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.

Karen Young, considered one of Canada’s great jazz singers, has been invited by CIRPA (Canadian Independent Record Production Association) to perform their London Calling showcase “Canada Presents Canadian Blast!” Introducing material from her upcoming album with composer and bassist Eric Auclair, the showcase will be held at The Borderline on June 19th, 2008.

Canada Presents Canadian Blast!
London Calling
June 19th 7:30 PM
The Borderline
Orange Yard off Manette Street, London

Voice and double bass in duo is a favorite jazz combo. Powerful, rich and lace-like textures, delivered beautifully by Eric Auclair’s sampling, pre-recorded and live, are used as sound-track to Karen’s crystal-clear voice and poetic songs. ElectroBeatniks, the title to this duo concert and upcoming CD, brings their jazz into the 21st century. Now in the final stages of post-production, the album is scheduled for an early fall release, followed by a series of concerts featuring this unique jazz/electro fusion.

Video performance on February 1, 2008 at Chapelle Historique du Bon Pasteur

Considered one of Canada’s great jazz singers and Fusion/World specialist, Medieval music autodidact, songwriter, composer, arranger, Karen Young’s vocal range and control and her passion for music have enabled her to attain success in various musical genres. Awarded Artist for Peace in 2003, Karen also received RIDEAU Career Prize the same year – Quebec’s venues and events programmers professional association.

Album producer/coproducer, Karen also wrote, composed or arranged her eight CD titles under her label URSH Records since its inception in 1992, among which Canticum Canticorum – a specialized Medieval / Mediterranean / Jazz Fusion CD than sold almost 10,000 to date in Québec only.

Duo Karen YOUNG & Eric AUCLAIR :: ElectroBeatniks will soon fly to London, UK for a showcase presentation of its upcoming CD at London Calling 2008. This first international invitation for the Duo puts us in such joy, we decided to invite fans and friends to a pre-London Calling Concert this Thursday June 12th at 8:00pm at Montreal’s Chapelle historique du Bon-Pasteur.

Duo Karen YOUNG & Eric AUCLAIR :: ElectroBeatniks is presently closing in on final production stage of it s first CD at Montreal’s Karisma Studio. This very unique musical project-jazz electro croos generation & genre – CD’s launch will surely raise lots of attention. Meanwhile, it is with great pleasure that Karen and Eric accepted CIRPA’s invitation – Canadian Independent Record Production Association – to showcase, as part of the first Canadian delegation at London Calling, to representatives of the UK and international live and recording music programmers participating to this important international music event.

Duo YOUNG & AUCLAIR :: ElectroBeatniks is the first of Karen’s projects bearing only her lyrics. The Duo also co-wrote 100% of all its music, while Eric Auclair is credited for 200% of the sampling and sound treatment. As always with Karen, this is great fusion. But the most interesting aspect of their achievement lies in their cross genre&generation fusion. This, from last year’s Roseq tour programme, is how their concert is presented.

Duo YOUNG & AUCLAIR :: ElectroBeatniks – A true live performance. With Karen Young’s signature, you can be certain it is great. Voice and double bass in duo is a favorite jazz combo. Here it comes with a +: Eric AUCLAIR’s sampling-pre-recorded and live. Powerful and rich or lace-like textures are used as sound-track to Karen’s crystal-clear voice and poetic songs. Electro-Beatniks, the title to this Duo concert and upcoming CD brings their jazz into the 21st century. Original songs, the incomparable voice of Karen YOUNG and the flowing bass lines of Eric AUCLAIR.

From songs to jazz, improv to sampling, and Ars Nova to slam. This exquisite concert is not to be missed!

Date / Time : Thursday June 12th, 2008 ; 8H00 pm.
Venue : Chapelle historique du Bon-Pasteur
Address : 100, Sherbrooke East , Montreal

Tickets : Articulée 514 844-2172, 1 866 844-2172
18,50 $ ; 23,50 $; 35,50$
Thanks to CALQ-Conseil des Arts et des Lettres du Québec and Sodec for their support.

www.karenyoung.org
www.agentB.org

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

http://www.hobbyhorsecafe.com
http://www.myspace.com/hobbyhorsecafe

Hobbyhorse starts with these influences and creates an individual sound. It is organic in the sense that the duo — comprising Annie and Phil, who play guitars and a variety of other instruments including harpsichord, organ, and percussion of various sorts — sound natural, like they’re playing in the living room of a cottage in the woods for friends, instead of for an “audience” of “fans.” Their new CD, Break in the Clouds, captures the essence of psychedelia, that other-worldly concern with mythology, the occult, the fantastic, and visions from altered states (chemically induced or not). Lyrical storytelling is accompanied by music that is cinematic. The CD’s lush instrumentation and Annie’s dark angel voice give the listener more with repeated plays – a disembodied guitar twang there, a chord here, organ drones that sound like they’re coming from another room in your home. The songs are memorable, particularly the sweet “Good Morning Moon,” the surreal “Museum,” and my favorite, the eerie “Melesina.”

[Mark Kirby] What are your earliest musical memories?

[Annie] My earliest musical memories are of listening to 70’s am radio. I loved so many of those songs. The songs of that era often told stories. Even though many of them were sort of corny, they were so sincere.

[Phil] My parents and sisters played classical music with varying degrees of skill. When I was a six or seven, my grandmother gave me a transistor radio and I carried it with me wherever I went. But even before that, I listened to my parent’s records of folk songs by Woody Guthrie, Leadbelly and the Weavers. I could memorize long, complicated songs way before I could even read. In the late 1960’s, I used to listen to underground FM radio. “Jelly Pudding” was the name of the show, hosted by “Michael Xanadu.” He played the latest, hippest bands from San Francisco, England and other psychedelic scenes. Those sounds really captured my 10-year-old imagination!

[Mark Kirby] Break in the Clouds opens with “Lullaby,” a gentle song that has the wispy yet earnest spirit of the summer of ‘67. The guitar comes in with delicate chords backed up by the subtle percussion of tar (a middle eastern frame drum) organ and bass. Annie’s voice is delicate, ethereal, singing words that conjure lost innocence: “Snake in the grass – little lion in the tree / My love holds tightly on to me / The sun comes up behind my closed eyes / Dream of a lullaby.” The full effect of classic psychedelia is aided by the sitar that enters half way through the song, creeping up on the listener like ’shrooms after a full meal.

“Angus Og” continues in the same vein and captures the psychedelic feeling musically by using electric sitar to play the opening musical theme; organ and cymbals adorn this simple song about the life a woman dreamed of and loved by Angus Og, the Celtic god of love. The lyrics, voice and instrumental textures are akin to painting with rich yet opaque watercolors: its simplicity veils its subtle complexity.

What are your individual musical pasts?

[Annie] I took uninspiring piano lessons when I was a kid. It wasn’t until I was at college that I picked up a guitar. I did it because my friends all played instruments. I learned a few chords and within a couple of weeks I figured out, from a folk songbook, how songs were constructed. I wrote my first song before I could hardly play. It was one of the most satisfying moments of my life.

[Phil] In 1965, I used to pretend to play guitar along with Rolling Stones records using an old tennis racket. My parents noticed this and bought me a real guitar, and signed me up for guitar lessons. One of my early guitar teachers was a jazz player and he taught me to improvise. So I was always more into playing my own thing than into copying anyone else’s style.

[Mark Kirby] What were the first groups you were a part of like?

[Annie] My first group was also the first incarnation of Hobbyhorse. I sang my songs and a friend played guitar, he played bass. The problem was that he could not really play. We had one gig at one of his friend’s parties. He got stoned before the gig which made him even worse. I abandoned him there and never played with or talked to him again.

[Phil] My first band was with some 4th grade school friends. We played “I’m Not Your Stepping Stone” (by the Monkees), “Snoopy Vs. The Red Baron” and a few other songs like that. I played through an amplifier that my father built for me. Our drummer had a snare drum and one cymbal. Our keyboardist played my little sister’s Magnus Chord Organ. We practiced a lot and performed once or twice in a community variety show. When I was 10, I played in a rock band with some older kids who were 13. We had a girl bass player and a Hammond organ along with drums and guitars. We played songs like “We Gotta Get Out of This Place” and “Little Bit of Soul,” not to mention the classic “In the Midnight Hour.” I was in several other bands through my teenage years and played lots of Bar Mitvahs in that period.

[Mark Kirby] What are your musical and artistic influences?

[Annie] The mood of many of my songs is influenced by the mystical sound of Donovan’s Sunshine Superman record and the haunting sounds of Pink Floyd. Some of the female singer/songwriters I am influences by are Suzanne Vega, Kate Bush and Stevie Nicks. Led Zeppelin has made me more aware of riffs. There is nothing like a great riff! I have studied middle eastern percussion and have developed my own percussion style through these studies. However, with all of these influences, the truth is that I feel I have little control over how I sound and write. I have found that accepting my own limitations and natural expression has made it possible for me to be a musician, writer and artist.

[Phil] Psychedelic rock from the 1960’s was my first serious influence and obsession. In the 1970’s, I discovered John Fahey and he had a profound influence on my guitar work. An older cousin introduced me to late period John Coltrane, and along with Miles Davis (Bitches Brew, in particular), that opened up yet another direction. Karl Berger had an enduring influence on me through my brief period at Creative Music Studio, in Woodstock, NY circa 1977. I have listened deeply to almost every style of American music, most European music, a lot of Indian music, and at least a little bit of music from every other culture in the world. I steal ideas and concepts from it all.

[Mark Kirby] How did you arrive at the style of music you are currently playing?

[Annie] It was a natural collaboration between Phil and I. It is a combination of my songwriting style and Phil’s playing style. We both love the dreamy, psychedelic sounds of the 60’s and the haunting sounds of music like Pink Floyd. Our sound comes from these influences.

[Phil] Hobbyhorse music is the sound of me and Annie each doing what we do best, and loving what we do. Hobbyhorse plays to Annie’s strengths as a songwriter, and at the same time allows me freedom to create music that sounds the way I have always felt music should sound.

[Annie] I named the band Hobbyhorse after the Dada art movement that took place during WW1; Dada is another word for Hobbyhorse. Hobbyhorse also means an obsession. Music is not a hobby to us. Everything else is a hobby. Music is the real thing. Eventually the most important meaning of Hobbyhorse emerged: It stands for the freedom of the imagination. We describe our music as psychedelic folk/rock. Sometimes we call it progressive folk/rock. It is intricate and poetic.

[Phil] In the first psychedelic era, a door opened between the everyday world and the eternal world. It was like a very brief but very bright spark, and the spark lit a lot of fires that are still burning today. Hobbyhorse music lives in that door between the worlds and acts as a conductor for that spark

[Mark Kirby] Magical worlds are evoked in most of the songs on this CD. “Museum” speaks of a museum with magical instruments, a place that could exist only in this twilight zone. Yet contemplating such a place, even in a song, helps to open the mind to other possibilities. Isn’t that the essence of psychedelia?

“Melasina” is the darkest and most eerie of Hobbyhorse’s songs. The music immediately conjures images of the Red Room in the Black Lodge, the place of evil in another dimension, on the show Twin Peaks. Musically, this song captures a feeling of other-worldly dementia. Just as on the Twin Peaks T.V. show and the (horribly underrated) movie, violence against women by one familiar, with all the attendant symbolism of evil attacking innocence, weak against strong, and the assault on innocence. The music captures this. Dissonant keyboards and disembodied guitars, sounding like distant thunder and winds, cascade from the first note.

The voice sings a virtual monotone over a patchwork atmosphere of descending ringing keyboard chords, guitars that sound like buzzing bees, and sounds that evoke the feel of vast spaces like the ocean: ” Your hands felt so familiar / As they caressed my cheek / Suddenly, transformed with rage / They pulled me down deep / . . . The wind blows against the waves / Midnight falls into the sea / I swim against memories / That darken my dreams.” The concise lyrics and emotional and visual music combines to make a virtual movie in the listener’s mind, like a passage of good prose.

Your website mentions that you are influenced by myths. Which culture’s myths do you draw from? Why and how do you apply them to your music?

[Annie] I write songs inspired by myths from anywhere around the world and from any time. They are timeless stories. Writing the song helps teach me about the myth. I let my mind dive into the story. I extract the essence of a character or event. Writing the song helps the story come alive. I usually write the music first and then the story will fit in like the pieces of a puzzle coming together.

[Phil] Many of the songs I write are allegorical and use a lot of alchemical imagery. I am most familiar with classical Greek and Roman mythology, with Egyptian mythology being a more recent interest. I have also studied many world religions and draw from those traditions.

[Mark Kirby] When you perform live, do you have just the two of you or do you have a larger band?

[Annie] Currently, we perform only as an acoustic duo. The sound is unique and different from our recorded sound. On the recording we play all the instruments ourselves, but overlap them in an arrangement. And we play some electric and some acoustic instruments on our recordings. We plan to form a band in the near future so that we can have the flexibility to play as a band or duo.

[Mark Kirby] You spent about a year on the new record? Why so long?

[Annie] The CD formed gradually through experimenting with home recording. We were recording song by song and then realized one day that we had an album. During that time we also designed the website. It was a lot of work. We had unique ideas that we wanted to realize: conscious choice pricing, guest artists, a special section for people who sign up. I painted all of the artwork for the website. We wanted a break from live performance.

[Phil] Each song has a unique voice, a unique story to tell and a unique form. Annie never writes the same theme twice nor does she use standard song forms. I put the same care into arrangements. Every arrangement is crafted to the specific song. No arrangement ever uses the same combination of instruments, the same motifs, nor even the same recording methodology. So we put a lot of thought into writing and arranging, and we experiment a lot with recording techniques. It takes a lot of time!

[Mark Kirby] The song “Walking Away” is textured to resemble and conjure the image of a caravan going across a desert; this is created by the combination of ringing bells, droning bass sounds melding with the low rumble of the frame drum, and searing guitar lines made of long, extending notes. This melange of sound is painterly in its composition. “Pheonixology” is an instrumental interlude. Perhaps Annie and Phil sought to put words and singing to this track and then realized that it didn’t really need it. A simple xylophone motif opens and anchors the song throughout. Bells, organ and bass play counter lines until it all comes together at the end, an end that promises more. The song’s pregnant pause ending flows into the aforementioned “Angus Og” comprising a mini suite, a musical voyage.

How did you decide to create the Hobbyhorse Cafe?

[Annie] We decided that we wanted a website that catered to the listener. So many sites on the web are geared toward booking. They are more like press kits. Or they are sites with thousands of musicians on them that are probably visited only by the musicians themselves. We wanted Hobbyhorsecafe.com to be colorful and fun and sort of like a little virtual music venue. Some of the artists on our site have been friends of ours. Others found Hobbyhorsecafe.com and contacted us. We choose people whose work we like. We like the musicians to be local or visiting so that we can make a unique recording of some of their songs so that their fans have something new to listen to. Phil has a portable recorder, so we can record live performances. It has been really fun to have guests on our website.

[Mark Kirby] What is Conscious Choice Pricing and what is the concept behind it?

[Annie] We have flexible pricing on our website. You have three choices, a minimum, standard and patron of the arts choice. Hobbyhorse or the guest musician set a minimum price, standard is 99 cents and patron of the arts is open ended. I am working on having special items available for our Patrons of the Arts.

[Phil] We were initially inspired by Jane Siberry’s online store, which was our first encounter with flexible pricing.

We are consumers of music as well as producers of music. As such, we see both sides of the question “what is the fair monetary value of music?” And there is no easy answer! Our solution is to allow fans to make a choice with a range of prices (and artists with a choice in how they set their prices). The outcome of this system is that you have to think consciously about the value of music whenever you make a purchase. We don’t make any judgement about the price level that you choose – it is entirely up to you. But we do appreciate our Patrons of the Arts!

[Mark Kirby] What are Hobbyhorse’s future plans?

[Phil] We are playing out a lot more this year and will gig even more next year. We plan to tour a much larger region. Also, we continue to write and record new songs and have about half of a new CD completed. There is no planned release date, but Regulars (i.e., subscribers) at hobbyhorsecafe.com will hear about it first, as well as gigs and interesting news items. It is entirely free for you to sign up at http://www.hobbyhorsecafe.com and we only send two or three emails per month.

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

According to legend, Moll Dyer was a mysterious woman who lived alone and had knowledge of herbal healing. During a harsh winter, the townspeople became suspicious of her and accused her of being a witch. They came to her door one night and set her house on fire. Moll fled to the nearby woods. She collapsed on a rock, balanced one hand upon it, and raised the other while calling a curse down upon the town. A young boy found her the next day. On the rock was burned an impression of her hand and knee. In 1975 a historian located the site where her house may have been. Not far away was a large 875 pound boulder with what looked like the marks of Moll’s hand and knee.

Download the track on Hobbyhorse’s myspace – http://www.myspace.com/hobbyhorsecafe

“Our song brings to life Moll’s last moments when she is trapped between the extreme elements of fire and snow,” explained Hobbyhorse singer Annie. “There is no hope for her to survive, but she expresses her power as she curses the town that treated her so wrongly. Her spirit is strong and lives in this legend, in ghostly sightings and beyond.”

Hobbyhorse’s music is in the spirit of experimentation and the expansion of the imagination. They take psychedelic folk/rock into the present day with their poetic songwriting and adventurous arrangements. The duo has returned from a year in the studio recording their latest full-length release “Break in the Clouds,” which has been growing on the broadcast airwaves with stations in Canada, Australia and across the US adding it to their playlist.

“Traditional in one sense, quietly experimental in others, Hobbyhorse’s Break in the Clouds embodies the magic that is woven in the art of folk music – and by folk music I mean music that is authentic, spirited & manifest from the love of creation rather than ‘music industry’ profit motive.” Seldom Heard Radio

Boston, MA - Boston’s accordion/guitar rock duo Bird Mancini, will release their third and newest CD, Funny Day on Second Story Records June 1st. Celebration of the release starts with a kick-off CD Release Party at Perks Coffeehouse in Norwood, MA from 8-10pm.