RockOm

By Tom Crenshaw, Tom@RockOm.net

Carly Simon needs no introduction. Since 1971 her music and hits such as "That's the Way I've Always Heard It Should Be", “Anticipation”, “You’re So Vain” and many others have been part of the soundtrack of millions of lives around the world. Her 1973 album No Secrets rocketed to #1 on the US album charts and held firm for six consecutive weeks, eventually going Platinum and receiving a Grammy Award nomination. One song from that album, "You're So Vain", was also nominated for Song Of The Year and Best Pop Vocal Performance and as of 2008 was listed at #72 on the Billboard definitive list of the Top 100 songs from the chart's first 50 years.

In 1988 Carly won an Academy Award, Grammy and a Golden Globe for her song “Let the River Run” from the Working Girl motion picture soundtrack. Only one of two artists to ever accomplish such a feat (the other being Bruce Springsteen for "Streets of Philadelphia"), Carly hasn’t rested on her laurels, instead she has continued to write not only more great songs, but film scores and children’s books as well.

Now Carly has a new album out entitled Never Been Gone which was produced by her son Ben Taylor on his Iris Records label. Never Been Gone is a collection of Carly’s hits, re-recorded this year with minimal backing instrumentation, allowing a refined, sultry, autumn sound to emerge. This fresh take on classic favorites also includes two news songs where we hear Carly continuing to evolve and grow as an artist. RockOm recently had the extraordinary opportunity to sit at length with Carly to discuss her new album and also explore music and healing, chant, meditation, the beauty of the human voice, prayer in its various forms and much more.

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Tom: Your new album is entitled Never Been Gone and is out now on Iris Records. I think I speak for millions saying through your music I never felt you had been gone. The great songs on this album are timeless, yet simplistically and beautifully refined. Which songs surprised you the most in how they spoke to you after you re-recorded them?

Carly: I’m glad that you said that because I don’t want anybody to think this is a compilation. There have been quite a few compilations of my albums but this is really a reinterpretation as if I were singing in a foreign language. I limited myself to certain instruments such as not allowing myself to use drums except for on one song. My hits were always marked by my love of the huge tom-tom fill [laughs] and since we didn’t have any of those fills I feel much more exposed on this album. On songs like “Loving You is the Right Thing to Do”, I’m not awash in production. I also feel very exposed in “Coming Around Again". Certainly in the original the emotion came across but not in the way it does on Never Been Gone. When I listen to this album it affects me more, hurts me more, elates me more; it gets back to the core of what the emotion is of the song. When I was listening and mixing "Coming Around Again" it seemed very much like a chant in a way. It sort of moves you vibrationally sometimes like when you sit and chant. I’m not sure which organ it affects - whether it the spleen, the heart, or the liver - but there’s something about it that puts you in a “hum” mood.

Tom: I agree. It’s a liberating listening experience. I imagine it must have been the same for you doing these songs in an entirely different way.

Carly: Well, yes it was and certainly my son Ben [Taylor] had a huge hand in that. He wanted to know how I originally wrote them and then he wanted me to move from there, to take my toys and do them bare and stark. You know, it’s not that I’m not very much helped by Ben and David Saw and [other musicians on the album] but there’s something so different about this album. We’re all older; we’re all approaching it in a different way. There are some new musicians who were never in on the songs before. David Foster certainly put a very new spin on “Let The River Run.” I find that song can be sung in any way. It’s a hymn, so it cannot be sung as a sultry love song, but in terms of whether it’s chorally done or [performed] by one voice or by a duo or trio; it’s very versatile. We sang this in a beautiful and simple choral way, although there are aspects of my solo voice that come through. But it’s largely a guitar-based song; it doesn’t have the thrust of the original version that I did for Working Girl.

Tom: Since we’re talking about “Let The River Run”, your Academy Award-winning song from Working Girl which became somewhat of an anthem after 9-11, what do you think it’s going to take for us to find the “New Jerusalem” and create more harmony between each other on this planet?

Carly: Oh, what a good question. I think that if we all chanted at the same time, everyday, from country to country to country, without any time zones interfering that we would all be vibrating on the same plane, which has always been a great healer. Music has always been used to heal because it makes people feel a lot better. Not all music does; there are certain songs, intervals and chords which don’t make you feel very good. Pythagoras freed the minds of his disciples from the worries of the day by playing music, which would calm their minds and would also produce deep sleep and prophetic dreams. In the morning he would banish the lingering effects of sleep by playing stimulating melodies and rhythms. Major chords will do one thing to your mind and body and minor chords will do something else. Suspension chords will do something else. Then there’s the Devil’s interval which does something. So music and its properties are just fantastic the way they can alter your state of mind.

Tom: I think that’s why we come back to our favorite music over and over again when we want to recreate that original experience.

Carly: Yeah, when you think of it the ancient Hebrews or the prophets foretold the future through chanting and the sister of Moses was said to have immense visionary powers which were conveyed through chanting. Shamans cured diseases and mental anguish by coaxing the evil spirits into leaving their victims through the powers of chanting. There have been all kinds of enlightenment through music, but healing the sick is also a major [attribute]. There are so many curative powers in music. I think that music is the strongest of all the arts in terms of being able to cross all the boundaries and being able to do so many things, especially vibrationally to the body. Looking at a piece of art is very effective and impressive, but I don’t think that it does the same thing if you’re not also the participant. There’s something about the way music brings people together in a communal way; it's such a terrific thing. And it seems to me that the most powerful thing about church or temple for me was always the music.

Tom: Do you use music in meditation to relax? It’s widely known that you have some issues with stage fright and it’s ironic that you create this beautiful music and yet you have stage fright before going on. Does music help you to calm yourself?

Carly: [Laughs] I would love to be on stage and perform music - just the vocal aspect of it - with a whole lot of other people. I would love to sing in a choir or as some of the Irish folk musicians do; they’ll sing while being held from the back by another singer, and that person will be held by another person, and that person by another so that it’s like a chain of singers who are holding each other and they feel each other vibrationally. I would love that. When I’m singing by myself I feel incomplete a little bit. I wish that I could actually feel the warmth and the vibration of another human being right next to my body while I was singing.

Tom: Well you certainly have the vibration of millions of fans that you’ve performed for over the years supporting you. I hope you feel that at times.

Carly: Oh I do, I do! I love it when the audience sings with me. What I don’t like is the very stillness of a room and then just my voice. That’s what sort of scares me. I jump at the sound of it, it’s so solo. I think there are some people who really feed on that and feed on the complete solo-ness of their voice as a lone instrument in the dark. I like the togetherness of the community singing.

Tom: Let me ask you about the creative process. I know that besides being a musician you’re also a very successful film arranger and children's author. Can you explain where all the magical melodies and lyrics, the ideas and words for your books and music come from?

Carly: Oh I have a thousand stories and as I was explaining to somebody the other day, I think I was born with a faucet in my mind. It’s always dripping a melody but there are other things that will be in the way of it. For instance, I’ll be talking to you and I won't necessarily be thinking of the melody, but as soon as I’m still again the melody will come. So anytime I want to tap into it I can and then I‘ll go from there. I go from whatever melody I’m given to a lyric that will seem to go with it or to a better melody or to a chord that I play on an instrument. There's always a starting place. It happened to be with my children’s book that the starting place was in telling my own children stories that I would be making up, because it would be easier to put them to sleep when the lights were out and I was not reading a book. So I would turn off the lights and I would make up a story. Everything that I write has to be very real to me or I have to be able to identify with it.

Tom: Who do you turn to musically for inspiration?

Carly: It’s usually classical music. To be specific I would say the music of Debussy, Poulenc and Gershwin, who's obviously not just classical but he’s the modern composer who I’m most attracted to in terms of melody. There are so many people in pop music and in jazz that it would be to hard to limit myself. If I go to my CD collection it’s almost impossible to chose one myself. It’s easier to turn on the radio and see what happens by accident. There’s always something that I’m fascinated and/or moved by.

Tom: Included in the new album is your song “Coming Around Again.” You write about coming back home to Martha’s Vineyard:"I know nothing stays the same / But if you're willing / to play the game / It's coming around again / So don't mind if I fall apart / there's more room in a broken heart." The music has changed this time around but the words still hold a simple truth that is unchanging about a space - in this case your home - which holds peace and serenity. Other than your home what sustains you when all else fails?

Carly: I think it’s prayer, in its various forms. It’s prayer, where I stay quiet and see whether I can hear the voice of God and how the voice of God comes to me. If it’s in the form of music, then there’s some kind of spiritual prayer which is more sacred than it is secular and that can be any number of things. There’s a requiem by Fauré I happen to love. My thing is I have to remember to [pray]. When I’m not being sustained or when I lose myself or when I’m angry or when I’m in the wrong space I have to remember I can click it off. I have to remember that I can pray if I choose to do so.

There are many things that are meditative for me. Painting is meditative; I love to paint. I love to garden and to look at my beautiful trees that I’m so lucky to have. My son’s music is just exquisite. I listen to that; I listen to the beauty of his voice. Just the beauty of the human voice is really something; it’s a meditation all of its own. The voice of my daughter… there are so many beautiful voices that I just love. My favorite tenor is Yussi Beurling and some of the beautiful music that he sang, just that voice in itself can pull me in a whole different direction, as can various pop songs. I listen to a lot of Motown, especially to Otis Redding, Marvin Gaye and Sam Cooke. And dancing... I would be a whirling dervish if I lived in that time. In fact, I might start a little group of my own right here in my apartment. [Laughs] That would be fun!

www.carlysimon.com

Photos by Amanda Borland

By Tom Crenshaw and Trevor Harden

On Tuesday of this week we posted our review of Sting's new winter-themed concept album, If on a Winter's Night... It just so happens that one of the musicians who plays on this recording - violinist Daniel Hope - shares a home city with RockOm. We reached out to Daniel to get his thoughts on Sting's new collection, what winter means to him and more. First a little background...

British violinist Daniel Hope is a four-time Grammy nominated violin virtuoso who has toured and performed with the world’s greatest orchestras and conductors for many years. Hope is renowned for his musical versatility, creativity and his dedication to humanitarian causes. A compelling performer, Hope’s work involves standard repertory, new music, raga, and jazz. He is also an artistic partner, associate artistic director, and producer of musical festivals, events and special musical programs around the world.

Daniel Hope, now an exclusive Deutsche Grammophon artist, has earned a Classical BRIT award, the Deutsche Schallplattenpreis, and five consecutive ECHO Klassik Prizes. He previously recorded for Warner Classics and Nimbus, playing Bach, Berg, Britten, Elgar, Finzi, Foulds, Ireland, Mendelssohn, Mozart, Penderecki, Schnittke, Shostakovich, Tippett, Walton, and Weill. His interpretation of Ravi Shankar’s compositions, on the CD East Meets West, met with worldwide acclaim.

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RockOm: Briefly describe how you came to be involved with If on a Winter's Night...

Daniel: In a sense, Sting and I go back a long way, but our connection is a curious one. He bought Yehudi Menuhin's house in London, the place where I spent the first seven years of my life growing up. The house was very important to me, and offered me the first chance to experience some of the greatest musicians close-up, such as Ravi Shankar, Stephane Grapelli, and of course the classical masters. I consider it one of the most important musical influences in my life. When Sting moved into the house, we lived across the street, and so I would often see him around. I became acquainted with his music first through The Police, which I listened to when I was a small boy. In 2006 we were both awarded the German ECHO Prize (the equivalent to the German Grammy), and we met officially for the first time backstage in Munich. Sting was so intrigued by this co-incidence, that we have kept in touch since. Then, early this year, he emailed me and invited me to guest on his new album. I was honoured and very excited.

RockOm: Your improvisation skills are quite impressive and impeccable. How much improvisation did you and the other musicians incorporate into the album?

Daniel: There are phenomenal musicians on this album, and all of them are masters of improvisation too. Classical musicians are not usually required to improvise, but my earliest musical training encouraged me to learn how to, and I am very thankful for that! Of the tracks in which I was involved, and also listened to, there was great freedom between the musicians, and it was inspiring to watch the story unfold.

RockOm: What are your overall impressions of the completed album?

Daniel: I think it's a beautiful, unique and deeply powerful album. Sting is a supreme artist, and his knowledge and command of repertoire, style and musicality is simply astonishing. I can't think of another pop star who would have the courage or the insight to bring off, for example, a song from Schubert's Winterreise or a Purcell Aria, and yet, everything Sting does, he does with his own voice and expression, and the very highest level.

RockOm: What does winter mean to you, both personally as well as from a philosophical viewpoint?

Daniel: For me winter is a season of reflection, and calm, especially as the year draws to a close. I can't think of a better companion to these feelings than sitting in front of the fire, and listening to If on a Winter's Night...

http://www.danielhope.com/home/

By Howard Cohen, RightSide Solutions

RockOm alum Mickey Hart discusses sounds from space with “The Universe: Pulsars & Quasars” scheduled to air on The History Channel, Tuesday, October 27th at 9:00 PM. Please check your local listings for details and set your TiVo/DVR now!

During The Dead’s Spring Tour, Mickey Hart debuted the "Universe Of Sound". Each night of the tour Hart connected audiences with the universe's most celestial vibrations from the Big Bang to the rings of Saturn to the black hole. Hart said, “The idea was to take our audience on a nightly tour of some part of our universe during our 'space concerto' section. The next day we put it up on our website so the kids could follow it.” This got the interest of the folks at the History Channel who produce the acclaimed “The Universe” series. They came out to Hart’s studio and spent an afternoon doing interviews for the segment being produced on pulsars and quasars.

Hart is known for his high quality recordings of music from around the globe and his collaborations with the world’s great percussionists. His Grammy Award winning Planet Drum (1991 Best World Music) and Global Drum Project (2008 Best Contemporary World Music) featured the finest acoustic percussion, enhanced with the latest audio processing and editing technologies. As he begins to record his next project, the frontier of space inspires Mickey's compositions and he is thrilled to be collaborating with a number of the world's leading astronomers and astrophysicists along with his Global Drum Project band mates, Zakir Hussain, Giovanni Hidalgo and Sikiru Adepoju in creating other worldly music emanating from a universe of sound.

Connecting the arts and sciences is another piece of Hart’s latest works. Mickey hopes to inspire the next generations and feels it is essential that young people understand the science of their times. He strongly supports the Obama administration’s STEM initiatives to prepare the next generation in science, technology, engineering, and math. Mickey has been a pioneer in supporting engineering for the arts including the development of field recording systems, loudspeaker arrays, and has made various appearances at AES (Audio Engineering Society) conventions.

Please find a brief of the show on The History Channel Website

www.mickeyhart.net

SEE ALSO: RockOm's interview with Mickey - "If There's a Creator, It's a Rhythm"

Photo: Jay Blakesberg ©2009

By Tom Crenshaw, Tom@RockOm.net

Most formulas for success in the music industry don't include exiting the lime-light at the pinnacle of one's career, but Matt Malley (bassist and co-founder of the Counting Crows) did just this in 2004. Matt retired after 14 years with Counting Crows just as the band was celebrating an Academy Award nomination for their song "Accidentally In Love," which appeared in the motion picture Shrek 2 Soundtrack.

Matt now follows another path, one focused on the home-front and family. He's now a full time father and husband as well as a record producer, session bassist, ashram keeper and student of the Mohan Veena or Indian slide guitar. Matt is a student and friend of Grammy winner Vishwa Mohan Bhatt and when chance brings them together, is either learning from his music "guru" or recording Bhatt's guitar in his home studio at the family ashram.

Matt has also just released his first solo record titled The Goddess Within. As a longtime student of Sahaja Yoga meditation Matt has infused The Goddess Within with sacred sounds, rhythms and harmonies, but don't expect this collection to be a velvety venture into serene, mystical realms. Matt rocks out when he's blissed-off and proves higher states needn't be all sanctified-sounding. One can be on the edge, pushing the boundaries both cosmically and musically at the same time.

In this exclusive interview with RockOm Matt speaks about the reasons he left Counting Crows, Kundalini energy and Sahaja yoga, learning the Indian slide guitar, his debut album and his musical intentions for the future.

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Tom: You're an Oscar, Grammy and Golden Globe-nominated songwriter and a co-founder as well as a 14-year member of Counting Crows. The question is, why does one leave a band as successful as the Counting Crows?

Matt: Good question. Actually it was fatherhood. But when my second boy was born in January of 2004 I just couldn't handle being a missing-in-action dad. My first one was born in 2000 and I missed the first three or four years of his life because we lived in hotel rooms out touring. That was really hard. So when the second child was born I lasted about another year and then I just had to get out and push the eject button. I haven't looked back. The money was good but money doesn't mean anything. We're still friends and the guys in the band are all like brothers, but I didn't need to be away from home anymore. It was grating on my soul and that's why I left.

Tom: How does something that you love so much turn into something you have to get away from?

Matt: When I first joined the band I wasn't married and wasn't a father yet so my life was better suited for touring and traveling like we did. I'm still a fan of ol' Adam; he's a great songwriter and that's why I stuck with him so long, but family came along and it outweighed my enthusiasm for being the bass player in Counting Crows. I didn't want to be the dad that comes home once every four or five months and visits for a couple of weeks and the kids don't know me that well. Even though the band was still fun, my life on the outside changed.

Tom: How did you get started into music?

Matt: When I was about seven years old a guy came to our grammar school and tested everyone in the class to see who had musical talent. He singled me out and told my parents that I needed to start taking piano lessons. I took classical piano when I was seven or eight and also went through trumpet and violin in the school bands through grammar school. That was my first exposure to music. Honestly, I didn't really like classical piano because it was kind of like typing. I had to memorize these pieces and I didn't feel it in my heart, I just had to memorize things with my brain. I wish I had stuck with it because classical music is an incredible art form.

Tom: When kids discover music for the first time and have the opportunity to play an instrument, especially alongside other kids, they discover something about themselves that's brand new. What did you discover about yourself through music that you may not have otherwise?

Matt: It was my first taste of collective awareness or collective consciousness. You're with a group and you all are achieving something harmonious at the same time. That was new to me as a kid... as I imagine it would be to any kid. [Laughs]

Tom: Tell us about your debut album The Goddess Within. How did that come about?

Matt: The lady on the album cover founded a type of meditation that I've been doing for over 20 years. Her name is Sri Matajii. She was born in the center of India in 1923 and is still alive today but is elderly and quiet and has stopped giving public programs. She's was nominated for the Nobel Peace Prize in the late 90s, though she didn't get it. [She teaches] a technique and a knowledge of the spiritual machinery that we're all born with. It's a universal truth and not from one religion; in fact it ties a lot of the prophets' teachings together. It involves an awakening of what's called the Kundalini or what in the Orient is called the Chi and it resides at the sacrum bone at the base of the spine. Sacrum is Latin for sacred, so whoever named the bone knew that it contained something. The Kundalini is regarded as the feminine aspect of divinity and so the Goddess within is kind of like my term for the Kundalini, the Goddess. The masculine aspect of God or spirit is in our heart as a spark called the Atman in India. The Kundalini is like a gas that rises up and unites with the spark, carrying it up to the fontanelle bone area at the top of the head. Fontanelle is French for fountain, so whoever named that area named it auspiciously as well. This teaching just connects a lot of the world's religions. Even in Christianity, the saints at Pentecost had tongues of fire coming out of the top of their heads but Christians have just seen that as a mystery.

In learning about the Kundalini, I've approached it like a scientist... no blind faith. Smart people don't just believe something that they're told; they have to find out for themselves. When the Kundalini is awakened you feel it as a cool breeze on the palms of your hands and out the top of your head. You could say that the central nervous system becomes integrated with the spiritual nervous system or the parasympathetic, the seven chakras. The knowledge that [Sri Matajii] teaches is really in depth. She's spoken to the Jungian Society and she's a Nobel Peace Prize nominee... you could say I'm a disciple of hers.

Tom: Did you ever get a chance to meet her in person?

Matt: Yes, a few times, but it was very formal. You don't just talk casually with her. I let her do the talking. Back in the late 90s I got to sit with her a couple of times. She knew I was in a rock band so the way she saw that was that I was helping bring vibrations into the music industry. She had asked me about Kurt Cobain who had killed himself a couple of years before. I remember responding, "I think it was drugs that made him do that." And she said, "I think he was frustrated." She asked about a lot of things related to music with me; it was very interesting.

Tom: I suppose she felt you could reach a lot of people.

Matt: Yes and by reaching them it doesn't mean preaching about her yoga. It's just that the presence of being out there puts vibrations into where you are. Wherever you put your attention, the Kundalini will follow.

Tom: So for this CD, did you go into meditation or prepare in some other way?

Matt: I didn't do any exercises or anything like that. We live in an ashram; in fact, I own an ashram with three buildings and our friends who do our meditation live here. We kind of live in vibration so I don't meditate or anything right before playing music. We meditate every morning at day break. The record was just done during the day somewhat spontaneously and when I felt good I would go work on it.

Tom: What are the intentions for this album?

Matt: Rather than clobber people over the head with my one practice, I'm hoping to continue to introduce spirituality to the Western world. I'm interested in Indian culture, the Hindu deities, the great religions of the world including Christianity, Mohammad was a great teacher... I'm just hoping to continue what a lot of artists are doing by introducing a spiritual outlook - without being religious - to the Western world.

Tom: You've expressed interest in Qawwali as well. How did you get interested in that?

Matt: I discovered Qawwali in the 90s and fell in love with it. It's a very aggressive Indian vocal style of singing. When I would do pilgrimages to India and I'd be at my Sahaja Yoga get-togethers, they'd often have Qawwali artists or bhajans or lots of Indian classical music and the Qawwali artists always stuck out to me. They would be almost frightening and wearing their matching hats; I almost consider it the heavy metal of Indian classical music. [Laughs] When I learned about the translation of the words, I was blown way. Qawwali music originated in what was Persia about 700 years ago as Sufi devotional music and has a connection to Islam but it's beyond just that now. I'm just a big fan of that art form.

Tom: You're also studying Indian slide guitar. We interviewed Debashish Bhattacharya last year when he was in Savannah, GA with Derek Trucks, Bob Brozman and Jerry Douglas. It's a difficult art to learn. How long have you been studying this?

Matt: It's really not easy at all. [Laughs] After ten years of learning it, I'm still on the tip of the iceberg. I know that when children start playing in India they'll be doing what's called the alankar for two or three years which is just exercises up and down the major scale before they actually start learning anything. They spend all that time just getting their pitch right. Slide guitar is like that; it's hard to get the pitch just right unless you practice the alankar for a long time.

Tom: Are you going to continue to move forward with spiritual music or get back in with the Crows? What does the future hold for you?

Matt: I'm not all that interested in a rock band anymore. It's a very blunt art form. Not to diss it or anything; a lot of the great rock records are also spiritual records. "Stairway to Heaven" is a Goddess song. I don't know if it's age or what but I'm getting more subtle. I'm reinventing myself and I'd like to give Indian music concerts on my slide guitar some day; I don't know when. I'd like to spend the rest of my life doing that.

www.mattmalley.com

PRNewswire/ Bermudatourism.com

Legendary producer & composer Quincy Jones (or "Q" as he has come to be known amongst fans and friends alike) and boxing–turned–entertainment promoter Rock Newman today unveiled the growing group of award-winning musicians that will assemble to perform with Quincy for one weekend only at the 14th Annual Bermuda Music Festival.

Quincy Jones and Friends will be staged over three days from October 29-31, 2009, in a spectacular setting on the tip of the island of Bermuda, surrounded by crystal blue waters and performed under the stars. On the final night, October 31st (Halloween) there will be a special performance of Michael Jackson's "Thriller" – 25 years after the best-selling album of all-time was first produced by Quincy Jones.

During this historic weekend of performances, Bermuda’s Premier Dr. the Hon. Ewart F. Brown will honor Quincy Jones' lifetime contributions to culture and humanity with the African Diaspora Heritage Trail Award. Jones changed the way music and philanthropy interact through his star-studded collaboration "We Are the World", the best-selling single of all time. Produced and arranged by Quincy Jones, this single raised $63 million for Ethiopian Famine Relief and shined a much-needed spotlight on the Ethiopian drought.

He continues his worldwide philanthropic efforts through music, in collaboration with institutions such as Harvard University, entertainers including Bono and Oprah Winfrey, and through his personal foundation, The Quincy Jones Foundation.

"It is my distinct honor to receive the African Diaspora Award from Premier Brown and the people of Bermuda and to join with them to celebrate the beauty and wonder of Bermuda during the 14th Annual Bermuda Music Festival. The line-up of artists that we have assembled for this year's festival are some of the most talented performers of their generation and, like me, understand and respect the diverse musical and spiritual influences that are reflected in Bermuda's rich cultural history. I promise that this year's festival will be one that you definitely will not want to miss… it's going to be hot."

The Bermuda Music Festival, sponsored by the Bermuda Department of Tourism, broke all attendance records last year when Beyoncé and Alicia Keys performed on the island. This October, the Festival will take its musical presentation to another level by showcasing the many talents of living legend Quincy Jones – a 27 time Grammy Award winner, with a record 79 Grammy nominations. The prolific Jones will conduct, arrange and perform with artists who share his passions, many of whom he has mentored or guided at different points in their careers.

Yesterday at 5pm EDT, festival promoter Rock Newman and Wyclef Jean - recently in the studio recording a song for the yet-to-be-released Quincy Jones Tribute Album – will make an exclusive LIVE appearance on www.BMF09.com/chat. Quincy described Wyclef’s performance at the Montreux Jazz Festival this summer as "a show that nobody in the world could follow." Wyclef will share his insights with Rock into Quincy's magic, their shared musical history, and what can be expected from this star-studded orchestra of "Friends" in Bermuda in October.

The lineup – like Quincy's own career - mixes a broad variety of talent, range and style. The elite group of musicians share both musical roots and – in some cases personal ties – with the man who has collaborated with talents as diverse as Frank Sinatra, Will Smith and Ella Fitzgerald. The 2009 Bermuda Music Festival artists, with over 45 Grammies between them, are: Patti Austin, Erykah Badu, James Ingram, Wyclef Jean, John Legend, Michael McDonald, Kenny Rogers and Naturally.

The artists will perform with an international orchestra, assembled by Quincy and comprised of some of the music world’s most respected talents: Greg Phillinganes, music director, writer, arranger, producer and 34-year veteran musician; R&B guitar phenom Paul Jackson Jr.; and John Robinson, Q's drummer since 1979 and the drummer for Barbra Streisand from 1993 through the present. Local Bermudian musicians will also join these global talents for a truly unique collaboration.

The 2009 Bermuda Music Festival is once again being produced by Gibraltar Promotions LLC., in association with Yhoshi Productions LTD. The producers would like to thank Fairmont Hotels and Resorts Bermuda for their support as the host hotel sponsor for the 14th Annual Bermuda Music Festival.

Tickets for the Music Festival are on sale now, and are available at the iStore and Fabulous Fashions at the Heron Bay Plaza. Tickets are also available online at www.bdatix.bm. For more information please visit www.bermudatourism.com or www.BMF09.com.

An Interview with Mickey Hart
By Tom Crenshaw tom@rockom.net

As a child, Mickey Hart used to stand out in thunderstorms listening to the patterns and sounds of the rain as it fell. He recalls some of his neighbors saying quizzically to his parents, "That boy of yours, Mrs. Hart, he's a strange fellow!" That rhythmic inquisitiveness as a child led Mickey deeper into the mysteries of sound as he grew older, becoming one of the world’s most celebrated percussionists and authoritarians on world music and music's healing abilities.

For nearly three decades Mickey has performed on drums and percussion as part of the Grateful Dead (along with fellow drummer Bill Kreutzmann) but his accomplishments don't end there. Through his tireless study of world music Mickey has gone on to contribute more than most any other musician to the study of sound, rhythm and the incredible healing aspects contained within.

Mickey has also written four books documenting his lifelong fascination with the history and mythology of music. These include Drumming at the Edge of Magic, Planet Drum, Spirit into Sound: The Magic of Music, and Songcatchers: In Search of the World’s Music. He’s appeared before the United States Senate to discuss the healing powers of music and rhythm and is a member of the Institute for Music and Neurologic Function at Beth Abraham Hospital where he continues his investigation into the connection between healing and rhythm and the neural bases of rhythm. Mickey has also been appointed to the Board of Trustees of the American Folklife Center at the Library of Congress where he heads the subcommittee on the digitization and preservation of the Center's vast collections.

In addition, Mickey Hart has composed music for movies, television and celebrated events including Francis Ford Coppola’s Apocalypse Now, the PBS special Vietnam: A Television History, and The 1996 Summer Olympic Games to mention a few.

RockOm had the extraordinary opportunity to spend some time with Mickey recently to discuss his early initiation into sound and rhythm, his role in the Grateful Dead, his various Grammy Award-winning albums of percussion and world music, and the incredible reality that there are new, healing rhythms being born into the world every day.

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RockOm: What are your earliest memories of music and drumming?

Mickey Hart: That all depends on what you call music and what you call drumming. I was always interested in the nature of the rain, loud sounds of the city, trolley cars – so the rhythmic tattoo of New York City first captivated me, the rhythm and the noise of things – buildings being torn down, a lawn mower – pretty much "loud stuff." I love the loud in things. The rain especially was transfixing because it came down so rhythmically. I would stand out in the rain and let it beat on me and it went deep into the subconscious and inner self. It felt really good to be out there. Those were my first thoughts of rhythm and noise.

Then of course the radio would captivate me. My mother had Folkways records tucked in the middle of a Duke Ellington collection. I started listening to pygmy rainforest music and listening to indigenous musicians as the first real turn-on to membranophones, or drums. And Latin music was really taking over at that time in New York City – Tito Puente and Machito – and that was coming out of every radio and every phonograph around the city. Before Rock N’ Roll there was Latin music which was full of syncopation and  got my ear. My dad and mom were both rudimental drummers and when my dad had left when I was an infant, he left a practice pad. That practice pad was my key into the other side. When I heard the report of the practice pad, that sealed the deal. There was nothing more beautiful than the short, sharp sound from the pad; I could listen to it over and over again. It became like my radar. That was the beginning of it all. I was a strange, unsettling boy.

RO: Tell us about meeting Babatunde Olatunji and how that impressed upon you.

Mickey Hart: Olatunji came in about 1959 much later; what I’m talking about is the early and mid-50s. But when I heard Olatunji's album Drums of Passion I had never really heard drums played at that level and I certainly had never heard a talking drum – a variable pitched instrument. Here you had the powerful trance loops of Western Africa. I mean people didn’t know that’s what they were experiencing but here you had trance rhythms played in New York City in a fine recording studio with CBS. And Baba was a great vocalist so here you had chant over these powerful, magical rhythms. So when I heard that album that sealed the deal as well as far as the power of raw percussion and voice. It changed my life, no doubt.

Then of course I was fortunate enough to run into him in 1985 and when I asked him to open up for the Grateful Dead, he didn’t know who we were. He said, “Ya, ya, ya…” and left. Someone then must have told him who I was and he called me back. We got to be friends and he opened for the Grateful Dead and the fans loved him. He became my best friend and the godfather of my daughter. So he was another major influence to me as well as to hundreds of thousands of practitioners and musicians from around the world – Coltrane knew him. All kinds of people were being sucked into this powerful rhythm snake.

RO: When did you first recognize your experience with rhythm and drumming going from beyond the ordinary into a mystical or spiritual realm?

Mickey Hart: I didn’t know what to call it when I was young but I was going into trance when I was alone. I played alone a lot and so it became a meditation and I was definitely moving in and out of trance. Looking back on it now I would play for hours and not eat. I was totally in the zone and that is a sure sign of a trance. That was unconscious. But then when I started playing in the Grateful Dead, I started really seeing the ritual unfold. It was out of control. It was a wondrous thing, going into a new soundscape that no one had ever been to. Well, I had never been to it, nor had anyone else around me. So I figure we were moving into realms of consciousness by taking psychoactive drugs simultaneously and playing for hours and hours. Again, this was a deep trance. People would just lose themselves in the groove and dance for hours and copulate and everything. It was a quite a scene. That also made a big impression on me, seeing a new ritual being born – you know, with white kids on the edge of the Western world.

Then as far as the health part of all this, I saw that music reconnected you with the infinite, vibratory universe when my grandmother had Alzheimer’s. She hadn’t spoken a word in six months and I isolated her once in the car when I taking her somewhere. I just happened to play my tar, my single-membrane tar, for her for about 20 minutes. She was looking at it and all the sudden she spoke my name and I thought, “Wow, this is powerful.” This is somebody who was disconnected from speech, who was motor-impaired saying my name. Then when I stopped, she went back into the darkness. That was a moment for me and I realized that rhythm has to do with life and the giving of life and the taking of life. When the rhythm stops, you’re dead. When the rhythm is good, you live a good life. It also can reconnect some of the connections that are broken in the brain using certain rhythms at certain volumes. It was then that rhythm therapy came into view and the music therapists started appearing. I appeared in front of the Senate in 1990 and testified on the power of rhythm in front of Harry Reid on the Committee for Aging. Harry gave me and Oliver Sacks a million bucks to kick-start music therapy here in the West.

RO: You mentioned in earlier interviews that the Grateful Dead were in the business of transportation. What was your role in transporting your fans and listeners?

Mickey Hart: I made the traps. I was in the engine room. Me and Bill Kreutzmann made that feeling that allowed you to go to those places that laid the foundation for the melody and the harmony and the song.

RO: So in a sense of the word do you and Bill Kreutzmann consider yourselves modern day shamans?

Mickey Hart: You could say that. I would say we’re more “seat-of-the-pants” kind of shamans. But we are practicing the art of shamanism for sure. We’re transporting people into other consciousness and that’s what shaman do. Yeah, we don’t have a license [laughs] but we do it!

RO: In your role of being a transporter, where are you wanting your listeners to “arrive”?

Mickey Hart: It’s certainly a state of bliss, of being centered, of happiness – where you can make sense of everything around you. That’s what consciousness is all about. Everybody has a different consciousness but the idea is to elevate the consciousness to a place where you can feel who you are and how you fit in. That’s what spirituality really is – it’s a tuning system, to tune you and the universe. Part of the universe is the people you live with, the people you love, your children, your self! If you can’t have this feeling within yourself you can’t give it to anyone else.

So it’s a constant maintenance and practice. I play every day to maintain a level that I can share with others. How do you share the precious, invisible feeling of spirit with someone? Well you have to change it into a form. In this case, it’s music; it’s vibratory. The universe is vibratory, you are vibratory, the things you create in culture are vibratory. How these rhythm worlds all work together, that’s the yoga of sound. That’s why music is such a great vehicle. It’s not really about the music, it’s what the music does to you and the feeling it creates in you and what you do with that feeling. Music is important!

If you talk to Michael Jordan, he will tell you that going to the basket and being up there for four or five seconds -- that’s God. He’s in an absolutely perfect, rhythmic entrainment with himself, the people around him and the universe. It doesn’t happen all the time; it only happens in moments. It’s not like you can tune yourself in and stay in this place forever, it’s a constant ebb and flow in and out of these wonderful states of consciousness. But if you don’t go for these moments, then you’re just in the music business and I never thought of myself in the music business. It wasn’t about that. When I went after a groove and the music, it wasn’t necessarily to entertain. When I get lost in it, it might not even be interesting on some levels, it may be self-serving. But I’m trying to create some kind of a feeling that’s relevant to the moment.

You can’t really judge these things in those terms of good or bad, you have to judge them in other ways such as what do they do? Are they positive? Are they negative? Like love, compassion, all those good things are positive. War, hate, racism, murder, people who take more than they give – that’s bad rhythm. Health is good rhythm. Disease means you’re out of rhythm. I’m sure all musicians want to play technically good and so do I, but I try to separate the ritual from the technical. You have to be technically good to create good ritual. These are very gray lines – one person’s spirit is another person’s non-spirit. So this is a very individual thing.

RO: You’ve been exposed to a wide variety of spiritual influences from that found in Indian and African music, to Tibetan monks, to the shamanistic spirituality of Carlos Santana to the mythological and bigger picture spirituality of Joseph Campbell. How would you describe your current spiritual worldview.

Mickey Hart: Well I know who my God is. If there is a Creator, it’s a rhythm. In the vibratory universe, the seed sound is the creation of everything. And in that sound, in that rhythm, you find what some people would call spirituality or the sacred dimension. There was nobody up there that said, “make this [life] happen.” This came out an arrhythmic event 10 billion years ago like I write about in the books. Now I’m really starting to really study the planet and listening to what they say through radio telescopes – making music with the universe. It’s led me back to the seed sound and that’s what I’m exploring now – dealing with the fabric of the universe and how to make contact with it and interact with it intelligently.

RO: Last year we spoke with your friend Zakir Hussain and he went into some details about rituals and cleansing before performing. You say you practice every day to stay in shape, is there anything ritualistic or ceremonial in regards to your warm-ups or preparations to perform that you’d be willing to share with us?

Mickey Hart: Sure. I always feel my heartbeat. I work out in the morning doing my cardio routine and then on the way to the studio (which I go to everyday) I start focusing on me and my heart beat, my rate. Even when I’m walking I feel the pulse. That gives me a place to start. Like as I’m talking to you now, I’m feeling my pulse. It’s something that I refer to from time to time. I always try to start there. I warm up a lot for long periods of time before I actually commit to the drum. I prepare myself and warm up really slow and long. I like taking an hour and half in my warm-up before I really go after a drum.

RO: Let’s talk about 1991’s Planet Drum CD where you convened some the world’s finest percussionists and musicians together. What were your intentions in gathering these particular artists to record that groundbreaking album?

Mickey Hart: I knew them all individually but they didn’t know each other. One night in the middle of the night I popped up and realized that I’m sitting on top of the mountain here. This is the Promised Land. I made the calls and one by one I introduced them to each other. They all showed up, turned on the microphones and let it all pour out. It was certainly musical magic. All the tracks were first takes, one person started playing and the next person related to it. I told them the mission was that we weren’t going for solos, we were going for the deep drumming groove and to entrain. They all could relate to that and that was history. That was really percussive history.

RO: Was it surprising the response the CD received?

Mickey Hart: Not in my world! [laughs] I thought everything we did could sell a million records. No… yes, of course it was. Winning the Grammy and being 26 weeks at #1 and touring and selling hundreds of thousands of CDs was gratifying. It also elevated percussion into a whole new realm where it was respected as an instrument equal to melody and harmony. It was musical.

RO: So you repeated it again this year with your Grammy for Global Drum Project?

Mickey Hart: Yeah, we did it again this year and now we’re working on a new one. That’s what I’ll be doing as soon as finish this interview.

RO: Earlier this year the Tibetan Chants for World Peace album you produced with the Gyoto Monks Tantric Choir was at the top of the Amazon and iTunes charts…

Mickey Hart: [laughs] Yeah, can you imagine that! I thought when that happened, I had seen everything. Here we’ve got a choir of monks from Tibet singing three notes each that is on the top of the charts. I never thought I’d live to see this. It made my day!

RO: What did that experience teach you, bringing the monks into the studio?

Mickey Hart: Well I’ve been doing it since 1987 and it’s rewarding beyond words, sitting there letting the chants wash over you. I think it’s very self-serving on my part. In some ways isolating them and listening to them for hours, having the privilege of being with these wonderful people, turns you into a speck of dust. It puts you in your proper perspective in the universe and is always a thrill. But this one was over the top because they allowed me to overdub themselves on themselves. We created a choir of over 110 or 120 voices. That hasn’t been heard outside the monasteries of Tibet since the 50s because there aren’t that many chanting monks now and they don’t do these giant rituals in Dharamsala, where most of them reside. Any day listening to the chants of the Gyoto Tantric Choir is a good day for me.

RO: Do you believe there’s still music and rhythms on the planet that we haven’t been made aware of yet?

Mickey Hart: There are rhythms being born as we speak - new rhythms being born in places we know of and places we don’t know of. That’s the way of music. That’s the way of things – they either grow and become relevant and serve the community or they die. Yes, there are new rhythms being born constantly and they’re mutations actually. Almost all music on this planet is a mutation or hybrid of something else that came before.

RO: What’s next for you, Mickey?

Mickey Hart: I’m after the sound of the universe, that’s where I’m going now.

www.mickeyhart.net

www.facebook.com/mickeyhart

Special thanks to Rose Soloman and Dennis McNally

Mickey Hart photo by John Werner

Today we bring you three new feature interviews with celebrated artists whose music is very distinct, but who are nonetheless connected by a burning desire to share their joy through music.

"I was given the gift of devotional song from birth, raised with the music of the temple, taught to sing and play beautiful instruments and dance... for love and for God," says Gaura Vani, the heralded musician and leader of As Kindred Spirits (which Jai Uttal calls, "Simply the most wonderful kirtan band in the Western world"). See RockOm's interview with Gaura, An Instrument of God's Peace.

The New York Times says, "Liking Brooklyn Qawwali Party doesn't depend on if you know what Qawwali is. Nor does it depend on how you feel about Nusrat Fateh Ali Khan, its most revered practitioner. This is an 11-piece band... that piles texture into Mr. Khan's melodies, ultimately transforming them; it's joyous music, and this band adds all the extra fun and funk it knows." Get ready to rocket into musical orbit as we get, High on Sufi Jazz Grooves.

You could say that Sara Watkins' solo debut has been a lifetime in the making. The 27-year-old singer-songwriter, fiddle player and one-third of the Grammy Award winning group Nickel Creek sets out on her own and as you'll discover in her interview with RockOm. Watkins can't quite explain music's ability to bring us all together, she only knows that it does and that music is unavoidable. For Watkins, "Music is everywhere."

By Tom Crenshaw, tom@rockom.net

You could say that Sara Watkins’ solo debut has been a lifetime in the making. The 27-year-old singer-songwriter and fiddle player spent nearly two decades—all of her teenage and young adult life—as one-third of Nickel Creek, the Grammy Award–winning acoustic trio that used contemporary bluegrass as a starting point for its no-genre-barred sound. Along the way, she’s hinted at her desire to do a project of her own and even organized some exploratory sessions in Los Angeles about six years ago.

Now, with Nickel Creek on indefinite hiatus, she has released her self-titled solo disc, recorded in Los Angeles and Nashville and produced by former Led Zeppelin bassist John Paul Jones. It features an impressively wide range of backing players and old friends, including itinerant alt-country duo Gillian Welch and Dave Rawling, Tom Petty and the Heartbreakers' keyboardist Benmont Tench, Elvis Costello drummer Pete Thomas, as well as fellow travelers from the bluegrass world like Tim O’Brien, Chris Eldridge, Ronnie McCoury and Rayna Gellert and her Nickel Creek bandmates. RockOm recently spoke with Sara Watkins about her debut CD, the diversity of the audience at her concerts, and the power of music to bring people together.

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RockOm: The new self-titled album is out and doing well for you, and you’re in the middle of touring. How’s the reception been to the new CD and is it strange to look around and not see your brother Sean or Chris Thile (of Nickel Creek) beside you?

Sara Watkins: Actually I’m used to not seeing Chris because there’s been different outlets beside the band for quite a while. But Sean has been playing guitar with me on the road for this first leg because I don’t have a set band yet. Aside from solo shows and occasionally having my friends play with me, I haven’t quite gotten used to that yet. So that’s something I’m going to be exploring in the next couple of months or so- having a new guitar player, which for me is going to be a really big deal because so much of the record is based on Sean’s guitar playing. I’m interested and excited to see how that’s going to go.

I’ve been trying to find the right person that can fill his shoes, but you know I’m learning more and more that what I’m going to be looking for in a band is not people who can replicate as much as people who have something of their own to bring and communicate what the record communicates accurately. I’m talking to a bunch of people now. There’s a lot of great young players out there.

RockOm: There’s such diversity in your songwriting on this CD, not to mention the songwriters you choose to cover ranging from Tom Waits to Jimmy Rogers. The album comes together nicely as a whole. How did you choose the songs to go on the CD?

Sara Watkins: I have been doing a bunch of these songs over the years, largely in the Watkins Family Hour which is a show that my brother and I have been doing for about seven years now in LA. For a while it was just the outlet outside Nickel Creek and when Nickel Creek stopped touring or we were off the road we would have this other band and this other format and venue. It was really nice. A lot of the songs I chose to cover on the record is material I have been experimenting with and that has been growing on me for the last little while now. Some of the songs I’ve sung for quite a while now and some are more recent, but all of them I’ve had the chance to perform and become comfortable with before going into the studio.

RockOm: Let me ask you about your huge success at such a young age. Two Grammy Awards and numerous nominations, Country Music Association Awards, Horizon Awards - does age fall away when you’re collaborating or performing with your peers?

Sara Watkins: When it comes to songwriting, I’ve not collaborated much with others. When it comes to playing, I think age does fall away. What doesn’t fall away is people’s ability. At bluegrass festivals kids are really welcomed and brought into the fold.

RockOm: Let me ask you about music and spirituality. Ricky Skaggs said in an interview with RockOm last year that there’s such incredible power contained in a song. Can you explain how music has the power to bring people of different cultures, ages and even creeds together?

Sara Watkins: I don’t know that I can explain that. I know that it does. Many people have explained it better than I ever could. Growing up in Nickel Creek and so far in my solo shows there has been a fairly diverse audience. It’s really fun to see younger people and kids and then older couples and families. It’s nice to see the diversity. That’s one of the wonderful things about music. It’s everywhere; it’s unavoidable. You can’t go anywhere without hearing music. It’s interesting to me to think of people who aren’t players. They experience music exclusively as listeners. What they experience is interesting to me. I think that’s a total different love and response.

RockOm: Let me ask you about this song you arrange with Chris Thile on the CD called “Give Me Jesus”. Such a pretty song - the harmonies are incredible.

Sara Watkins: I love that song. It was really fun to do the hymn. I learned it from a friend of mine, Fernando Ortega . I was doing some researching of the verses on the internet. It’s an old spiritual, an old African-American spiritual. There are tons of verses that I found and I chose these four verses. I was really glad to have Chris around. He actually arranged that about five years ago when I was doing a demo of the song.

RockOm: Would this project have come together if not for John Paul Jones (of Led Zeppelin) helping with the production of it?

Sara Watkins: I would have done the record - it just wouldn't have been nearly as good. I can say that because I’m actually proud of the record. I think it’s the best possible record I could make at the time. I feel so fortunate to have had him work on it with me.

www.sarawatkins.com

by Eliza Gilkyson

Visit Eliza at...

Main site
MySpace

Eliza Gilkyson is a Grammy-nominated, veteran folk singer-songwriter from Austin, TX who has been performing and writing albums for over 20 years. Her latest, Beautiful World was released last summer, the title track of which is this week's RockOm Featured Track. Recently two of Eliza's tracks, "Requiem" and "Rose of Sharon", were also recorded by folk legend Joan Baez for the album Day After Tomorrow.

Featured Track:
"Beautiful World"

"I wanted to write something about why I'm so committed to this struggle for sustainable life and I wanted to remember who it is I work for. I think that's really what "Beautiful World" is about, just that the natural order of things is so infinitely complex, interrelated and perfect that I wanted to write a song that was a floating homage to the cyclical nature and interrelatedness of everything." (Eliza)

Click to Play

RockOm's Interview with Grammy-award winning composer, Kitaro
By Tom Crenshaw, tom@RockOm.net

For over a quarter century, Japan's Kitaro has been an internationally recognized icon and globally acclaimed composer and musician. Influenced early on by American rock and R&B, Kitaro began experimenting with synthesizers and a rainbow of unconventional sounds in the mid-'70s. His pioneering fusion of electronic artistry, traditional Japanese forms and pop-inflected Western idioms created a lush, harmonic, and poetic sound that won the now legendary artist a huge international following.

1980's Volume 1 in the revered Silk Road series is considered an all-time masterpiece, with subsequent volumes only adding to its luster. '87's Grammy nominated The Light Of The Spirit, a collaboration with Grateful Dead drummer Mickey Hart, exceeded sales of two million in the U.S. alone, elevating Kitaro's presence to an unprecedented degree. 1992's Transcendent Dream, made with Yes' Jon Anderson, was also a smash, and other highlights are too numerous to single out. In 1993 Kitaro won a Golden Globe for his soundtrack to the Oliver Stone movie Heaven and Earth. 2000's Thinking Of You won a Grammy for Best New Age Album.

Kitaro has been quoted in the past saying that his music comes from a power beyond, “from heaven,” to be exact and that it flows through his body and out of his fingers when he composes. The fact that he has never studied music, doesn’t read or write music and, according to him, "never practices," makes it hard to fathom where those beautiful, out-of-this-world sounds come from.

This week marks the release of Kitaro’s latest project, music for a documentary film entitled Toyo's Camera. Toyo’s Camera captures the compelling stories of the internment camps in which Japanese Americans were held during World War II. While cameras were prohibited in internment camps there was one photographer who smuggled in a lens and built a camera with it to capture life behind barbed wires. That photographer was Toyo Miyatake. The film's story is told through over 400 photographs and is a collaboration of world renowned artists including photographers Toyo Miyatake, Ansel Adams, Edward Weston, and musicians Mike Shinoda (Linkin Park) and film director Junichi Suzuki.

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RockOm: What was your initial response when you were approached to compose the music for the Toyo’s Camera documentary?

Kitaro: It was an honor. This was a very important time in the history of Japanese Americans. The fact that they selected my music to represent these people in this important film is quite humbling. Most of the tracks are from previous works of mine. I am also an avid photographer so, of course that aspect of things made it especially interesting to me, but mostly the history is what is important to me about this film.

RockOm: You collaborated with Linkin Park’s Mike Shinoda on the music for Toyo’s Camera. Had you two worked together before?

Kitaro: They utilized one of Mike's songs for the film - but we just missed recording together. We did try to work together for a special track, but Mike's band mate hurt his back in China of all places, so I think the schedules suddenly changed and we weren't able to do it in the end. But I know we did what we could to make it happen. Maybe next time; it would be great.

RockOm: What do you enjoy most about collaborating? Tell us about your experiences working with Mickey Hart and the essence of collaborating. Do you see a day when you will collaborate again on projects?

Kitaro: Again, funny you ask. We're talking to Mickey Hart about maybe doing something again (that might be a scoop). The collaborative process is always interesting because it takes you out of your comfort zone and you end up making different decisions during the actual recording. It's often refreshing. It allows you to go places musically you don't normally go.

RockOm: You’re quoted as saying, "I never had education in music; I just learned to trust my ears and my feelings." You’ve also stated, 'Whose song is this?' I write my songs, but they are not my songs." Where does music come from?

Kitaro: It's all about nature and mother earth for me. I learned playing the guitar and now perform more with keyboards, so that allows me to think about music from two varying sides of creation. We must respect the earth. That's the inspiration for me, always.

RockOm: Is all music essentially spiritual?

Kitaro: For me, absolutely.

RockOm: You infuse Indian, Chinese and European music into your own unique sound; but initially you were inspired by R&B. How important is having a passion for diversity to a musician’s evolution into developing their own style or sound?

Kitaro: The rhythms emanating from R&B music are so different from eastern music. I think that's why the Beatles, Rolling Stones and Elvis always were inspired by [R&B].

RockOm: How long do you intend to observe the August full moon at Mt. Fuji with your annual concert?

Kitaro: As long as my schedule permits. It's quite amazing.

RockOm: How do you see music, in general, evolving in the next five to 10 years?

Kitaro: I hope the CD business stays alive. Downloading music is cool - one song at a time - but many of my projects have a common theme, so it isn't always about a hit single for me and others like me in the world music arena. I even see vinyl making a comeback with some artists, which I love because again, digital is cool, but sometimes you get more warmth with vacuum tubes instead of chips.

RockOm: If you couldn’t play music any longer what do you think you would spend your time doing?

Kitaro: Photography is my second love; definitely photography.

RockOm: The great jazz musician Sun Ra is quoted as saying, "The planet is asleep and it's the fault of musicians who are untrue to themselves." Do you believe this?

Kitaro: I think most musicians try to remain true to themselves. I think some people on the planet may be sleepwalking sometimes, but the beauty of the planet is ever-changing, never sleeping and always glorious.

RockOm: Your Japanese nickname translates to “a much happy man”. Are you truly a happy man and are you content with your life?

Kitaro: So lucky, so peaceful, so busy... so happy!

www.domo.com

www.toyoscamera.com

www.myspace.com/kitaronetwork

Pictured in the photo are: Director - Junichi Suzuki, Toyo Miyatake's Son - Archie Miyatake, Kitaro