Contemporary Native American Flute Music Duo NightDancers Honored with an Indian Summer Music Awards (ISMA) Nomination and Invitation to Perform at Indian Summer Festival 2008

NEW YORK, NY - - Contemporary Native American Flute Music Duo NightDancers has been honored with an Indian Summer Music Awards (ISMA) nomination for their debut album entitled MONTANA CROSSINGS in the Native Heart category. Indian Summer Music Awards (ISMA) recognizes and promotes the very best in commercially released Native American music created by both established and emerging artists. The ISMA Awards are presented live during the Indian Summer Festival held September 5-7 in Milwaukee, Wisconsin, with the awards ceremony on Saturday, September 6, 2008. Entries are judged by a panel of respected professionals from across the music and entertainment industries. Winners are selected from 13 categories including Folk, Alternative Rock, Classic Rock, Hip Hop, Spiritual, Traditional Drum, Native Heart and more!

An invitation to perform live at Indian Summer Festival 2008 was extended to NightDancers for Sunday, September 7th, Harley Davidson Stage, at 5:30pm. NightDancers has accepted but prior commitments and scheduling/routing issues has Gera Clark remaining on tour in Ireland and France. John Sarantos will perform with very special guest artists Jan Seiden and Redbelly (David Martinka). Sarantos’ set will include songs from MONTANA CROSSINGS as interpreted by his musical guests.

MONTANA CROSSINGS - the debut studio recording from New York City based composer/flautists Gera Clark and John Sarantos is a well-crafted, melodic gem of an album featuring themes of exploration, transformation, interconnection and grace. Recorded at the world-famous AVATAR Studios in NYC by Jim Anderson, with mastering by Fred Kervorkian, CLARK and SARANTOS assembled a team which successfully captured the essence of NightDancers’ vision. MONTANA CROSSINGS contains 15 instrumental tracks featuring twenty-five flutes representing eleven flute makers from coast-to-coast. No overdubbing or sound samplers were used on the recording. Montana Crossings/GENRE: Native - New Age – World; FORMAT: Instrumental - Public Radio - Variety – World; MUSIC STYLE: Contemporary Native American Flute; STREET DATE: May 29, 2007.

ABOUT NIGHTDANCERS: New York City based composer/flautists Gera Clark and John Sarantos, known collectively as NightDancers, enjoy sharing instrumental flute music with a unique style that takes listeners on a musical journey . . . painting sound pictures with original contemporary Native American flute songs - successfully capturing the soothing, mystical and healing qualities which are the heart and soul of Native American flute music. Clark and Sarantos met while attending a Renaissance of the Native American Flute (RNAF) workshop in 2005, which eventually led to jamming together via speakerphones 1,000 miles apart. NightDancers was formed in 2006. Ms. Clark has been teaching flute in the tradition of her Native American flute mentors, Franc Menusan, John Rainer Jr. and R. Carlos Nakai. As one of the world’s premier Native flute teachers, Mr. Sarantos has facilitated contemporary Native American flute workshops from coast to coast for over 14 years. For 11 summers he has worked with Ken Light and R. Carlos Nakai at the Renaissance of the Native American Flute workshop in Montana and has written six songbooks for the native flute. He was also a contributor to Odell Borg’s recent book release, Native Spirit Song Book Volume Two. View the NightDancers Online Press Kit at: http://www.sonicbids.com/NightDancers

Visit the NightDancers Website at: http://www.nightdancersmusic.com

ABOUT INDIAN SUMMER FESTIVAL: Indian Summer Festival, North America’s largest American Indian cultural festival celebrating its 22nd anniversary, is dedicated to strengthening the American Indian community and educating the general public on the history and the unique and diverse cultures of the American Indian by providing a forum to celebrate and showcase American Indian traditions. For further information, visit http://www.indiansummer.org

ABOUT JAN SEIDEN: Jan Seiden’s moving and soulful eloquence speaks the language of the heart. Evocative music of flutes from the ancient Anasazi people and other more contemporary indigenous nations flow with themes of nature and global unity. First Place winner of the 2002 Musical Echoes Native American Cultural Gathering’s national flute players’ competition and 2006 recipient of an Individual Artist Award from the Maryland State Arts Council, Seiden has performed at the Smithsonian’s National Museum of the American Indian and many other concert stages across the U.S. both solo and sharing stages with Grammy award winners Joanne Shenandoah, Mary Youngblood, Tito LaRosa, and with Nammy-winners Arvel Bird and Jeff Ball. WOODLAND WINDS, Seiden’s solo CD, was a 2004 nominee for the Indian Summer Music Awards. MEMORY OF TIME, her newest CD, debuted on the charts at #19 (New Age Reporter, April 2008). For further information, visit http://www.janseiden.com

ABOUT REDBELLY (DAVID MARTINKA): As a self taught musician David Martinka draws on nature, life and his inner self to create his songs. With a long family history of music and love for the Native American Flute, David Martinka is the first bridge to the courting, healing, and peaceful side of both the Native American Style Courting Flutes and the Native Slovakian Courting Flutes. LEGENDS OF TIME, Martinka’s solo CD, was a 2006 nominee for the Indian Summer Music Awards. For further information, visit http://www.redbellymusic.com

Contact:

Cheryl Hughey Promotions

cherylhughey@charter.net/314-660-1755

St. Louis, Missouri

Dwayne Kerr (Erykah Badu Flutist) Releases New Video Produced by Kerwin DeVonish (Spike Lee)

Dwayne Kerr (Erykah Badu’s Funky Fluteman) has teamed up with Kerwin DeVonish (Spike Lee producer) to release a new video that was filmed on the beaches of Barbados. Click on the link below to view. Available for preview on YouTube, this scenic video features the single “Smooth” (Top 15 Radio and Records and Top 30 SmoothJazz.com) from Dwayne’s 2008 release Higher Calling.

Higher Calling, which features stellar guest appearances by Erykah Badu and Kirk Whalum has received accolades from reviewers. Susan Frances of the Jazz Review proclaimed, “… makes jazz music Higher Callingas beautiful as it comes…” and Abkar Nour of Smooth Jazz Now declared Kerr “an extraordinary groovy flutist.” Lovingly received by radio, the single “Ain’t No Sunshine” with Erykah Badu reached the Top 10 on Radio and Records.

www.dmannsmusicgroup.com

http://www.youtube.com/watch?v=gNoCZyAlk9w

More about the artist:

Kerr was hired to play as a band member for Grammy Award-winning Erykah Badu in 1998. While touring with Erykah, Dwayne has played in Africa, Italy, Japan, throughout Europe and Scandinavia, on the all-female artists Lilith Fair Tour and television appearances on The Tonight Show with Jay Leno, MTV’s Real World, The Oprah Show, Live! With Regis and BET Live.

While touring and recording with Erykah Badu for the past several years, Dwayne added his sound to recordings including Ms. Badu’s version of the Chaka Khan hit, “Hollywood,” which is on the soundtrack/CD to the Spike Lee movie, Bamboozled, on Motown Records and Erykah’s song, “Today,” which is on the Red Star Sounds compilation CD on Epic Records. Kerr played on Erykah’s latest CD, Worldwide Underground, and her previous CD, Mama’s Gun, on Motown Records.

Raised and still residing on Long Island, New York, Kerr attended New York colleges Nassau Community College, SUNY-Stony Brook and SUNY-Old Westbury, where he was trained classically and in jazz. Kerr is a brilliant flutist who is moving the flute into other genres of music not often explored. Connecting with the audience both in a live setting and on recordings is a trait well-respected by others in the industry. “I’ve seen Dwayne inspire many people all over the world with his sound,” said RC Williams, Producer/co-songwriter Higher Calling and Producer/Songwriter/MD for Erykah Badu.

A by-product of his ascending career, Kerr signed a deal with AKG Acoustics in 2001 to endorse an AKG wireless headset system. When not touring with Ms. Badu, Kerr is active in his venture as a solo artist, most notable having performed at the 1996 Olympic Games in Atlanta, the Jazz & Broadway Concert at the United Nations and at halftime of several National Basketball Association games. Dwayne has performed on shows with or opened shows for Erykah Badu, Regina Belle, Roy Hargrove, Marion Meadows, Stephanie Mills, Vanessa Rubin and other noted artists.

“As I watch my friend in amazement,” Erykah said of Dwayne, “the high tones and the trills become part of me, helping me to grow on stage. I don’t know which is sweeter, his tone or his soul.”

The release of Higher Calling is indeed a new chapter in the life of this astounding artist. The making of the project was an organic process that evolved into a musical diary of the musicians involved.

Jeff Feinstein, producer & keys, said, “I think I could write a novel on my experiences with Dwayne and “the cast” of Higher Calling. The most important chapter would be on how much your work can intertwine with life, love and believing in yourself. To me, working on the project represented strong earthly proof of why not to give up on my dreams and God…no matter what.”

When you ask someone why he or she likes a band, performer or style of music, the usual response is either, “they’re awesome,” “they rock” or “it’s fun stuff.” People tend to say that music is simply for entertainment. And as for musicians, the reason they play music either involves “the call” to do so or the ego-driven need to stand in front of a crowd. But why do we even have music? Is it, as Shakespeare stated, “to soothe the savage beast”? It’s not like it’s life or death. Or is it? For Gera Clark and John Sarantos, who perform on Native American flutes as the NightDancers, music is that deep. Mr. Santos started with the simple desire to express himself musically, but discovered that the Native American flute, by its nature, takes one beyond pigeonholed functions, including new-age “meditation” music. Ms. Clark’s journey to music started with desperately needing something of a life line at a critical time. She states: “After a prolonged critical illness, I began to put my life back together…While on this spiritual path, I discovered the Native American flute.” In this era of art-as-diversion, or lifestyle accessory, it is a wonderfully pleasant surprise to be reminded that, as Clark and Santos reveal in the interview below, music is a powerful and healing force.

[Mark Kirby] What kind of music was played in your home when you were growing up?

[Gera Clark] My mother played classical music on the piano as an escape from her existence as an urban housewife raising four children. When I started school, my mother went back to work and I noticed her appetite for opera increased dramatically. My father fancied himself as being Bing Crosby and I would catch him now and then trying to learn the cha cha. Meanwhile, my sister would sneak in rock and roll. We aspired to write music together in the style of Carol King. We also listened to some of my relatives’ records, one being Seamus Ennis, my grand uncle who played the Uilleann pipes (an Irish type of bagpipes).

[John Sarantos] During my early years, my mother would play classical and operatic music when I was in school, but very little music was played while I was home except at Christmas.

[Mark Kirby] What kinds of music have you studied prior to the Native American flute?

[Gera Clark] As a child, my mother would bribe me with soda to take piano lessons because she wanted me to be a child prodigy. When I was able to travel on my own, I took up the traverse flute, which I carried with me for three years.

[John Sarantos] I tried learning the drums from the junior high school music teacher, but he told me I had no rhythm and would not work with me. After attending a Jethro Tull concert and being inspired by Ian Anderson’s flute playing, I tried the transverse flute, but was told by my flute instructor that I was tone deaf and she wouldn’t work with me. I tried singing, but I was told that I was tone deaf by three major Los Angeles voice coaches and they would not work with me. I tried guitar and banjo, but it was hard to play just cords as I could not sing along with myself. Then I discovered the Native American flute.

[Mark Kirby] How did you come to start playing Native American music in general, the flute in particular?

[Gera Clark] After the death of my husband and a quick rebound marriage and divorce, followed by a prolonged critical illness, I began to put my life back together. I also began searching for beauty. While on this spiritual path, I discovered the Native American flute.

One day, I found myself about a hundred miles west of New York standing outside a Tibetan Buddhist Temple, when suddenly I heard the most beautiful sound. Following the powerful, yet haunting sound, I discovered it emanating from a Native American flute, played by Ed Callshim (Ponca Sioux). After this experience, I finally found a flute of my own at the National Museum of the American Indian in New York. Later, when traveling to Niagara Falls with my teacher, Amy Lee (Iroquois), a deep desire to connect with my earlier travels in the southwest was awakened. On one particular journey, I found myself exploring the canyons along the Rio Grande. Eventually I was led to the mountains and the Taos Pueblo, where I heard that haunting sound drifting through the air. I followed it to its source, a little adobe. Looking inside, I met a kind and talented gentleman who encouraged me to play the native flute. That gentleman, unbeknownst to me at the time, is one of the finest Native American flute players in the world, John Rainer, Jr. (Taos/Creek). Leaving New Mexico with renewed faith, I was led, via The American Indian Community House in New York, to Franc Menusan (Muskogee Creek). He became my extremely patient mentor for several years.

On my birthday, I flew out to an R. Carlos Nakai (Navajo/Ute) concert with the San Francisco Symphony, where I learned about the Renaissance of the Native American Flute workshop in Montana. I came back to New York and booked myself a flight to Montana, which was where I met John Sarantos, and our musical partnership was born.

[John Sarantos] My mother, who was 84-years-old at the time, introduced me to the music of the Peter Kater and R. Carlos Nakai duo. Mr. Kater, who is of German heritage, played piano, and Mr. Nakai the native flute. I discovered that I too like the sound of the native flute. I went to a Kater and Nakai concert in Chicago, where Nakai mentioned a week-long workshop at the Feathered Pipe Ranch in Helena, Montana. I had a choice of paying about $1,200 for the flute workshop taught by Mr. Nakai and his partner and flute-maker, Ken Light, or going to Japan for two weeks, all expenses paid by the school where I was teaching. I chose Montana.

[Mark Kirby] What lead you to play this kind of meditative music?

[John Sarantos] We don’t think of it as only meditative music. We worked hard to stay away from falling into that stereotype of musical style on our CD. Although a lot of people use our record for meditation, they also use it for healing and relaxation. Several people who have cancer told me that they find inner peace while listening to ‘Montana Crossings’.

[Gera Clark] In fact, after John had his cancer surgery last year, we decided that 10% of the gross sales from ‘Montana Crossings’ would be used to buy flutes for cancer patients. So far, we have donated flutes to cancer flute circles and individuals in New York City, Chicago, Lansing, Michigan and Jefferson City, Oregon.

[Mark Kirby] Are Native American flutes more like shakuhachi flutes or transverse flutes in terms of technique?

[John Sarantos] Neither. The shakuhachi can take three months just to get one note. The transverse requires many hours of playing to learn just the basic scale. The native flute is one of the easiest instruments to play. I have taught elementary children to play the native flute, and they have started playing songs in about five minutes or less.

Photo by Sandro Lamberti

[Mark Kirby] Describe the flutes that you use in terms of size, number of holes, type of wood, etc.

[Gera Clark] We use flutes ranging from four to six holes and from four inches to five feet.

[John Sarantos] Traditionally, most flutes were made from soft woods; for example, cedar and pine. However, when the Europeans came, they brought with them tools that made it easier to create flutes out of harder woods; some flutes were even made from old gun barrels.

[Gera Clark] Today, flute-makers are creating flutes from all types of woods, from cedars to walnut to iron wood, to even flutes made out of one of the hardest woods: ebony.

[John Sarantos] We also have a wide assortment of clay flutes based on the Aztec and Mayan cultures made by master flute-maker Xavier Quijas Xyotol.

[Mark Kirby] How did you arrive at the name of NightDancers for your musical duo?

[Gera Clark] One day John and I were talking and discovered that we both used to walk around our individual houses in the middle of the night without any lights on. We came up with the name Night Walkers.

[John Sarantos] However, most people we talked to thought that the name sounded too much like vampires or ladies of the evening.

[Gera Clark] After discussing a variety of names, we came up with NightDancers.

[Mark Kirby] When did you decide to record ‘Montana Crossings’?

[Gera Clark] John and I had been playing together for about two years. John would travel from Milwaukee during his vacations, and we would play for our friend Bob Hegler, who encouraged us to keep playing together. We enjoyed playing so much that we used to spend hours playing over speaker phones when John was still living in Milwaukee. When we started performing in local New York venues, people would ask if we had a CD they could purchase. After about a year of doing live performances, we felt that we had created a wide variety of songs that we wanted to share with others.

[Mark Kirby] Why did you choose to record at Avatar Studios in New York City?

[John Sarantos] I had been writing record reviews for the International Native American Flute Journal for about ten years and could tell when an artist used a home computer all the way up to a professional sound studio. If we were going to put our time, effort and money into a recording, we wanted it to sound the best it could. I asked several people if they could recommend a sound studio in New York City. Avatar Studios was one of the top three studios on several people’s lists.

[Gera Clark] We were also very fortunate that Tino Passante of Avatar recommended Jim Anderson for our sound engineer. Jim understood the sound that we were striving to obtain, and he succeeded in capturing that sound.

[Mark Kirby] How are the titles connected to the songs you are playing? Are these titles indicative of what the music is supposed to evoke?

[Gera Clark] The titles are indicative of the inspiration behind the music.

[John Sarantos] Hopefully, each person will have their own emotional response to the music depending on their own journey.

[Mark Kirby] What types of events or venues do you play?

[Gera Clark] One of our goals is to help spread the beauty of the flute to others, whether it be playing our music for others to listen [to] or sharing our knowledge on how to play the flute.

[John Sarantos] herefore, we play in a variety of venues for all types of events. You can view our schedule at: www.nightdancersmusic.com and www.myspace.com/nightdancersmusic.

This tranquil and healing event is the first recording of the Anasazi flute release by a female artist. The CD features American flutes, bone and clay whistles accompanied by congas and Haitian Marimbula. In addition to the originality of sound created on Memory of Time each of the instruments were handcrafted including Jan’s Anasazi flute, which is a replica of an 800-year-old archeological relic.

There is a lot of history and meaning behind this CD. Anyone interested in the Native American culture and music would find great interest in this recording. From a relatively inexperienced viewpoint with music like this, such as my own, I found this to be very relaxing and it had the ability to encourage a meditative focused state of mind. Personally, I have always had a deep respect for the Native American traditions and beliefs. This CD helped me to feel a little more connected to all of that.

I do not think this is the kind of CD you would pop in while driving to work, although if you happen to commute in rush hour traffic it would probably help and be a good equalizer to your stress level. I do not have that kind of life anymore so I tend to listen to more energized music before going to the office and music like on Memory of Time helps me to unwind in the evening and inspires my creative thinking. To each his own but in any event this is the kind of CD that is worth having a listen to a few times to see what kind of healing powers can summoned from within.

Artist: Jan Seiden
Title: Memory of Time
Genre: World-Native American
Label: FluteJourney Records
Website
Source Link

Tracks:
01. Future Past
02. Synergy
03. Long Ago Yesterday
04. Natural World
05. Singing Earth
06. Remembrance
07. Highland Heather
08. Big Water
09. Lone Star
10. Midnight Sun
11. Eyes In The Dark
12. Butterfly

© MuzikReviews.com

Keith “MuzikMan” Hannaleck

Whether it has to do with the philosophy of better living through habit, thought or magical action, things that are associated with “New Age” are theoretically supposed to have some basis in spirituality. Yet much of this spiritually is lightly rooted in the shallows of corporate productivity techniques or power-of-positive-thinking type truisms with some pseudo eastern promises for dressing.

Then there is the New Age philosophy that harkens back to something ancient, even primordial. This is especially visible in the music. So much of what is called New Age music is made from artificial ingredients, from canned sounds created by synthesizers tuned and programmed for maximum vapidity; and voices, always the voices, high and breathy with a thin, grating tone that someone somewhere decided signified the celestial. But there are musicians who create spiritual and contemplative music based in the traditions and sounds of antiquity, from nations and cultures with long shadows such as Africa, China, Japan and India.

Riding on this track is the group NightDancers, a duo consisting of flautists Gera Clark and John Sarantos, who perform original songs based on the folkloric styles of several Native American tribes. The music on their CD Montana Crossings is both ethereal and earthy, reflecting the unitary, all-is-one world view common to Native American cosmology. The songs are mostly built on simple three to seven note motifs that go through different permutations. The flutes - NightDancers plays twenty-five different kinds of these wooden, handcrafted instruments - blend together and dance, their music resonating in what sounds like a valley high up in the mountains or a cathedral (kudos to engineer Jim Anderson of AVATAR Studios in NYC). The effect of the music is meditative and dreamy. The music itself is never static or boring; in fact its intricacies reveal themselves with repeated listening. The titles evoke, perhaps invoke, aspects of the natural and supernatural worlds, which many indigenous tribes say are one and the same.

The song titles and how the pieces are composed and arranged reflect this thinking. Musically these pieces evoke the objects and ideas behind the titles as well. The opening track “Spirit Winds” starts with soft, breathy tones that rise from silence in unison. Then one flute states a simple theme that is answered by a counter melody from the other flute; they go back and forth, each musical voice getting time and space alone while connecting with the other. The title track starts with bursts of fluttery, echoing sounds, followed by a long-toned plaintive melody calling to mind Montana’s terrain of mountains and wide-open plains. One characteristic element of all the songs is how the flutes will hit consonant harmonies that ring out dramatically, and dissonant unison lines that buzz gently yet also sooth in an odd sort of way.

On “Butterfly Dance” the flutes play lines that gently glide like the butterfly itself, answering and echoing each other in way that suggests the “round” form found in European folk and classical music. On “Turtle and Bird,” NightDancers take evocation literally. One flute moves in long-toned, deliberately paced turtle lines while the other play’s light riffs that flit and hop like our aviary brethren would. As the piece continues, the unitary theme comes through as the two flutes move together, conversing in similar voices that stills maintain their original animal character. “Elk Medicine” is a gentle wail of pleading and prayer and is one of the strongest tracks on the record. It is also an example of healing music. The opening cry is answered by melodies that create a sense of quietude and peace. And healing.

Ms. Clark and Mr. Sarantos take the healing aspects of their music literally. Clark, a RN, has been teaching people how to play the flute for meditation and stress relief. She also started New York City’s Miracle House Flute Circle where she works with cancer patients using music for healing. Sarantos teaches flute workshops all over the country.

Montana Crossings creates music that is relaxing and interesting, that can be played either as background or as an immediately engaging listen.

http://www.nightdancersmusic.com
http://cdbaby.com/cd/nightdancersmusic

His brand new album, the aptly titled ‘Soul Collective’, is replete with a deliciously soulful vibe and it is testimony to Leighton’s growing stature within the genre that a galaxy of stars have come out to collaborate with him.

There is none more in this respect than the legendary Tom Scott who adds his distinctive sax to the succulent “Wake Up Call”. With his hip, brass adorned backdrop creating the ideal canvass for Leighton’s intricate yet rhythmic playing, they together create four minutes of magic that is a sensation from beginning to end.

When Scott returns to lend a hand with the Hall and Oates classic “She’s Gone” his interplay with Leighton is a pure delight. The fact that the tune generates a luscious horn driven warmth is due in no small part to the excellent trumpet and trombone of Mic Gillette. This Bay Area icon and former Tower of Power mainstay is also called upon to play a part in the two numbers for which Leighton join forces with Pacific Coast Jazz label-mate Tom Braxton. The first of these, “It’s On” is a tremendously zesty slice of smooth jazz while the Latin infused “Cafe Con Leche” is a wonderful showcase for Leighton’s talents.

The restrained yet jazzy “Undercover” is one of five tracks composed by Allan Phillips who also arranges, produces and plays keyboards throughout. It features another of Tower of Power’s exclusive alumni, trumpeter Greg Adams, plus guitar from Fattburger stalwart Evan Marks. In fact Marks makes a contribution to seven of the nine cuts. When he gives way to Sherrod Barnes for Leighton’s re-imagining of the Bobbi Gentry hit “Ode To Billy Joe” it’s the keyboard and production touches of Jason Miles that faultlessly complement Leighton’s picture perfect playing. Rhonda Smith also features on bass and, with the addition of Katreese Barnes on vocals, it’s this same Miles, Sherrod Barnes and Smith partnership that holds down the groove for Leighton’s take on Wayne Henderson’s “Keep That Same Old Feeling”.

If ever there was a doubt that the flute could be funky, then the totally compelling “Rock Me Softly” proves it for all time. The tune is another welcome chance to enjoy the muted trumpet of Greg Adams and when Leighton brings him back one more time the result is the retro tinged “That Man”. Written by Paula Prophet, who also provides the distinctly 5th Dimension like vocals, the track is further blessed by more magnificent sax from Tom Scott.

‘Soul Collective’ follows Leighton’s 2006 album ‘Back To The Funk’ and is his fourth in all. It has the red thread of joyous warmth running right through it and is sure to be one of the highlights of 2008.

By Denis Poole, Journalist and Publisher of SmoothJazzTherapy.com

Bradley Leighton On Tour!

March 8, 2008 - Old Town Tacoma Wine & Jazz Festival, Tacoma, WA, 8:00 pm, $25 donation. Proceeds to benefit Old Town Park’s proposed permanent outdoor stage. 253-759-2518

March 9, 2008 - The Cedarwood, 7404 Pacific Highway East, Milton, WA 98354, 253-922-5727, 7:00 p.m., Smooth Jazz Sundays with Darren Motamedy

Bradley Leighton Official Website
Bradley Leighton on Myspace

Shana Kaye - New on the Smooth Jazz scene Flautist/Vocalist. Shana is currently in the studio working on her much anticipated debut Smooth Jazz CD, Shana Kaye has created a unique style soon to be felt and heard. Her impressive musical feel & technique can be heard on two tracks from Alfonzo Blackwell’s (http://www.alfonzoblackwell.com/) latest CD “Dance To This” where she is featured on “Take A Look” and “Inside My Heart”. The mood for this track embodies a combination of intensity as well as majesty between the Jazz veteran Alfonzo and Shana. Shana Kaye evokes a sweet, sensitive yet powerful sound that will surely seduce its listeners into a whirlwind of bliss. Get ready for Shana Kaye’s solo project!

• Soulful & Smooth Flautist
• Vocalist
• Songwriter

As this coming year kicks into high gear, Utopia Records is very busy with so many, many things… You get the hottest and latest news first, here at utopiarecordings.com! So, keep coming back to Utopia Records to see & hear this brilliant artist at work with her new album to be released in 2008.
More smooth music and information about Shana Kaye coming soon.
Check back!

Utopia Records
www.utopiarecordings.com

With its unique, enchanting sound, the contemporary Native American flute has become increasingly popular, not only as a purely musical instrument, but as an ideal tool to enhance relaxation, meditation and healing. Gera Clark and John Sarantos have taught countless students of all ages. Most have never played an instrument before and are amazed how simple it is to learn.

Learn basic and advanced fingering techniques that allow you to create beautiful songs without any knowledge of music theory needed. Discover how easy it is to use different blowing techniques to enhance playing and create songs that will help bring healing and peace to ourselves and others.

The “Learn To Play Native American Flute - For Healing and Inner Peace” Workshop is a weekly course scheduled to run 4 consecutive sessions, Tuesdays, February 12 - March 4, (2/12, 2/19, 2/26 & 3/4), 8:00pm - 10:00pm. Cost of the workshop is $120 for Open Center Members and $130 for non-members. Note: A high-quality $65 cedar flute will be available for $35 for registrants who pre-order one week before the class. There will be a Free Introductory Class on Tuesday, February 5, at 8:00pm.

For workshop information, contact the New York Open Center directly at 212-219-2527 (ext. 2) or via the web at http://www.opencenter.org.

ABOUT NIGHTDANCERS:
New York City based composer/flautists Gera Clark and John Sarantos, known collectively as NightDancers, enjoy sharing instrumental flute music with a unique style that takes listeners on a musical journey . . . painting sound pictures with original contemporary Native American flute songs - successfully capturing the soothing, mystical and healing qualities which are the heart and soul of Native American flute music. Clark, an RN, has been teaching flute in the tradition of her Native American flute mentors, Franc Menusan, John Rainer Jr. and R. Carlos Nakai. She started New York City’s Miracle House Flute Circle where she works with cancer patients and also runs workshops with music partner John Sarantos. Mr. Sarantos has facilitated contemporary Native American flute workshops from coast to coast for over 13 years. For 10 summers he has worked with Ken Light and R. Carlos Nakai at the Renaissance of the Native American Flute workshop in Montana and has also written six songbooks for the native flute. NightDancers released its debut CD entitled, “MONTANA CROSSINGS” in 2007.

View the NightDancers Online Press Kit at: http://www.sonicbids.com/NightDancers

Visit the NightDancers Website at: http://www.nightdancersmusic.com

ABOUT THE NEW YORK OPEN CENTER:
The New York Open Center, now it its 24th year, is a non-profit educational and cultural center dedicated to offering educational programs and cultural events that expand the mind, nurture the body and awaken the spirit. Workshops, classes, lectures, conferences and professional trainings are offered, led by teachers of wisdom, passion and skill. Thousands have passed through the Open Center’s doors finding fresh intellectual perspectives, paths of healing, deepening of their spiritual lives and new careers that allow them to be of service and express their true calling.

Visit The New York Open Center online at: http://www.opencenter.org

‘Montana Crossings’ - the debut studio recording from New York City based composer/flautists Gera Clark and John Sarantos is a well-crafted, melodic gem of an album featuring themes of exploration, transformation, interconnection and grace. Recorded at the world-famous AVATAR Studios in NYC by Jim Anderson, with mastering by Fred Kervorkian, CLARK and SARANTOS assembled a team which successfully captured the essence of NightDancers’ vision. MONTANA CROSSINGS contains 15 instrumental tracks featuring twenty-five flutes representing eleven flute makers from coast-to-coast. No overdubbing or sound samplers were used on the recording. Montana Crossings/GENRE: Native - New Age – World; FORMAT: Instrumental - Public Radio - Variety – World; MUSIC STYLE: Contemporary Native American Flute; STREET DATE: May 29, 2007.

ABOUT NIGHTDANCERS:
New York City based composer/flautists Gera Clark and John Sarantos, known collectively as NightDancers, enjoy sharing instrumental flute music with a unique style that takes listeners on a musical journey . . . painting sound pictures with original contemporary Native American flute songs - successfully capturing the soothing, mystical and healing qualities which are the heart and soul of Native American flute music. Clark and Sarantos met while attending a Renaissance of the Native American Flute (RNAF) workshop in 2005, which eventually led to jamming together via speakerphones 1,000 miles apart. NightDancers was formed in 2006. Both Clark and Sarantos also have an extensive background in the business of entertainment. Ms. Clark managed Condon’s, The Lido Cafe and MC’d and operated benefit shows from Tramps in New York City. She has been teaching flute in the tradition of her Native American flute mentors, Franc Menusan, John Rainer Jr. and R. Carlos Nakai. Mr. Sarantos has acted in over 35 commercials, 5 feature films and created, produced and starred in 26 episodes of Mr. Moon’s Magic Circus for CBS-TV. He has facilitated contemporary Native American flute workshops from coast to coast for over 13 years. For 10 summers he has worked with Ken Light and R. Carlos Nakai at the Renaissance of the Native American Flute workshop in Montana and has also written six songbooks for the native flute.

Visit the NightDancers Online Press Kit at: http://www.sonicbids.com/NightDancers

Visit the NightDancers Website at: http://www.nightdancersmusic.com

ABOUT KENNY’S CASTAWAYS:
Opening in 1967, Kenny’s Castaways immediately became the venue of choice among up and coming acts. It all started when a little known band called the New York Dolls began to play at Kenny’s and it was during one of their shows that Joey and DeeDee Ramone met. One of the most memorable moments came when Bruce Springsteen took the stage for a one week run in 1973-his NYC debut with the East Street Band.

Kenny’s became the place to play presenting acts such as Deborah Harry, Aerosmith, The Marshall Tucker Band, the poetic styling of Patti Smith, The Roches, Steve Forbert, Willie Nile, Spin Doctors, and Blues Traveler. In 1980, The Smithereens were the house band, and Phish played their first ever New York City show at Kenny’s in 1988.

In 2007, Kenny’s Castaways celebrates 40 years of great music. Kenny’s Castaways has the edge in musical ancestry and remains a major force for talented newcomers. Kenny’s Castaways is located in a spacious New Orleans style showboat in the heart of historic Greenwich Village in a building dating from the early 1800’s. Kenny’s Castaways is the place to showcase the finest up and coming musicians and bands in the country.

Visit Kenny’s Castaways online at: http://www.kennyscastaways.net

Kellerman on flutes, featuring:
Salome Sechele - ‘Strictly Coma Dancing’ Judge & dancer extraordinaire.
David Matemele - Co-choreographer of African Footprint
Muntu Ngubane - Latin American dancer
Nonhlanhla Mdluli - ‘Strictly Come Dancing’ Singer
Michal George - Spanish Guitarist
Phresh Makhene - Percussion & vocals
Carima Cruywagen - Dance

Region/Province & Address: University of Johannesburg Arts Centre, Kingsway Campus, Corner of University Road and Kingsway, Auckland park.

Date: 5, 6, 7 and 8 of September 2007

Time: 20:00

Cost of tickets: R80.00 each (group bookings – 10 or more R70.00 each) - book at Computicket.

CD’s available at the launch! To listen to his music, go to www.myspace.com/wouterkellerman

To watch an excerpt of the last concert go to:
http://www.youtube.com/watch?v=6cmWRvhRAMA