STRUBESANG / OVERTONESANG OG -MUSIK

NYT

Lama Tashi har været ledende Chant Master i Dalai Lama's Drepung Loseling Kloster i Indien. Idag rejser han, indspiller og underviser. Han synger en del kendte mantraer på denne CD, som Om Ah Hum og Om Mani Padme Hum. Hans ekstremt dybe overtonesang i disse enkle indspilninger rører umiddelbart og nærmest kropsligt, ved lytterens system. 169.-
David Hykes: 'Harmonic Meditations' kan nu bestilles. Den begynder med 42 minutter optaget i en enorm vand-cisterne i staten Washington, hvor der er en 44 sekunder lang genklangscyklus. Der er også et langt nummer fra genåbningen af The Winter Garden overfor Ground Zero i New York. Afslutningen består af 2 korte numre, lavet til en dokumentarfilm "Travellers and Magicians", hvor trommens rytme hjælper lytteren med at komme lettet tilbage til jorden... Læs den fulde anmeldelse nedenunder. 159.-

 

 

 

 

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Oversigt over Overtonesang

Det hedder strubesang eller overtonesang. Betegnelsen strubesang forveksles sommetider med en tradition hos Inuiterne (i Canada, Alaska og Rusland) for at synge eller lave dybe lyde stammende fra strubeområdet, og derfor bruger jeg for det meste udtrykket overtonesang.

Se anmeldelserne og den omfattende oversigtsartikel (som jeg desværre endnu ikke har oversat til dansk) nedenunder: Overview on Overtone Music - med beskrivelser af mange af de mest interessante titler.

Anmeldelse: David Hykes and The Harmonic Choir 'Earth to th Unknown Power' og senest, fra 2005, den meget fine 'Harmonic Meditations'. Hvis du er engelsktalende, besøg vores English section Main page, eller Overtone section.

For flere informationer om strubesang / overtonesang, og om Tuva (en post-Soviet republik i det sydlige Siberien), også kendt som verdens overtone-hovedstad, se Steve Sklars omfattende og informative websider på: http://khoomei.com. Den er også Home of the International Association for Harmonic Singing.


Overtoner er energimæssigt udvidende - bevidstgørel-sen af den fysiske lyds forbindelse med dens åndelige rødder.Overtoner i det følgende skabes især på 2 måder: 1)igennem den menneskelige stemme og 2)ved brug af forskellige metalinstrumenter som fx. klokker og skåle. Mest kendt, etnisk set, for brugen af overtoner er de kinesisk-mongolske shamanistiske traditioner fra Tuva og Mongoliet.

I den tibetanske buddhisme er denne tradition ritualiseret, så den høres især i munkenes sang. Og så er vi fornylig blevet opmærksomme på, at der også findes en stærk japansk buddhistisk tradition med brugen af overtonesang (se under Tibet og Japan). Idag er teknikken stærkt udviklet hos nogle vestlige og New Age musikere, der udnytter den moderne indspilningstekniks muligheder, så man kommer til at deltage mere umiddelbart i det mirakel, processen at skabe lyd synes at være.

Først de mere traditionelle rødder:

S I B E R I A:
Siberien (inklusiv Mongoliet og Tuva) i Asiens midte, er et ældgammelt center for dén shamanistiske tradition, der bruger overtonesang, og hvis påvirkning bl.a. kan høres i de tibetanske munkes sang.

SAINKHO NAMTCHYLAK
fra Tuva-området: På Lost Rivers (solo sang) kan man høre mange eksempler på hendes fantastiske stemme, der rækker dybt og højt, som dyr, fugle, legende som et barn, med og uden overtoner. 159.-
Dancing on the Island
med dansk Irene Becker er flydende, strømmende sammenspil mellem stemmen og tangenterne. Den skifter mellem melodiøst og dyrisk følelsesladet, mellem legende let og mørkt søgende, med og uden overtoner. CD 149.-

TUVA /MONGOLIA:
Flere titler, med mange eksempler på den shamanistiske musik, især sangtraditionen i dette område.

Voices from the Land of Eagles (Tuva) har lidt længere forløb fra egentlige optrædende musikere - ligesom White Moon fra Mongolia. Der er en del overtonesang på alle titlerne. CD 159.-

ANDRE TITLER:
Se under World Music for
YAT-KHA
- Yenisei-Punk

T I B E T:
Vi har flere meget fine indspilninger af tibetansk munkesang. Ifølge munkene giver selve det at lytte til dem mulighed for at komme i en anden, højere bevidsthedstilstand. Det hænger muligvis bl.a. sammen med, at de ofte synger overtonesang, og at det at lytte efter overtonerne i sig selv skaber en vis forstærket bevidsthed. Derudover kan det at lytte samtidig til både grund- og overtonen være en yderst vanskelig opgave for bevidstheden at kapere - så selve dens spændvidde bliver udfordret og evt. udvidet ved forsøget.

MAHAKALA PUJA: er et godt eksempel på det ovenfor beskrevne. Den er ret varieret, med en del velindspillet overtonesang og virker bl.a. stærkt på Hara chakraet. Kun MC 115.-

TANTRAS OF GYÜTO - MAHAKALA:
også her er en god overtoneindspilning. De traditionelle klirrende bækkener og slagkraftige trommeslag er også meget fremtrædende. 125.-

FREEDOM CHANTS
er en fin indspilning, som vi ofte anbefaler. Den har et langt afsnit på 28 min. med kun de usædvanligt dybe, rolige mandestemmer. Så 27 min. blandet sang og instrumenter, og slutter med 10 min. New Age musik, spillet af Kitaro, Philip Glass og Mickey Hart (som producerede indspilningen)159.-

TIBETAN TANTRIC CHOIR
ligner Freedom Chants, og kan ligeledes varmt anbefales. Her er også et langt afsnit med kun de dybe stemmer, der synger overtonesang, og så nogle blandede afsnit 159.-

NAWANG KHECHOG
er tibetansk munk og multikunstner (akkompagneret her af Kitaro på 2 numre). Han synger i den dybe kargiraa overtonestil, men spiller mest fløjte, men også bl.a. didgeridoo fra Australien (hans nye hjemland), og instrumenter fra Afrika, Japan og den indianske kultur. Med andre ord er denne musik en tibetansk verdensmusikalsk rejse. Titlen Karuna betyder med-følelse. Meget fin energi, meditativ men med bid i 169.-


Og så har vi mange titler i New Age afdelingen, hvor vi starter med en dansk nyhed:

BJARNE VILLY LARSEN arbejder med overtone-instrumenter, og meningen med Invitation to Space er kort sagt at afspænde og udvide bevidstheden med nogle lyde, og skære igennem dagligdagens tanker og emotioner med andre. Det kan give plads til en oplevelse af åbenhed og frihed som kan transcendere ego'et 149.-. På Essence of Sound bruger Bjarne V. Larsen mange forskellige slags lydkilder. Foruden de tibetanske skåle, bruger han klokker og klokkespil, gongonger og hans egen stemme. Og på et par numre - noget tilsyneladende banalt, men hvor sammensætningen bliver til et helt genistreg - så tilføjer han lyden af havets bølger. Kombinationen giver en helt eventyrlig oplevelse af afslapning og udvidelse, af helt trygt og fredeligt at kunne finde hjem i én eller anden essens af sig selv. Blandt andet hans brug af de mange forskellige lydkilder, hvis grundtoner ligger i meget forskellige toneleje giver flere dimensioner til lyden og åbner for skabelsen af spændende kontraster og mønstre, muligheder som han på mange måder udnytter. 149.-

HARMONIC CHOIR er den mest kendte gruppe. De synger smukt og netop harmonisk. Vi anbefaler især dobbeltCD'en Harmonic Meetings 2CD215.-
Lederen af gruppen, David Hykes, lærte teknikken i området, vistnok i Afghanistan, hvor den bliver brugt shamanistisk. I Windhorse Riders synger han i denne trance-formidlende stil, akkompagneret af den persiske zarb-tromme. En stærk oplevelse. Hans seneste CD, True to the Times, er en mere verdensmusikalsk lydoplevelse, hvor han spiller på keyboards og synger, med oud og orientalske perkussionsakkompagnement 169.-

MICHAEL VETTER's
sang er som meditative undersøgelser af stemmens overtone-muligheder. Titlerne er teknisk velindspillede, overtonerne høres lige så tydeligt som selve sangen, og han akkompanerer sig selv meget passende med det indiske instrument tamboura'en. Vælg mellem den kendte Overtones - Voice & Tambura, eller den nyere serie Overtones in Old European Cathedrals, især indspilningen fra Senanque. 179.-
På Ancient Voices med The Overtone Choir hører man til gengæld hans spændende experimenteren med mange stemmers muligheder, såvel rumligt som energetisk. En stærk oplevelse til bevidst lytning 159.-

BOLETTE SCHIØTZ
er shamanistisk-orienteret lydhealer, og hendes sang og spil på Lyd fra Bjergene er skabt til at vække og skabe kommunikation med det ubevidste, og således til at virke healende på kroppen, på bevidstheden og på hele energisystemet 149.-

KLAUS WIESE a
rbejder også meget med over-tonelyd. På Tibetische Klangschalen I skaber han en lyd, der for mange kan formidle en klar fornemmelse af aurasystemet, samt den udvidelses-oplevelse, som bevidstheden om energi kan ledsages af. Andre titler er Tib.Klangschalen II og III, og Trance, hvor der høres resp. en kvindelig og en mandlig stemmes lyd. En smuk hjerterytme er central i el-Hadra (The Mystik Dance), inspireret af sufiernes langsomme trance dans. Kun Tib. Kl. og el-Hadra er også på CD, ellers MC 179.-



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REVIEWS

from DJEMBE, magazine for cross culture and world music


OVERVIEW ON OVERTONES


In the world of sound, overtones occupy the place of the magician.

They do things one never thought possible, they affect consciousness, the awareness of the listener, in strange and unaccustomed ways. Perhaps most noticably, they can give an experience of expansion, similar to the experience of many who are used to meditating.

Listening to them, the overtones seem to be there, but where do they come from? It's as if one were suddenly witnessing the connection of the physically produced sound with its original, non-physical roots. It's like being present at the moment - any moment - of creation. You have no choice but to be really there, present, alive, and very conscious, digging things happening that are both wierd and wonderous.

The following is a catalog of representative recordings, in which the overtones are created in two ways. 1) by the human voice, and 2) by the use of various metal instruments, mostly bells and bowls, which are "played" by being struck or rubbed (as one turns one's finger around the edge of a wine glass) with a mallet.

Most well known, ethnically, for the use of overtone singing, are the Siberian shamanist traditions, especially evident today in Tuva and Mongolia. In Tibet overtone song has been ritualised in some of the Buddhist sects, so that all the monks learn the technique, especially the technique the Tuvans call kargiraa. (Interestingly, much further East there are also recordings, of Japanese Buddhist monks of the Shömyo sect, singing overtone song, but I haven't been able to dig up information explaining whether or not this is an established part of their tradition).

Tuva is a small, sparsely populated country in Southern Siberia, situated right around where you would put your finger, if you were asked to point out the center of Asia. Tuva has been called the overtone singing capital of the world, and here over a dozen overtone singing styles are in common use, styles which use a variety of vocal techniques, such as open vowels, breathy sounds, whistling high tones and deep growling noises.

Two of them, sigit, a high whistling style, and kargiraa, a more throaty "frog-voice" style, can support lyrics, while the others are suitable only for producing sounds. The singer of khöt;öt;mei, or khoomei (meaning throat or pharynx) produces two or perhaps three tones, simultaneously: the fundamental pitch and one or more harmonic overtones.

Every musical note contains secondary overtones, called partials or harmonics. The fundamental is the one we easily identify as the basic note or tone, while the others are normally more difficult to hear, because they're not very loud. In spite of this they do in fact add to our experience of the tones being sung or played, giving them a specific character, in a way that only that particular voice or instrument can do. They are in fact what makes that voice or instrument uniquely identifiable.

The magic trick in making overtone sounds then, is to increase the volume of the harmonics in a controlled fashion, so the overtones become clearly audible. So for example the singer will make two or even more separate sounds - simultaneously!

When using an instrument, striking it can produce as many as 5, 6 or 7 identifiable layers of harmonics - a wild experience, as you hear the layers of harmonically compatible tones, each dancing it's own pattern of apparently independent life, short or seemingly never-ending, steady or swinging, high and very deep. The world of sound springs to life in a magical, soft or crisply tender, many-dimensional, beautifully harmonious dance, a moment in time as it holds the attention of consciousness a perfect prisoner.

Today overtone singing and the use of overtone instruments is fast being developed by Western musicians, who use all the potentials of modern recording techniques to bring us closer to the miracle that the creation of multidimensional sound seems to be.

S I B E R IA / TUVA is an ancient center of shamanist tradition, and of overtone singing:

SAINKHO NAMTCHYLAK: A Tuvan artist who has recorded in Denmark and visited many times, she has a large following here. A kind of Asian Yma Sumac, she not only sings overtone song, but folk and popular songs in general. On Lost Rivers she is alone, and the CD gives a good idea of the amazing range of her voice, high and low, singing animal and bird sounds, playfully childish, with and without overtones. Out of Tuva) is a historical compilation, mostly Russian recordings, sometimes with large, flowery orchestral accompaniment. Dancing on the Island) with Danish Irene Becker (best known from the New Jungle Orchestra) has a flowing interplay between voice and keyboards. It moves easily between the melodic and the powerfully emotional, between lightness and darkness, with and without overtones.

YAT-KHA with ALBERT KUVEZIN: Yenisei-Punk is not so much punk as a good-humoured mixture of funky rock, techno and ethnic. While the music itself is worth hearing, his voice is really something special. Amazingly, confoundingly deep, it gives a whole new dimension to the world of world music, from the very depths of Asia!

HUUN-HUUR-TU: A popular group in the West, after a number of tours in recent years - they played in Denmark this summer, together with a Bulgarian women's choir. They play and sing Tuvan folk music. Sixty Horses In My Herd (Old Songs and Tunes of Tuva) (including, by the way Albert Kuvezin from Yat-Kha) and The Orphan's Lament are two of their fine studio recordings, the quality of singing here making them very representative of authentic Tuvan music.

VARIOUS ARTISTS: Tuva - Voices From The Center Of Asia - "Miraculous Singing" is a classic that has all of 33 quite short tracks of "ethnic" field recordings, with many extremely varied - and good - examples of this, sometimes quite shockingly "different", folk tradition. You'll be absorbed, you'll laugh, and you'll wonder. Detailed liner notes.

T I B E T is known for the overtone singing, not in its folk music, but of its Buddhist monks. Once part of secret rituals, the Dalai Lama has encouraged the spreading in the West of these recordings. According to the monks themselves, the recordings can facilitate the listener's reaching other, higher states of consciousness. In my opinion, part of the reason could be relatively mundane: that listening for overtones in itself requires a sharpened conscious attention. But perhaps especially the fact that it can be extremely difficult for consciousness to take on the task of listening simultaneously to both a fundamental and to its overtone, one might say that the span of its grasp is extended and expanded by the attempt.

MAHAKALA PUJA is a good example of the above. This is a recording of rather varied rituals, and it's only to be had on tape. What can make it worth listening to is that the overtones, not always obvious to the new listener, are heard especially clearly here.

TANTRAS OF GYÜTO - MAHAKALA is a finely documented recording, with relatively easily audible overtone song. The traditionally raucously loud sections, with the sounds of cymbals and percussion instruments are also very much in the forefront here.

FREEDOM CHANTS is an excellent recording, starting with a 28 minute long section with only the voices of the monks. This sound, the deep, bass vibrations created by the calmly meditative male voices, can have the effect of a mental and emotional massage on a stressed Western psyche. The recording continues with 27 minutes of mixed song and percussive instruments and - rather incongruently for this listener - it ends with 10 minutes of New Age music, played by Kitaro, Philip Glass and Mickey Hart (of Grateful Dead fame), who produced the recording.

TIBETAN TANTRIC CHOIR is very similar in structure and quality to 'Freedom Chants' (but has no Western musicians at the end). Also very easy to recommend, with a long section with only the deep voices of the monks, followed by a long, mixed section.

JAPANESE SHOMYO CHANTS, only available on tape, is the only recording I've heard, of Japanese Buddhist monks (from the Tendai sect) singing overtone song. Very simple and very intense, in a characteristically Japanese way.


WESTERN ARTISTS have been learning the techniques over the last 20 years, though I've never heard one sing in the deep, kargiraa style. Either a melody is sung on the fundamental notes with harmonic ornamentation added, or the fundamental can be employed as a sort of drone, with melodies growing out of the overtones.

HARMONIC CHOIR and their leader, the French-based American, DAVID HYKES are probably the most well known. Their singing is calmly quiet and meditative, Western and just exactly "harmonic". The double CD Harmonic Meetings is recommended listening for anyone interested in overtone song. The leader of the group, David Hykes, learned the technique in Central Asia, and on his own recording, Windhorse Riders, he sings long tracks in a style more related to the original shamanist, trance-inducing tradition, accompanied by the Persian zarb drummer, Djamchid Chemirami. Powerful magic. His latest CD, True to the Times, has a modern, world musical sound, and on it he can be heard for the first time playing keyboards (bearing memories of Terry Riley). He also sings of course, and is accompanied by the oud and oriental percussion. As always the CD is worth hearing.

MICHAEL VETTER from Germany, a trained Buddhist monk, always works meditatively, exploring the expressive boundaries of the human voice. On Overtones - Voice & Tambura, as well as the newer series 'Overtones in Old European Cathedrals' (especially recommended is the recording from Senanque, the exceptionally fine recording techniques used put the overtones right out there in your room together with the singer's voice. On Ancient Voices, with The Overtone Choir, he experiments with the sounds of many voices, both spacially and energy-wise. An intense experience, well suited for what I call "conscious listening".

CHRISTIAN BOLLMANN, is another artist from Germany who sings meditatively, but perhaps a tack less spontaneous, he tends more to make compositions of his productions. His work with the Oberton-Chor Düsseldorf, and his compostion Drehmomente, as well as his work with instrumentalist Michael Reimann on Evolution are well worth listening to.

BOLETTE SCHIØTZ from Gedved in Denmark has recently produced a CD called Lyd fra Bjergene ("Sound from the Mountains"). She's a shamanistically oriented soundhealer, whose valuable work is specifically designed to act in a healing way on the human energy system. She uses various simple instrumental sounds, from a monochord, gong or drum, as accompaniment to her song.


INSTRUMENTAL recordings of overtone sounds are usually made with metal bowls, gongs and bells. Of the instruments that are available, Japanese ones are mostly mass-produced, but can have a fine quality. Tibet, Nepal and Northern India are the origin of countless hand-beaten bowls and bells. Their manufacture is a fine art, and they are made up of alloys consisting of as many as 7, 8, even 9 different metals, like copper, tin and zinc, and sometimes even silver and gold. The bowls are used by their owners in many ways, also as begging bowls or as plates for eating and drinking. In the West they're used by a new generation of sound-makers. Here are a few of them:

TIBETAN BELLS II is the classic recording by Americans Henry Wolff & Nancy Hennings. Played before and endorsed by the Dalai Lama, it describes the journey of the soul leaving the body after death. The couple have made a couple of excellent follow-ups, Tibetan Bells III and Yamantaka (Tibetan God of the Dead), (the last together with Grateful Dead drummer - here he's percussionist - Mickey Hart)

KLAUS WIESE is a German musician who works meditatively, and with the consciousness-modifying potentials of the instruments. He has made a good many recordings, and perhaps I could pick out the apparently monotonous sounds on Tibetische Klangschalen I, which can give a clear experience of the energy surrounding the human body, as well as the experience of expansion that often accompanies listening to overtones, and a consciousness of energy.

BJARNE VILLY LARSEN from Zealand, Denmark, has worked with sound for many years. His goal on his recent CD, Invitation to Space, is to relax and expand consciousness with some sounds, and cut through our everyday thoughts and emotions with others, thus allowing for the manifestation of "a sense of openness and freedom" which transcends the ego. The recording is a good example of how directed overtone sounds can affect the human energy system on all levels. The effect of his bells, bowls etc., is something like the feel of a light wind blowing around one, at more or less specific parts of the body.

THE DIDGERIDOO

Very much worth mentioning in this context is also the indigenous Australian instrument, the didgeridoo. A long, hollowed out section of the branch of the eucalyptus tree, it has a deep, very rough tone, and when you hear it, you're hearing mostly overtones, in fact it's sound often reminds people of the several meter long horns of the Tibetan monks. The didgeridoo is however not normally associated with the overtone tradition. Probably mostly because the instrument is normally played percussively and rhythmically, and the musician will seldom make any special effort to produce single layers of overtone notes, or overtone melodies.

If you're interested, go to the page: Australia, and check out David Hudson's solo recordings especially. Stephen Kent as well as Adam Plack and Johnny White Ant are also well worth listening to.

Jack Donen

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CD REVIEWS

from DJEMBE, magazine for cross culture and world music

DAVID HYKES & THE HARMONIC CHOIR: 'Earth to The Unknown Power'

Efter deres lidt skuffende koncert, med en desværre trekvart tom sal, i Glyptoteket i København i vinters, er det velgørende at høre denne plade, hvor David Hykes og The Harmonic Choir præsenterer de samme kompositioner, men således at de her, mellem hjemmets fire vægge, virkelig får luftet husets følelsesmæssige og åndelige dimensioner.

Det er overtonesang, med lidt diskret zarbspil (mellemøstlig tromme) i baggrunden, der her er på menuen. Og sunget af det kor der, igennem de sidste 20 år, har gjort genren kendt i den vestlige verden. Lederen og inspiratoren Hykes fortæller, at han siden 1975 har arbejdet med at "aktivere" den harmoniske serie, som en grundlæggende bærer af musikalsk mening, på vejen mod dannelsen af "en global sakral musik".

Hykes er også kendt udenfor de snævre overtonesang kredse. Han har bidraget med musik til flere film, blandt andre 'Dead Poets Society', 'Ghost' og 'Baraka', samt trænet Peter Brooks franske 'Mahabharata' rollebesætning. Og koret har været "Artists in Residence" i 7 år i verdens største katedral, The Cathedral of St. John the Divine, i New York.

Rent teknisk er lyden på denne plade skabt på en ret bemærkelsesværdig måde: Koncerten fandt sted i november 1995, i New Yorks store musikcenter 'The Kitchen', hvorfra koncertens live lyd blev digitalt overført og afspillet i le Thoronet Klosteret i Frankrig. Den således frembragte lyd, nu tilføjet klosterets akustik, blev så sendt retur til 'The Kitchens' forstærkersystem, hvor publikummet altså sad i en slags "virtuel kloster" og (nød) musikken….. Der er altså nogen, der gider!

Men til nu til selveste musikken: Skalaerne på titelnummeret her, er inspireret af et par indiske ragaer, og sangen udforsker rent teknisk dé 12 bestanddele af den harmoniske overtonesang, som Hykes opstiller. Blandt andre: parallel bevægelse af grund- og overtone, fast grundtone med bevægelig overtone, fast overtone med bevægelig grundtone, harmonisk ornamentering, vibrato og tremolo lyde, harmonisk polyrytme.

Teknisk komplekst og avanceret, filosofisk højtflyvende, men lyttemæssigt er pladen ligefrem og spændende. En sanselig, blid og kærlig udforskning af stemmens mange muligheder.

Et nummer på pladen hvor der ikke synges særlig meget overtonesang er alligevel et af de smukkeste. 'Le souffle du Seigneur' tager udgangspunkt i nogle gamle sufimestres digte. Det er nogle digte, "som viser den fine agtelse, i den autentiske Islam, for Yeshua (Kristus), som en af de store mestre i en ubrudt linie siden tidens oprindelse". Det er digte, der lovpriser Jesus ånde, og "åndedrættets krop".

Psykologisk er det spændende her, at man i sangens udtryk forsøger at konkretisere ideen om ånde og dens forbindelse med det åndelige - der rent sprogligt, i mange kulturer, ligesom i den danske, har samme rod som ordet åndedræt. Her taler Hykes om "'en anden krop', der kan besjæles, eller få liv, igennem (sangens) ånde".

Dette er cross culture på højt (dvs. åndeligt) niveau, og sangene udtrykker en længselsfyldt inderlighed, der i øvrigt klart demonstrerer Hykes grundig træning i klassisk indisk sang.

En spændende plade, der rører ved steder man ikke er så vant til at mærke.

Jack Donen

DAVID HYKES: 'Harmonic Meditations'

Om lyd og det at lytte til lyd står der et sted i den 34 sider-tykke CD-hæfte at "øret bygger, organiserer og nærer vort nervesystem". En fyldig tekst, ja, men David Hykes og Harmonic Choirs overtonesange er selvfølgelig alligevel det der fylder mest. 42 minutter af CDen er optagelser fra en enorm vandcisterne i staten Washington, der har en 44 sekunder lang genklangscyklus. Og ligesom ved overtonekoncerterne i de gamle vandcisterner i Søndermarken i København, så har den – kontrolleret – ekko-effekt en stærk virkning på lytteren. Men faktisk virker det ligeså stærkt med optagelsen fra genåbningen af The Winter Garden overfor Ground Zero i New York – også selvom disse 20 minutte er helt anderledes struktureret.

Uden at strække fantasien særlig langt kan man sagtens fornemme en himmelsk hvælving af lyd omkring sig med denne musik, hvor stemmerne arbejder igennem stilheden og samler sig, og samler – i tonerne og deres harmoniseren – selve bevidstheden. Inde i et univers der serverer den grænseløshed og plads der gør at man kan mærke en dyb, løsnende fred og ro, som vores krop og bevidsthed i virkeligheden altid længes efter og bliver tiltrukket af, som af en magnet.

Og så er der bare afslutningen, med de sidste 2 korte numre, lavet til en dokumentarfilm "Travellers and Magicians", hvor trommens rytme hjælper lytteren med at komme lettet tilbage til jorden...

Jack Donen

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