The Whole Music Experience

Marjorie de Muynck Vibrational Healing Music Sounds True When it comes to psycho-acoustics and sound healing integrity, healer-musician-composer Marjorie de Muynck is at the top of the list. Her recording, In the Key of Earth (Sounds True), proved time again, to lift vibrations from my home environment. And de Muynck does so by recording only acoustic instruments, including overtones from those instruments. Her latest recording, Vibrational Healing Music represents another pioneering effort. The recording offers a fabulous marriage between nature spirits (not just the sound of waves and birds chirping), and acoustic instruments. But de Muynck takes this musical venture even further by setting moods that she experienced as a child in the Midwest and Oklahoma. We can be thankful then, that de Muynck’s Native American grandparents did not own a television set and they would sit on the porch with their granddaughter in the evening listening to the music of the natural world.

Soname Plateau World Village When Tibetan vocalist Yungchen Lhamo performed at WOMAD USA in 1998, she introduced me to Tibetan music. Her perilous journey across the Himalayas and her stellar vocals captured my attention. Vocalist Soname also hails from Tibet and she also fled Chinese-ruled Tibet, via Nepal, then India and finally landing in Brighton, England where she cleaned houses for a living. In 1998, she made her vocal debut and in 2000, she recorded her first album with borrowed money. Plateau , to be released on World Village this May, showcases this mezzo-soprano’s gorgeous and powerful voice. I could make a comparison between Lhamo and Soname, I would say that Lhamo’s vocals soar in the ethereal realm and Soname’s vocals feel earthy. And on Plateau , table beats punctuate and bansuri flute frames Soname’s amazing vocals. The opening track combines the best of India and Tibet, musically speaking. The closing track features some of the most passionate vocals I have he

Songs across Walls of Separation Kirkelig Kulturverksted Norwegian record producer and founder of the label, Kirkelig Kulturverksted, Erik Hillestad and I had previous conversations about a project involving nations with walls that keep loved ones apart. Similar to an earlier peace project, the album, Lullabies from the Axis of Evil , Hillestad set out to make a political statement via music. He found vocalists from both sides of several national walls, from countries as far-reaching as Morocco and Cyprus to Kashmir, Palestine and Mexico. While some people thought that the crumbling of the Berlin Wall was the end to this type of divide and conquer practice, need to reassess the type of world where we choose to reside. Once Hillestad found these vocalists, he asked them to sing the same songs then later he would meld those vocal tracks together, thus bringing loved ones torn by politics-as-usual and social conditions, together again. In the case of Palestinians Rim Banna and Jami

Norwegian Brass: Conversation with Mathias Eick While I was hosting a community radio show, Global Heartthrob, I came across Norwegian multi-instrumentalist Mathias Eick. This occurred around the time when my consciousness towards trumpeters was growing. I had been listening to Miles Davis, Terence Blanchard and other players. ECM Records and Kirgelig Kulturverksted had both sent me recordings featuring Eick's clear tones. Since I received several recordings around the same time with Eick's contributions, I told myself that at some point I would interview the musician. And actually, had I kept hosting my radio show, he would have been a featured artist. Similar to Blanchard's work, especially on A Tale of God's Will (A Requiem for Katrina), Eick also pulls colors from an emotional palette. But these emotions feel more like mood changes or perhaps light changes over the course of a day. The musician has in a short time, 29 years, has developed quite