basics of Mongolian Khöömii. In 2006 Michael was invited to perform in Mongolia with Mongolian throat singers as part of the 800th anniversary of the declaration of the Mongolian Empire.
Michael has facilitated Khöömii and Overtone singing workshops in the U.S and Europe including at the School of Oriental and African Studies (SOAS), London, Greenwich University, London, The Giving Voice Festival (Wales), Gaunts House, Dorset, The New Life Centre, New York, Ballet Frankfurt, Germany, The Centre of Intercultural Harmony, Ascona, Switzerland, Trinity College Dublin with the Temenos Project, Alternatives, St James Church, London, The Eden Project, Cornwall, England
For the past thirteen years Michael has led workshops, evenings and therapy sessions in Relaxation, Meditation and Deep Listening using Tibetan Singing Bowls, ever since Khamba Lam Choijampts, the head Abbot of Ganden Monastery, Ulaanbaatar, Mongolia heard Michael playing them.
Michael has recorded many acclaimed CD’s please click for more information
Or visit myspace pages
http://www.myspace.com/michaelormiston23
http://www.myspace.com/radiantvoyages
Michael has a rare collection of Mongolian instruments including the Morin Khuur, Tobshuur, Tömör Khuur, Khulsan Khuur, Limbe, Yatag, Tsuur. Among the other instruments he plays are, Tibetan Singing Bowls, Symphonic Gongs, Saz (Turkish long necked lute), Flat backed Bouzouki, Ney (Turkish end blown flute), Jew’s harps, Live electronics……
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.
Bruno Amstad
About me: Singer/Vocalartist<br/>
<br/>
-Born 1964 in Luzern, Switzerland<br/>
<br/>
-Startet as Singer in different Rock – Funk – and SoulBands in the
80tis, before he changed into Jazz and free improvised Music.
Bands like „Dead Zone“ ore the „Marco Käppeli Selection“ was his
First experiences in that kind of Music.<br/>
<br/>
-Later he played as musician in many Bands and Projects together with Fredy Studer, Christy Doran, Joseph Bowie (Defunkt), Tim Berne, Jim Black, Muthuswami Balasubramoniam, Reto Weber, Bänz Oester, Bobby Burri, Dave Doran, DJ Olive (Sonic Youth), etc.<br/>
<br/>
-Actualy Bands are „Christy Doran’s NEW BAG“, „Asita Hamidi’s BAZZAR“, „WAL“, „LUNCHBOX“, Duo with Albin Brun and also SOLO.<br/>
<br/>
-Amstad was Touring In South America (Brasil, Peru, Argentina, Venezuela, Bolivia), Madagaskar and South Africa, India, Vietnam, Canada, the US and the most europien Countries.<br/>
He also get Workshops at the Konservatory of Hanoi (Vietnam),
and some Musicscools in South America.<br/>
He played also with traditional Musicians like the Phon Lang Orchestra Hanoi, and Musicians in Dakar (Senegal) and Bolivia.
<br/>
-Amstad Teaches in The Highscool for Music in Luzern/Switzerland, singing overtone and throat singing as well in his own specific style.<br/>
<br/>
-1996 „Werkbeitrag“ of the City of Luzern<br/>
-1999 „Anerkennungspreis“ of the City of Luzern<br/>
-1999 Award for the best Filmmusic (industriemovie) at the Filmfestival of Locarno (ch)<br/>
-2004 Jazz-Award from the „Zürcher Kantonalbank“<br/>
Hosoo
About me: I was born in 1971 into a family of khoomii singers from the province of Chandman Sum in Khovd, in the Altai mountain region of Western Mongolia. This is the only region in Mongolia where khoomii is sung and where the khoomii technique is passed on to each generation. I have been practising throat singing since I was seven years old. After finishing school in Khovd I started my career as a singer in Ulaanbaatar (the capital of Mongolia). I worked in a Mongolian song and dance ensemble until 1993. The reward for my musical efforts came in 1995 and 2001 when I won a singing contest in Ulaanbaatar and was awarded the title of »Best Mongolian Singer«.
<p style="text-align: center;"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985587970?profile=original" alt="" width="19" height="19"/></p>
Since 1993, I have toured China, Russia and the whole of Europe as a member of the Manduchai, Egschiglen and Uyanga ensembles. During this time I produced the CDs »Gobi« with Egschiglen and »Uyanga-1« with Uyanga. I can also be heard as a guest musician on the »Istanbul-Casablanca - Tour ‘89« by the jazz formation »embryo«, on »autoloop« by Giorgio Li Calzi and on the »Masters Of Chant Chapter II« of the »Gregorian« series.
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<td valign="top" width="259"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985587701?profile=original" alt="Hosoo as Solist" width="212" height="47"/></td>
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<td valign="top">1. My debut solo album »ALTAI« was released in October 2000 under my name, Dangaa. On this CD, I combine traditional Mongolian throat singing with modern arrangements. The CD was awarded five stars (excellent) by the magazine »InMusic«, blue flame records production</td>
<td><a href="http://www.hosoo.de/index.php?page=disko_hosoo&sub=altai" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985588068?profile=original" alt="Altai" width="130" height="130"/></a></td>
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<td valign="top">2. »Khoomii Legend«, 2001, own production. (The Khoomii legend: The moving story of a camel that loses its baby in a flood and is consoled by the imitation of camel sounds by a herdsman)</td>
<td><a href="http://www.hosoo.de/index.php?page=disko_hosoo&sub=legende" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985587962?profile=original" alt="Höömij Legende" width="130" height="127"/></a></td>
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<td valign="top">3. »HOSOO Transmongolia«, 2004, own production. (In this album, I combine my throat-singing skills with instruments such as the shaman drum, didgeridoo, horse-head fiddle, percussion, mouth bass and Mongolian banjo)</td>
<td><a href="http://www.hosoo.de/index.php?page=disko_hosoo&sub=transmongolia" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985588070?profile=original" alt="Transmongolia" width="130" height="129"/></a></td>
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<td valign="top"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985587846?profile=original" alt="" width="257" height="47"/></td>
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<td valign="top">»Gesang des Himmels«, 2005, own production. (Allow yourself to be transported by the beautiful sound of Hosoo's music recounting ancient times)</td>
<td><a href="http://www.hosoo.de/index.php?page=disko_trans&sub=gesang_des_himmels" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985588057?profile=original" alt="Gesang des Himmels" width="130" height="130"/></a></td>
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<td valign="top">»Memories of My Homeland«, 2007, own production. (My Mongolia is where I am at home in this world, a home like a horse galloping towards you from a far)</td>
<td><a href="http://www.hosoo.de/index.php?page=disko_trans&sub=memories_of_my_homeland" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1985587930?profile=original" alt="Memories of my Homeland" width="130" height="130"/></a></td>
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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.
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>
Egschiglen
About me: The band Egschiglen ("Beautiful melody") was founded in 1991 by master students of the conservatory of Ulaanbaatar. Still today 4 founding members are the heart of the group. From the very beginning, the musicians are focusing on contemporary music of Mongolia and searching systematically for the sound dimensions of this repertory with their traditional instruments and the central asian vocal technics (overtone and throat singing)
.
The music of a country is formed by its landscape and the way of life of its people. Mongolia, in the heart of Asia, is a vast country, roughly five times the size of Germany. Endless graslands in the south envelope into the barren beauty of the Gobi desert. From the snow-covered Altai and Changaj mountains clear rivers run through forests and flatlands. A large part of the more than 2 million Mongolians still live as nomads to this very day, in harmony and rhythm with nature, and together with their "five jewels": horses, camels, cattle, sheep and goats. The music of the Mongolians breathes the freedom and power of the simple way of life close to the nature.
Magnificant lucidity - is the fruit of years of research and travel between the conservatory of Ulaan Baatar, capital of Mongolia, and Röthenbach a. d. Pegnitz, small village in Germany. In this most southern German area of Franconia, the Egschiglen musicians regularly erected their traditional yurts to be nearer to European concert halls. What a distance they have covered since 1991 when the group, firmly rooted in tradition, was founded by a handfull students with commited contemporary attitudes!
Their first performances were modern Mongolian compositions written by fellow compatriots of the Soviet school. Their sucesses in the West were few due to audiences mostly accustomed to traditional folk music.
Since those beginnings, Egschiglen has transformed the art of folk music, far from native the grasslands and the traditional shamanistic and lamaistic forms such as epics and odes, survived miraculously 60 years of socialism.
It’s time for a walk through the labyrinth of vocal acrobatics: the diaphonic - the epic singing, or the melodic. Aditionally there are the try outs with experimental sounds of the -horse head violin, dulcimer, bass, and the two strings luthe.
Over the time the group has developped a unic vocal and instrumental language of their own. Their compositions and orchestrations reflect a fluent transformation of their native songs into magnificant contemporary music. Egschiglen’s concerts have involved into sparkling symphonies, expressions of pure freedom, always remaining true to its spiritual and nomadic roots.
Today the musical and poetic universe of these mongolian nomads continues to expand and grow. Their music reflects the excitement and joy with which these eternal nomads travel.
Marc Miethe
About me: Since 1992 I keep on confronting musicians from the Jazz, Club or World Music circuits and try liberating mankinds oldest known wind instrument, elevating the Didgeridoo from it’s image of being an "accompanying drone instrument" into a new status.
I play tribal-Yidaki-Techno-Funk & ethno-Didgeridoo Big-Beats with DIDGES BREW (www.didgesbrew.de, www.myspace.com/didgesbrew) and Didge..Bass..beats with BOOBINGA (www.myspace.com/boobinga) and do my Solo performances. Previously played with the bands Circular Breathing or Peshkar. In 1999 I co-founded the intercultural Berlin musicans network Cross Culture Music
With my fresh and extraordinary skills and a lot of taste and humor, it is my aim to explore the multiple possibilities of this simple wooden tube. “To expose its qualities as a mouth percussion instrument“. Respecting the Aboriginal traditions, I rather rely on rhythmical traditions from Africa, Asia, Latin-America and India. I transform Percussion Vocalizations, as well as HipHop influenced Beat Box Styles and Jazz Scat improvisations onto the didge.
The tunable Trombone Didge (I use the Didgeribone) is allowing me to produce "wicked" sounding melodic bass lines as well as weaving virtuous Breakbeats into a full spectrum of driving rhythmic and exotic sound scapes.
| PRESS CUTS |
“... a real discovery ... absolutely convincing interpretation of the term "World Music" ... Marc Miethe plays (the Didge) with intensity and wealth of invention which is hard to match ... far and away from Folk Music and you know that the association with "Bitches Brew" by Miles Davis is absolutely right when drums, percussion and samples join in: this is Ethno-Jazz for the 21st century ... Didges Brew create a truly organic fusion of different music Styles and the simple wooden tube is always leading.“ (D. Neueste Nachrichten, 2003)
„...a real bomb!...“ (sonomag.de, 2004)
"...brilliant..." (Berliner Morgenpost, 2005)
„...world music in new dimensions...“ (HNA Kassel)
„...groove, with five „o“! ... a master of mouth percussion“ (Badische Zeitung)
| LEARN DIDGERIDOO !! |
My Didgeridoo workshops are made up for beginners, advanced and the very advanced! Explore the widely-scattered possibilities from the simple wooden-tube and it's qualities as a mouth percussion - Instrument. With a lot of humor and a wide range of exercises, sounds and rhythms we will develop the first clear and powerful basic drone to varied sounds, the unspectacular Circular Breathing to sly rhythms and very percussive styles. For the experienced players, performing on stage or also teaching, I have a lot of tips and continually fresh grooves.
As a trained body-psycho therapist I want to share my knowledge with you about the way that I and many of my students attained a more powerful, precise, faster, more varied and at the same time considerably more relaxed way of playing. Lets find out why "the body in the real instrument", how diaphragm support, the embouchure at the mouthpiece and a proper modulation and compression of the air might help you. To translate playing onto paper, I use a notation which matches as exactly as possible what I'm actually doing with my tongue, for example.
What you might learn ... as beginner
- brilliant, powerful basic drone without not intended noise
- loud, but at the same time relaxed playing
- singing, precise harmonics / overtones
- varied basic sounds with belly, voice, throat, cheeks, jaw, lips & tongue
- Circular Breathing techniques
- basic rhythms, pattern, Rhythm components
- foundation of Rhythm notation
Tips about: history, instrument tuning, maintenance, building Didgeridoos by yourselves
... as advanced and professionals
- further Circular Breathing skills ("out-pop" breathing, tongue bottom), Breathing economy
- connecting sounds & fast power rhythm didgeridoo
- On-Beat&Off-Beat for the didge
- Rhythm training & timing exercises
- Rhythm “filling in / cleaning out”
- break beat techniques, cutting sounds
- sly rhythms, 2/4, ¾, 4/4, 5/4, 6/8, 7/8, 7/4, …
- connecting the „toot“-sounds with the basic drone
- basis for improvisation, free playing
- piece building, arrangement, energy, big cycles, effective dynamic changes
- speech / vocal rhythms from various parts of the world
- impulses to find your own style
- trombone didgeridoo / slide didgeridoo techniques and melody lines
- band communication, playing with other instruments
Tips about: didgeridoo Recording, live technique, stage situation, impulses for didgeridoo teachers, teaching methods.
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