RockOm

An interview with Himalayan/Tibetan Bowl Sound Healer Diáne Mandle

What are your observations with people experiencing change and self-discovery through sound?

Diáne: Healing through sound is a movement from disharmony to harmony, a spiritual awakening with a profound impact on the physical body. As we awaken and our perspective shifts, a domino effect ensues that also shifts our vibration and our cellular make up. The shifts cannot occur as separate entities - they affect the whole of who we are and extend infinitely. This transformation of consciousness is the foundational principle of the Himalayan Singing Bowls. Tuned to the vibrational frequency of AUM, the sound of universal perfection, their sound reawakens in us our connection to the universe. Their frequencies gently penetrate and calm the body/mind, balance the hemispheres of the brain, initiate the relaxation response and decrease, fatigue, pain, stiffness, and emotional tension. My clients often report that during sessions they feel completely transported to another dimension while being aware of that which surrounds them, and return feeling revitalized, deeply relaxed and filled with joy (a sense of wholeness). I work with many cancer patients and they report that pain and the effects of chemotherapy is greatly diminished, enhanced sleep patterns, more clarity, energy and a shift in attitude that contributes to their quality of life. Other reports from patients include lowering of blood pressure, positive changes in relationships and the ability to act on issues which they could not act on in the past.

The Tibetan Buddhist philosophy that the singing bowls are rooted in teaches us that embedded in the energy and frequency of the singing bowls is the idea that nothing exists independently of anything else. Healing is a process where we are released from an ego centered finite perspective of ourselves in the world and move into our essence where our vibratory energy is connected with the universe and where, even at a cellular level, we can experience the interrelationship of all things. Without healing, the core issue that caused a physical condition in the first place is likely to manifest again. Sound is the train that helps us get to healing.

What is energy healing & healing energy emission?

Diáne: The sound of Tibetan bowls entrain our energetic system to resonate with them in their perfection. In the universe every dissonant chord tends toward becoming a harmony and that’s what they help our bodies to do. The harmonic resonance of the bowls literally pulls us back into a more universal energetic flow. They effectively transmit their soothing and peaceful vibrations through our body in a way that affects our entire nervous and immune system and initiates the relaxation response bringing us into a Alpha/Theta brainwave state (waking dream state that is home to creativity, inspiration, intuition and where we can let go of our ego boundaries, of our consciousness of our physical state and connect with the non-physical, non dualistic.)

Who and how can people benefit from energy healing?

Diáne: Healing with sound is about getting back into alignment with the benefic energy of the universe. It is experiencing a vibration that connects us all to everything. Anyone can benefit who is willing to open to this energy.

What is the role of the patient and client in the process?

Diáne: We are equal partners in the process. The ultimate role of the practitioner is to empower the client to remember and strengthen his/her inner wisdom and healer. Ultimately the client is the healer, the practitioner is the guide back to that rediscovery.

About Diáne: Diáne Mandle has been practicing Himalayan/Tibetan Bowl Sound Healing since 2000 when she was already working as a Polarity practitioner and a Life Coach. Wanting to expand her knowledge of energy work she began a two year course of study of Tibetan bowls on the east coast with Sacred Sound Workshops and became their first certified practitioner. After relocating to California Diáne established a private practice integrating Polarity, Sound Healing and Coaching and in 2004 became California’s first State Certified Tibetan Bowl Practitioner/Instructor. Her work includes educational workshops, trainings and concerts nationally. Presently associated with the San Diego Cancer Center as one of its Complementary Therapy Team members she offer regular sessions to their patients. To date she has produced three acclaimed CDs, Return to Om and Sarasvati’s Dream and Being Well: The Journey, as well as two books Ancient Sounds for a New Age: Introduction to Himalayan Sacred Sound Instruments and How to Clear Space with Sound Using Tibetan Bowls & Tingshas. Diáne has appeared on numerous radio and television programs, been published in a multitude of journals, magazines and blogs and has traveled to Nepal and India to select high quality instruments and expand her understanding of the originating culture and healing modality. In June of 2008 in answer to an increasing demand for skilled sound healing practitioners she, in association with Sacred Sound Workshops opened the Tibetan Bowl Sound Healing School. The schools mission is to help create and maintain a high standard of practice with the Sacred Sound Instruments.

Find out more about Diáne, her books, music and healing work at SoundEnergyHealing.com.

By Tom Crenshaw, Tom@RockOm.net

Three melodic strings, a drumbeat and a passionate desire to connect with another can create a force that is larger than life. This immense, graceful force can be found in Christine Stevens and UpBeat Drum Circles as they travel the world, often venturing into hostile and war-torn territories to bridge cultural and spiritual barriers through music.

Music holds many keys for conflict healing and is an incredibly valuable weapon for promoting peace and reconciliation. Through music Christine Stevens has selflessly dedicated her life and resources in a mission to change the world one heartbeat and drumbeat at a time. Christine is an internationally acclaimed musician, author, music therapist and speaker as well as the founder of UpBeat Drum Circles. RockOm has made a dear friend in Christine featuring her work many times on our website.

We caught up with Christine recently to talk about bridging cultural barriers through music and instrumentation knowing she would have much to share with us on the subject. In connecting with Christine again we are introduced to the Strumstick: a three-stringed instrument whose small nature belies its capabilities. Through the Strumstick and drumming Christine has propagated goodwill, grace and peacemaking not only in Iraq but around the world as well.

Tom: In your work with Ashti Drum in Iraq, when you first are introduced to perform for a group is there an air of apprehension on either your part as a musician or those you’re meeting for the first time with regards to your being a Western musician? If so how do you make that first, all-important connection?

Christine: Well that’s a good question. "The beginning is half the whole" as they say and the first moments of a connection are crucial. A lot of preparation goes into going to Iraq. I dress according to the cultural norms; I dyed my hair, wore a hijab and prepared to meet people in their way. The first connection - what I noticed - it was all about making music and not talking at all.

More often than not, I introduce myself with drumming  and then wait and see if someone will answer you. [Laughs] What I love about the Strumstick and bringing a melodic instrument with me to Iraq to complement the drum circle program is that the Strumstick is in open tuning, like a drone. When you start to make that drone, people start to come. It’s a magnetic force for group gatherings. When you play a Strumstick it’s a call for singing and chanting. So I would play a simple open drone and often someone would just stand up and chant using Middle Eastern scales.

The idea for music for peacemaking has to do with some very important principles including inclusiveness and we get everyone to participate by handing out our rhythmic instruments. Everyone can join the beat. I love what Mickey Hart (drummer for The Dead) says, “When we drum together we create sacred space.” When we add the Strumstick and that drone - chanting and rhythm - we create a symphony of cultural sharing from the heart.

Tom: So using a Strumstick made the difficult work in bridging cultural barriers easier?

Christine: I would say that it makes it much easier because this time I had this fantastic instrument that was created by Bob McNally (he’s based in New Jersey and his information is at strumstick.com). What I love about it is that it’s three strings and no wrong notes! Anyone can play this! The biggest barrier is words, I think. As long as we’re aware of each other's culture and we’re sensitive, what is the real barrier? It’s words! With music, we can talk. We have to simplify to create that bridge for cultural connection.

The other thing I will say is that in my travels around the world with the Strumstick, everybody knows Bob Marley and you can play Bob Marley tunes on this real easily. According to the Dalai Lama, what we need to do to create peace on the planet is to have more music sharing and music festivals.

Tom: Oh, I agree. More music and more music festivals. That’s the plan and a perfect prescription. Many times we get caught up with words, like you say, when we simply should just let the music speak for us.

Christine: I think we’re becoming energy linguists. In sound and in music we can communicate best… our heart, our feelings. When we communicate on that plane there’s no conflict, there’s no war. We create “sacred space.” What happens in sacred space? We create connections and harmony. Just the word harmony is a metaphor for what we’re creating on the planet right now, one beat at a time.

Tom: Why is it that some people think they could never learn a musical instrument when drumming and the Strumstick, with only a fraction of instruction, turn anyone into a music-maker?

Christine: The key is having a very easy, immediate learning curve. We give up on ourselves too easily. If I had to sit down and try to learn piano scales right away I’d probably quit too, but because you can get a sound immediately on a drum, and a good sound immediately on a Strumstick without any training, all of a sudden children who have never played an instrument before can be in a jam session. I think it’s time to remove that dualistic thinking that some people have talent and some don’t and recognize that music is who we are - that we are biologically wired for music. We all have a singing voice, we all have a drum beat called our heartbeat, and it’s time to let go of all those myths and lies, find the instrument that calls to our heart and be part of the music.

Tom:  In your experience how important are the arts, especially music in connecting us with one another and why aren’t diplomatic efforts on the part of nations engaged in peace making more focused on cultural exchanges involving musicians and artists?

Christine: That’s actually not true. There are many diplomatic efforts right now happening through music. If you look at U.S. history one of the first efforts of diplomacy was sending an African-American gospel choir to Russia during the beginning of the Cold War. Louis Armstrong was paid by the State Department to travel and play music.  I just think we need more of this and the vision that I hold is that before the United Nations talk - we have to have dialogue - first we would have music together. First there would be a performance and then there would be dialogue. I don’t believe it’s only about the music; I think it’s about the whole protocol of combining music-making, musical sharing and appreciation of each other’s culture, and true listening.

Tom: What’s upcoming in the near future for UpBeat Drum Circles?

Christine: We have opportunities to train people in the HealthRHYTHMS program that Remo Drum Company sponsors and we’ll be teaching more in the sacred drumming and peace building traditions in places like the Shambhala Mountain Center. We’re working on some new books and CDs about UpBeat Drum Circle's and Ashti Drum's whole journey in the Middle East hoping to continue to build our drum ashram, our drum ministry, our peace drum corps and continue to collaborate with RockOm. We love learning so much from visiting your site and tuning into what RockOm is doing. Thank you so much for that, Tom.

LINKS:

Visit Strumstick.com to learn more and to see and hear Christine demonstrate its versatility

Be sure to view all our features and interviews with Christine Stevens:

The Rhythm of Life

Social Change and the Power of Music

Global Resonance

An interview with Country Music's Collin Raye
By Tom Crenshaw, Tom@RockOm.net

Collin Raye grew up surrounded by powerful songs of conviction and in the shadows of legendary rock 'n' rollers and country artists. His mother was a musician in the 1950s and opened up on many occasion for the likes of Sun Records recording artists Jerry Lee Lewis, Elvis Presley, Johnny Cash and Carl Perkins. Later on in his mother's career Collin and his brother would become part of her act learning the ropes of the entertainment business at an early age.

Jump now to 2009. Collin Raye is a legend in Country music having garnered five Platinum albums, 25 Top Ten hits, and 15 No. 1 chart-toppers. Five times nominated as country music's Male Vocalist of the Year, Collin Raye has consistently used his stardom to advance social causes. Among the organizations he has supported are Boys Town, First Steps, Al-Anon, Special Olympics, Country Cares About AIDS, Catholic Relief Services, Parade of Pennies, Vanderbilt Children's Hospital, The Emily Harrison Foundation, Childhelp USA, Silent Witness National Initiative, Easter Seals and Make a Difference Day. At the 2001 Country Radio Seminar, Clint Black presented Collin Raye with the organization's Humanitarian of the Year award in recognition of his issue-oriented music and his tireless charity work.

Collin's latest release, titled Never Going Back [Time Life Records], is a mix of secular and spiritual songs that he himself is extremely proud of. Included on the album are the highlights "Mid-life Chrysler", "Without You" (a duet with Susan Ashton), "The Cross", "Only Jesus" and "She's With Me", a song Collin wrote for his granddaughter Haley who suffers from a rare and crippling neurological condition.

In this interview Collin talks about his early years in the honky-tonks, his newest songs centered on his faith and spirituality, staying positive through family struggles, and why he never tires of lending support to charitable causes.

Tom: Do you ever miss the honky-tonks?

Collin: Oh, no, no, no. Never. I've never looked back. I look at those like a sentence; I did my time and I earned my stripes. It was a good place to cut your teeth and learn how to perform, because in those kinds of places in those days especially you weren't put on a pedestal for being in a band. If anything, you were looked down upon. You really had to learn to be thick-skinned and be able to play with enthusiasm even when no one applauded or paid attention. If they did pay attention at all it was to complain that you were too loud or not loud enough or not playing enough dance music or that kind of thing. It was very tough and I was a young man; I could never do that again today. I wouldn't have the patience for it, nor the desire.

But between that and the casinos that I did later on in Nevada, I learned how to do this for a living. So by the time I got a record deal I knew how to put on a show and perform for people. All I needed was my own music and so once I got that I was in business.

Tom: Bands coming up today don't necessarily need to do what had to be done in the past such as play in the honky-tonks. But at the same time they don't get the experience of being in front of brutally honest audiences and paying their dues. There's a benefit and a drawback there.

Collin: It's a double-edged sword because if - let's say my daughter or my son was following in my footsteps - I would not want them to do what I had to do. I'd want them to be able to win a talent show, get a couple of breaks, and 'boom' get a record deal. As someone who's done that, at the same time you feel cheated in a way. [These artists] will still talk about paying their dues and playing in one club for a year before getting a record deal. And you find out what club it is and it turns out to be one that we'd have cut off our pinkie to play in, with big sound and lights. They don't have to do what we did and it shows; you see them live and see their inexperience. But we live in a time that worships youth. Our society seems to adore anyone who does anything if they're cute and they're young, whether they really have anything to offer or whether they have one trick to offer.

For instance in the mainstream, music has become such a product. And I know technically it's always been a product but it's now looking like something you just buy off the shelves. I just wonder sometimes what rock and roll, country and mainstream pop music would have been like had it always been that way. The answer is it'd be pretty pathetic. In other words, those people who did all those creative things in the 50s, 60s and 70s would have never gotten the opportunity to do those things, set the standards so high and give us all that music we love today had record labels kept them in a choke-hold like they do now or not signed people because they're not cute or young enough.

Tom: Let me ask you about your latest album, Never Going Back which was released on your own label...

Collin: Actually, I have done some records on my own label but this one is released on Time Life. I'm really enjoying that relationship because they are not a country music label or a rock label or an anything label; they just put out music. They told me to make the album I wanted to make and they'd sell it with no interference. I had never gotten an offer like that before. And so I had no one looking over my shoulder and I made a record that is very eclectic and very much 'me.' I feel like it's more of a Christian album more than anything else. I didn't mean for that to happen but that's just where my heart is and the kind of the songs I write. To be honest with you, I feel like I've been making records like that for a long time but was always stereotyped as a country music singer no matter what I sang. For the longest time we were very blessed and lucky to be able to put out songs that carried a heavy message and make them country music hits - from "Little Rock" to "Love Me" to "In This Life" - I feel like they are spiritual songs. We treated them that way and performed them that way. But it just so happens at that time the country music audience was wide and varied enough that there was a place for those kinds of songs.

For instance, we talk about domestic violence amongst women and we look at that through the eyes of a father and how sometimes when we don't mean to be doing it in a harmful way, we degrade a woman like she's a piece of meat or something to look at. Well that's somebody's little girl, now. There were songs like that which were Top 5 Country records and I couldn't believe we got away with that. Eventually the powers-that-be decided around the turn of the millennium to get back to the good 'ol party tunes that sell beer and make Budweiser happy. That's kind of where the male artists are right now; you're either doing that or you're not doing anything. The girls, like Carrie Underwood, can get away with some cool songs sometimes but rarely do you hear a song from a male artist today on the radio that's not about pick-ups and drinking beer from a mason jar. That's not my cup of tea and never was.

So to make this long answer even longer I think what I enjoy the most is that the label doesn't consider me a country singer; they consider me a singer. My fans either don't listen to radio or listen to different types of radio such as Christian radio or AC [Adult Contemporary] radio. They feel like I'm a different type of breed and for the first time I've got a label who understands that and promotes me as such.

Tom: It seems the labels have been changing their minds regarding spiritual music. Do you think it's purely profit driven or do you feel like there's a change happening in some of the bigger labels?

Collin: I would love to believe it's a change in attitude but I've been in this business for so long and known people who run labels. When MercyMe's album and song "I Can Only Imagine" crossed over - which is a Praise and Worship album straight out of Sunday Worship - and became a #1 AC song, I think God very much blessed that effort. It was an anointed thing. It was very unique and isn't going to happen over and over. But at the same time I think record labels look at that and go, "Hey, there's people who will actually buy this Jesus Music." There could be an exception in there who are maybe trying to do something positive with their roster, but for the most part they probably see it as a chance to cash in. That's just what record labels do. They've been doing it since someone came up with the concept in the first place. And they'll continue to do it except for the labels that are specifically organized to release spiritual music.

Tom: In 2001 the Country Radio Broadcasters gave you their Artists' Humanitarian Award and you were nominated for 2008's Academy of Country Music's Humanitarian Award. You've worked with just about every organization out there who seeks to help others. What can you share with someone who may be reading or hearing this that is going through hard times and trials and might be in a position where things seem hopeless?

Collin: I guess experience. And by that I mean that I'm no different than anyone who has gone through stuff. The struggles in my career I don't even consider as significant. The struggles that count are the ones in your family and that involve your kids. In my case I've had a few, not the least of which is one we're going through right now with my little granddaughter, Haley, who's extremely ill with a neurological disorder that is crippling and (they tell us) ultimately fatal. There's helplessness that comes with that. So what I say comes straight from the horses mouth [when I work with these causes]. For years I used to support charities and children's charities, but my kids were fine. I've always had a compassionate heart and heavy conscience. But now through the course of the past few years when I offer my help or try to draw light to a certain cause or charity, people can look back and say that the Spirit's got to be with me to a certain degree, otherwise I would just sit in the corner and feel sorry for myself. I could say that we have our own problems and I'm not going to worry about people overseas or hungry and sick kids in our own country, because we have our own baby to worry about. But I can't do that.

I feel like God wants me to continue more so than ever to reach out and say, "This is what we're going through and though it's a different situation than what you're going through, we have very similar pains and feelings that we deal with day after day." We have to stick together and go shoulder-to-shoulder with other people who are suffering. And not just reach down like we did in the 80's with "We Are the World," which was a huge, wonderful project. But it was the elite in the music business who were reaching down to help the people of Africa, which is nice and raised a lot of money, but I think the Lord wants us to not reach down. He wants us to reach up or reach across and wrap our arms around each other and understand that we're all in this together.

The Lord never promised us an easy time and if we were supposed to have the ability to cruise through this life without suffering then he could have paid the price for us by dying, but not necessarily dying the way he did. He could've lived a very affluent and comfortable life up until his death. But, no. He was born in a barn and I'm sure that for a large part of his life he was a nomad and homeless. He didn't have anything of this earth. The Bible only tells us so much about his early years but you have to imagine. After all, they were very, very poor and people of the land. To live the way he did and die the way he did, there has to be a lesson in that. In other words, if life could be wonderful and perfect, there would be no need for heaven.

I feel like I have learned to embrace that more and more as time has gone by, not just because of the amount of years I've lived but because of the dire circumstances that seem to continue to grow as I get older. I'm 49 years old now and I thought by this time I'd be a fat cat, kicking back and not worrying about anything. Nothing could be further than the truth. We have more struggle, pain and fear in our lives today than I've ever had in my entire life. But here I am, I keep on smiling and I'm still positive. I still love people and love to work. I still love when people want to share their stories with me. I'm the same guy. That I credit totally to the Lord. When you have a lot of success early on, even though I was worldly appreciative of the fact that I was getting to live my dream, at the same time you start to wonder why it is I get to do this and make good money? And why is it when I go to work people stand up and applaud and other people have to bust road without any recognition whatsoever for very little money? I always hated doing autograph lines, not because I didn't want to meet the people, but because I didn't like the idea of sitting there behind a table and seeing a line an eighth of a mile long waiting to meet me like I'm the president or the pope. I'm nothing special; I'm just a musician and singer. I always felt like Santa Claus in Macy's in Miracle on 34th Street. It just didn't make any sense to me.

Now that I've gotten older and had these other experience, now I think, "Ah, God was just training me." In other words what I am doing now, he was just training me back then like I was in boot camp. People are drawn to me now for another reason. I believe they're drawn to me because of Him and they sense something in me that's of Him whether they know it or not. That's why celebrities can get so messed up and get into strange, weird behavior or drugs is because if you don't see Him and the Holy Spirit in it then you're going to start believing that it's 'you.' You start believing it's all about you and you're so great. It's been not only a saving grace for me to keep my feet on the ground but it's given me my purpose.

LINKS:

www.collinraye.com

www.operationkids.org

By Diáne Mandle

Music has always been recognized as having a powerful effect on human consciousness. But in the past few years, there has been more research into the science of sound, and how it can be used to improve our lives. We are learning why different kinds of music and sounds have the effects that they do on the body, emotions, mind, and spirit.

Science tells us that all life is energy in one form or another. Further, this energy is eternal, changing and morphing from one shape or form to another. Each ‘energy shape’ has its own particular pattern of frequencies, or vibrations. When one form experiences a matching frequency in the form of a musical note, the form will begin to vibrate in sympathy with the note in sympathetic resonance. A strong enough vibration can even cause a form to restructure itself, as has been noted with cancer cells, crystal glasses, water crystals, etc. With the Himalayan bowls (also known as Tibetan Singing Bowls) every note creates sympathetic resonance with every other note producing harmonic overtones that commence the healing process.

Let us, for a moment, look at the difference between healing and curing: Curing is an end product or finite result. Dictionary definitions define it as “the complete biological resolution of a diseased state” or “the elimination of disease, distress, evil”.

Healing is a process and infinite in nature. Some definitions include: “the making or becoming whole, the mending of a breach”, “to free from grief, troubles, evil”, “restoring to health or soundness”; and my personal favorite by Jeanne Acheerberg, “an intuitive perception of the universe and all its inhabitants as being of one fabric.”

Healing is a movement from disharmony to harmony, from duality to non-duality or Divine Awareness. The journey of healing then is a spiritual awakening with consequences on our physical well being. As we awaken, our perspective shifts. As our perspective shifts, our vibration shifts. As our vibration shifts, our cellular make up shifts. The shifts can not occur as separate entities- they affect the whole of who we are and extend infinitely. This link between body and spirit has been much ignored by the medical profession but the link is quite clear.

Healing is a process where we are released from an ego centered finite perspective of ourselves in the world and move into our essence where our vibratory energy is connected with the universe. Healing can lead to being cured. But if one is simply cured on a physical level, without sufficient healing, the core issue that caused the condition in the first place is likely to manifest again. A vital step in the healing process is that of establishing resonance with the condition in question. Most people resist their condition. You cannot release that which you do not own. Sound is the train that helps us get to healing.

How? We now know that different pulses stimulate different brainwave centers. We also know that we can create brainwave entrainment through a process of sympathetic resonance and that we normally entrain or fall into vibrational step to the strongest vibrations in our immediate environment. Our body is a perfect transmitter of vibration, being 80% water Further, nerve bundles in our spine transmit vibrational sensory data to brain stem and limbic system (our emotional processing center). Placing Himalayan (Tibetan) bowls directly on the body significantly increases their effectiveness. The bowls vibrate at the frequency of perfection, otherwise known as the Sanskrit mantra ‘AUM’. They create harmonic overtones in which each note contains all other notes and none is a separate entity on its own. These bowls are made of seven metals which were collected, smelted and pounded into shape and sound in a ceremonial manner, with monks imbibing them with prayers and mantras. The intention of healing and consciousness transformation still resides in the sacred instruments and is transferred to the listener.

Their sound entrains our energetic system to resonate with them in their perfection. In the universe dissonant chords tend toward becoming harmonic. It is the nature of energy to harmonize. The harmonic resonance of the bowls literally pulls us back into a more universal energetic flow. They effectively transmit their soothing and peaceful vibrations through our water body in a way that affects our entire nervous and immune system. The sound waves initiate the relaxation response bringing us into a Theta brainwave state (waking dream state that is home to creativity, inspiration, intuition and where we can let go of our ego boundaries, of our consciousness of our physical state and connect with the non-physical, non dualistic). The sound vibrations of the sacred bowls balance our right and left brain and with repetition in conjunction with visualization can hold us in the Theta state for longer and longer periods of time. The vibrational sound from the Himalayan bowls initializes our parasympathetic nervous system and helps to raise the disease fighting immune cells while also reducing our stress response and creating cardio-respiratory synchrony (the synchronized flow of our brain, respiratory and heart rate waves). Our capacity to heal from any illness is predicated on our body’s ability to achieve cardio-respiratory synchrony and this is exactly what is achieved by listening to the bowls. When they are placed directly on your body, as in a private session, then the healing potential is greatly increased because you are receiving the vibrations in your muscles and organs in addition to hearing them. In other words Vibrational Sound creates the optimum physical/spiritual container needed for healing.

Dr. Mitch Gaynor, Director of Oncology at the Cornel Cancer Prevention Center states: “‘Sound can redress imbalances on every level of physiologic functioning and can play a positive role in the treatment of virtually any medical disorder.

Himalayan Bowls are teachers: Let’s not reduce the healing that takes place only to science. We have already seen that healing is predicated on spiritual awakening. The bowls can be seen as great teachers. They carry the Buddhist Voidness teachings which purport that nothing exists independently of anything else. Each note from these sacred instruments contains all other notes and herein lies their magic. Although possessing a variety of harmonics, the fundamental vibration of each bowl is rooted in the Sanskrit mantra OM. This is the vibration that our brains entrained with. This primordial sound is the perfection of the universe. The ensuing sympathetic resonance between brain and bowls reawakens the intrinsic blissful self in us.

Our attitudes, beliefs and behaviors will either engage with or sabotage the healing potential as well. Positive thinking can strengthen your immune system and change your life. The combination of the sound vibration of the bowls with positive visualization and affirmations will greatly enhance the healing experience. Thus, sound is a type of energy medicine that creates the sacred space in which people can heal from stress disorders, pain, depression, the emotional roller coaster and more. It also creates the perfect state for deep meditation, creative thinking and intuitive messages. The healing process is initiated by entraining our brainwaves and creating sympathetic resonance with the perfect vibrations of the Himalayan singing bowls.

ABOUT THE AUTHOR: Diáne Mandle is an author, teacher, healer and recording artist based in Southern California. She is Certified in Tibetan Bowl Sound Healing and Polarity therapy. Diáne maintains a private practice offering an integrated system for healing which includes Sound and Polarity Therapy, Toning and Visualization. She conducts educational programs, keynotes and Harmonic Sound Healing concerts nationally and presents frequently at the Deepak Chopra Center and the Golden Door. She has produced two acclaimed CD’s and the first comprehensive multimedia home study course in Sound Healing using Himalayan instruments (Tibetan, Nepalese and Bhutanese bowls, tingshas, gantas and dorjes) ‘Ancient Sounds for a New Age’, an E-Book/DVD/ CD set available on her website http://www.soundenergyhealing.com

Examining Rock's Impact on Vietnam Vets

Newswise — Virtually anyone who grew up in the rock music era can point to a time, place or poignant memory that is seamlessly tethered to a song. For Vietnam War veterans, the backdrop of the war made that connection all the more powerful and emotional.

Two University of Wisconsin authors are mining this deep connection in interviews with hundreds of Vietnam veterans around the country. The final product will be a book that weaves together personal stories about how music resonated with veterans, and also explores the unique history of underground radio in Vietnam and the perspective of rock musicians on the war.

But the very act of talking about the subject is proving to be "cathartic" for many.

"What is constantly so astounding is how (discussing music) makes it so much easier to talk about what it was like there, how they felt and how they are feeling now," says Doug Bradley, a Vietnam War veteran and director of communications for the UW System. "Thousands of vets have still locked it down, have never talked about their experience. This has facilitated a discussion with some people who have never opened up before."

Craig Werner, chair of the Afro-American studies department and co-author of the book, says that power of song for veterans can fill the void where words simply fail.

"When we get into spoken language and words to describe an experience, we're stuck - like it or not - using the terms that 'the idiot politicians' use," says Werner. "When we pulse vets on this topic, we get a clear sense of how inadequate our public language is top describe the war."

Adds Werner: "I think music is where memory lives."

Werner is a rock music historian who specializes in Motown, rhythm and blues and other musical movements rooted in the sixties. He also grew up in a military town in Colorado and played in a rock band that frequently visited the base - "as close to a front-row seat as someone outside the military could have."

Bradley and Werner got the idea two years ago during a veterans Christmas gathering in Madison, and it quickly fell into place. They recognized that, unlike the highly diversified genre market that exists today, music back then was a "shared canon," and that certain songs are referenced repeatedly as important. "Back then, we all had the same Top 20," says Bradley.

That being said, they also are finding that the songs that mattered most to veterans diverge a great deal from the cliched artifact of that era, the "protest song." That was kind of a Hollywood illusion, Werner says.

"As compared to kind of the standard-issue, sixties nostalgic movie soundtrack - the demonstrations and all that - I think that on the home front, people tended to be more ideological and expressly political, in the capital P sense of the word," says Werner. "But most of what we are getting are personal stories. They're political on a certain level, but it's not about politics."

Some of the best anecdotes are about songs rooted to place, Werner says. One veteran talked about how his experience on Vietnam's China Beach is always evoked by Otis Redding's "Sitting on the Dock of the Bay," and its desperate and defiant lyrics.

Another describes his experience as a "tunnel rat," whose job was to crawl through tunnels by first dropping smoke grenades to find the exits. The song? "Purple Haze," by Jimi Hendrix, a song the veteran played that matched the grim task.

One clear theme is that the songs that resonate with vets aren't necessarily songs about the war at all - but about songs that evoke a feeling or paint a picture. If the authors were asked to create a short list of the music that mattered most, here would be some of the essentials:

- "We've Gotta Get Out of this Place," by the Animals. "We had absolute unanimity is this song being the touchstone," says Bradley. "This was the Vietnam anthem. Every bad band that ever played in an armed forces club had to play this song."

- "Chain of Fools," by Aretha Franklin. This song derived many layers of meaning for vets and frequently represented the growing disenfranchisement between the "grunts" and the chain of command. The song resonated strongly with African-American vets.

- "Fortunate Son," by Creedence Clearwater Revival. The piercing lyrics about sacrifice ("And when you ask 'em, 'How much should we give?'/They only answer more more more") made the song all the more powerful. Werner says that a lot of CCR comes up in interviews, with "Who'll Stop the Rain" and "Run Through the Jungle" also high on the list.

- "Fightin' Side of Me," by Merle Haggard. Werner described this not so much as a pro-war song, but an "anti- anti-war song," and it was one of many popular songs from country music artists.

- "These Boots are Made for Walkin'," by Nancy Sinatra. "It's amazing how many vets out there are in that Nancy Sinatra army of supporters," Bradley says.

- "What's Goin' On," by Marvin Gaye. "The whole tapestry it weaves" has a lot of meaning to vets, says Werner, especially since a good portion of the song is about Gaye's brother's experience in Vietnam.

[SOURCE]

An interview with Airto Moreira
By Tom Crenshaw, tom@RockOm.net

Airto Moreira is one of the most endearing and influential percussionists in the world today. Born in South Brazil he began playing percussion even before he could walk. By the time he was six years old Airto had won many music contests by singing and playing percussion. He moved to Sao Paulo at the age of sixteen and performed regularly in nightclubs and television as a percussionist, drummer and singer.

In 1965 he met the singer Flora Purim in Rio de Janeiro. Flora moved to the USA in 1967 with Airto following shortly after and began playing with musicians such as Reggie Workman, JJ Johnson, Cedar Walton and bassist Walter Booker. It was through Booker that Airto began playing with the greats - Cannonball Adderley, Lee Morgan, Paul Desmond and Joe Zawinul to name a few.

Mr. Moreira's impact in the drumming world has been so powerful that Downbeat Magazine added the category of Percussion to its readers' and critics' polls in 1973 because of his work. Airto has gone on to win this award over twenty times since then. In the past few years he was been voted the number one percussionist by Jazz Times, Modern Drummer, Drum Magazine, Jazzizz Magazine, Jazz Central Station's Global Jazz Poll on the Internet, as well as in many European, Latin American and Asian publications.

Airto Moreira has been advancing the cause of world and percussion music as a member of the Planet Drum percussion ensemble alongside The Grateful Dead drummer Mickey Heart, master conga player Giovanni Hidalgo, tabla virtuoso Zakir Hussain, Flora Purim, Babatunde Olatunji, Sikiru Adepoju and Vikku Vinayakram. Airto has contributed to two Grammy Award-winning projects, the album Planet Drum, which won in 1991 in the World Music category, as well as his work with the Dizzy Gillespie's United Nations Orchestra, which received the award for Best Live Jazz Album.

In September of 2002, Brazil's President Fernando Henrique Cardoso named Airto Moreira and Flora Purim to the Order of Rio Branco, one of Brazil's highest honors. The Order of Rio Branco was created in 1963 to formally recognize Brazilian and foreign individuals who have significantly contributed to the promotion of Brazil's international relations.

Also, Airto was a professor for three years at the Ethnomusicology department of UCLA and broke new ground in musical concepts and creative energy.

Currently he divides his time between recording studios, workshops and clinics, and creating new projects as well as researching new materials for future releases and live performances in the US, Europe, Asia and Latin America.

Airto's latest album is Life After That and was released on Narada Records.

Airto: No, not really. It probably has nothing to do with the music. There was no music. My parents didn't sing, dance, or play. [Laughs] My father was a spiritist. He, along with about 10 other mediums, would sit around a table and get in touch with the spirits and the spiritual world. They would talk to the spirits and solve problems for people. The medium, acting as a bridge between the spirit and material world, would talk with the spirit of the person and straighten a lot of things up because there's a lot of people who [after they die] feel good about their [past] lives, but most of us, we don’t. We feel like we wasted a lot of time in our life. We feel, "I shouldn’t have done that," or "maybe I should have done this instead of that." We keep those problems and other problems after life. When I say "after life," I mean after our material life. As spirits, we are immortals. We never die; we just spend some time around the spiritual world (which is actually right here) and is the universe. It's God's universe that he is creating. We might have to come back here to solve some problems we left and to learn to do other things and so on.

When I was about five years old I used to watch my father. We weren't supposed to watch but we watched anyway. [Laughs] I saw my father many times writing prescriptions for people. Some of the things he used to prescribe for others to take were from nature, from the forest. Other things he would write were to be taken from a pharmacy. He used to work with a spirit of a deceased doctor who had died 20 years earlier. My father was illiterate. He couldn't read or write but I saw him writing many times. Later on in his life he had diabetes and he lost his vision and was a blind man for about the last 10 years of his life. But he was completely happy! It was really beautiful to see that - the spiritual part of my family.

My sister does a lot of what my father used to do. She learned a lot from him. She is beautiful and happy as well. When others see her they say, "Wow, she is so nice!"

Now talking about death and music, I am in some ways a medium. I also make the bridge between the spiritual and material world. When I play, I do that. The musicians who play with me - including my wife, Flora [Purim] - they know when that comes on me and it's just a beautiful thing. We are helped by the spirits. The music becomes high as far as energy. It doesn't have to be a very fast kind of rhythm. Whatever we do is really rich in energy - universal energy that keeps all the planets and stars together and balanced. This energy is around us too; it's the primal energy that God uses to create the universe. The more you study the more you know. It's not a complicated thing; it's basic, really. I feel the energy when I change, when I am playing something and right at the beginning when it actually happens. I open up for whatever energy is there and then something happens; it clicks and the whole band knows. We look at each other, laugh and smile and we keep playing. It's a beautiful thing, man.

Tom: It seems you were bound for great things as a musician from early on. You had your own radio program in your home city as a preteen and then at 13 you began drumming and singing in local dance bands. Where did this drive, this passion for music come from?

Airto: I don’t know because we didn't have that many musicians in our family. My mother's side of the family was from Italy. I always loved music and I started playing some percussion instruments that my grandmother gave to me and that was it. I just kept playing. My mom gave me other percussion instruments and I just kept playing. This is what I do today; I keep doing the same thing that I use to do when I was a little kid. Now I have a lot of knowledge about different kinds of music - commercial, non-commercial, playing for money or not. Thank God I don't have to play for money. I did when I was younger but if the music wasn't good, if I didn't like it, I didn't play.

Tom: Your wife Flora moved to the USA in 1967 and you followed soon thereafter. Was that a move you intended to make no matter what or were you waiting to see what Flora discovered as far as the music scene was concerned before you decided to leave?

Airto: I had a plan, you see. I was in love with Flora. Really in love with Flora, mainly because she was a fine human being and she had a good education. She was from a family in Rio and I was from a family in South Brazil and we were very poor in our little village. When I met Flora I had never met a woman like her before. She was incredible! She was like a princess. She liked me and we started taking. It was like “Wow.” In the beginning the only thing I would talk to her about would be music. [Laughs] We used to talk a lot about music; she was a singer already. I was thinking this is something very, very special - this is incredible. I couldn’t believe it. We stayed together two years and she decided to go to the States and spend some time there, meet some people, say hello to her friends from Rio who were already there like Sivuca [Dias de Oliveira] who played accordion and was musical director for Miriam Makeba (a great African singer) and Sérgio Mendes. She told me, "I'm going to go and try and sing for a while. I'm really not sure what is going to happen." I said, "Well, I can't go right now. I’m playing with this great band, the New Quartet, and we're successful." I told her I was sorry but I couldn't go.

She went anyway, so we would write to each other. Sometimes we would talk on the phone, but we would write every day. I was so much in love with this woman that I decided to go to California, stay for a couple of weeks, and then bring her back to Brazil. So, I went - and here I am! I'm not in Brazil. [Laughs] Of course, we went back to Brazil often. I don't like the word "career" because I think music is much more than career - music is a lifetime commitment.

Tom: Who were the first musicians you met upon arriving in the states?

Airto: I met Moacir Santos, who was a master teacher from Brazil and a great arranger and tenor saxophonist. I did some gigs with him and studied with him, but not enough. I never really liked study. Unfortunately I can't read music. I started playing in LA with some Brazilian bands and then Flora was invited to go New York to sing with Miriam Makeba.  A few days after Flora went to New York, I followed her there and we lived in New York for almost nine years.

It was in New York that I met everybody. I met Cannonball Adderley and we liked each other so much, even though we didn't understand each other. I was speaking Portuguese and he was speaking English. He was our mentor and sponsor in the states and signed our working papers and told his manager, "I want Airto and Flora here legally." I started playing with Cannonball, Lee Morgan and Paul Desmond. Then everything started to happen.

Two and a half years later I met Miles Davis. I met Miles through Joe Zawinul, who was very close friends with Miles.  One day Miles said to Joe, "Joe, I’m recording this album - a new kind of music. It’s more electric. I need a percussionist that plays something different." Joe said to Miles, "Well I know somebody that I met at Walter Booker's house." Miles asked Joe what kind of person I was - if I was old, young, or what. Joe told Miles, "He's kind of young, but he has some incredible percussion instruments that no one's seen before. He plays them all, plays jazz, bossa nova, samba; he plays anything. He's able to hear something and just play it." So, I started playing with Miles and recorded Bitches Brew with him.

Tom: Did you believe Bitches Brew was going to be the phenomenon it became?

Airto: No. I knew practically nothing. It was all like a dream to me, a movie that I was in. Everything was happening and I didn't speak English. I came to understand English better soon after. The first three years was like I was on an acid trip and being in a crazy movie. It was a very strange feeling; I was not afraid at all. It was like I knew these musicians for a long time and we were just going to play some music - that was it. All the other musicians warned me about Miles and said, "Listen, Miles can be real nasty but go and play with him. He's going to like you. But never get into any kind of negative stuff with him because he likes to play with you and try and scare you." I was careful in that area. I had two and a half years with Miles. One of the greatest experiences in my life.

Tom: The sidemen on Bitches Brew were extraordinary: Wayne Shorter, Dave Holland, Jack DeJohnette, and Chick Corea.

Airto: Yeah, I played for probably a year and a half with those guys. Then Miles started changing the sound. He wanted to get into the "funk/wah-wah" thing. He loved Jimi Hendrix actually. They were going to do an album together. Gil Evans was going to write the arrangements but it never happened because Jimi died. Yeah, we used to go down to the Village in New York with Miles, into Jimi Hendrix's Electric Lady Studios and jam there. Miles would be talking with Jimi about the wah-wah pedal; He was crazy about it. He wanted to use it with the trumpet.

Tom: Following your stint with Miles Davis, you jumped right into Weather Report with Wayne Shorter, Joe Zawinul, Miroslav Vitous and Alphonse Mouzon.

Airto: Actually it was during my time with Miles. I was still playing with Miles when Joe Zawinul invited me to form the band. Joe said, "This is going to be the best group in the world. You’re going to play with us." But I told him, "I'm still playing with Miles. Some people are leaving the band and I think Miles needs me." Joe said, "No, Miles doesn't need anybody. Come and play with us." It wasn't that I was skeptical about Weather Report, I just didn't want to leave Miles' band. I wanted to go into that change with him and give him my sounds and soul. I never went on the road with Weather Report. I recorded with them and I played one concert at CBS for the release of our first album on CBS Records. I told Joe after that concert that I was not going to leave Miles.

Tom: In our interview with your wife, Flora gave us her thoughts of Chick Corea and Return to Forever. I want to hear from you about your experience with Chick and Return To Forever. You all pretty much made history in this band.

Airto: Chick had a drummer before me. But he asked Flora to ask me to come in on the next rehearsal they had so I could show some patterns to his drummer and I said, "Sure." I met them all, met the drummer and showed him some stuff. The drummer asked me to take a break with him, go next door to a bar and have a drink. When we got next door he said to me, "Do you want to play this gig with Chick?" I said, "Yeah, I want to play drums for Chick but you're already playing with him." "I’m a jazz drummer; I don’t want to play this gig," he said. I told him, "Well, we have to talk with Chick because he never really invited me to play with him." So we went back to the practice and the drummer said to Chick, "Chick, Airto and I were just talking and you've got a new drummer." [Laughs]

Tom: When we interviewed Mickey Hart and spoke with him about the Planet Drum album and his intention in recording it he said he realized on day he was "sitting on top of the mountain" with regards to his percussion friends. You and Flora joined him on the Planet Drum album and were in fact co-producers, along with the other musicians performing on the album. What are your thoughts on how this all came to be?

Airto: Flora and I met Mickey Hart with the Grateful Dead. We went to see the Dead one time at the Oakland Coliseum just to see what everyone was talking about with this band. That was some "down to earth" music: singing, playing and tripping. It was a big party with thousands of people! Flora and I went backstage after the concert and they were like, "Oh, Airto and Flora!" They invited us to perform with them the next two nights, to jam with them. Ornette Coleman was sitting in with them, playing this crazy stuff on saxophone. Flora picked up a microphone and started singing with Ornette Coleman, doing free-form stuff, really beautiful stuff. That's how we met Mickey. Mickey then called me and Flora to play on the Apocalypse Now soundtrack and we worked in the Dead’s studio in Marin County for six days and nights straight.

Tom: Was this the first time you had worked with Zakir Hussain?

Airto: Yes. [Pause] Maybe I played with him in the Rhythm Devils. I wasn't a part of that group; I just sat in with them. Apocalypse Now was the first time we collaborated and it was just beautiful. Zakir is one of the most incredible players on earth.

Tom: We agree, but I must add that when we spoke with Zakir Hussain last year in San Anselmo one of the first things he spoke about was Bitches Brew and how that was so inspirational to him and everyone, and how it changed everything. He was taken with your work as well.

Airto: Zakir told me he was a classical percussionist playing classical Hindu music, and that's what he did. Then he saw me play with Miles Davis and said, "Wow, I can do that too. I can play some other stuff." Zakir can do anything, really. He's an incredible musician. Then Zakir started opening up, playing with different people. He's one of the most respected musicians in the world.

Tom: Tell me about your album The Other Side of This, from 1988. It was an exploration into the healing powers of music and the spiritual world.

Airto: I always have ideas for sound. I have a lot of ideas for things I haven't played yet. I am young; I'm only 67. [Laughs] Some of the sounds I had been thinking about for many years were sounds for healing, for relaxing and for energy. I never really thought of myself as a shaman to be working with spirits. Spirits are free to come and visit when I am playing and each day when I jump in, they are welcome.

One day when were working on Planet Drum with Mickey and all the great percussionists who performed on that album I said to Mickey, "Remember that project that we talked about of co-producing, that healing music album?" He was about to head out of town and said, "Why don't you start it while I'm gone." So, I stayed in the studio and did about half of the album in five days. When Mickey returned we began rehearsing Planet Drum again and he asked, "Well what have you been doing while I've been gone?" So I had the engineer play the recordings in the studio and Mickey said, "What? What is this?" I said, "That's our project that you are producing." [Laughs] He said, "Oh, you bet I am! Let's keep working on this!" So we would rehearse Planet Drum in the day and then work on The Other Side of This until the early mornings.

Tom: How do you see music and especially percussion evolving in the near future?

Airto: Percussion was probably the first ever instrument. People would play and not even know they were making music. I think it is always going to be a part of humanity. Right now there's a lot of synthesized music and percussion, but at the same time there are percussionists and drummers such as Mickey Hart, Zakir Hussain, myself and others who are playing all over the world. There is space for acoustic percussion, for the real thing. It will never die. I think that percussion will always grow together with the music. It doesn't matter what kind of music it is because the percussion will always be there. Percussion evolves with the music and with the human race. One doesn't need to be a professional - you can go and play some with the guys and it's OK. Percussion started the music, in the beginning. Percussion is a beautiful exchange, a melting pot. It will always exist and if they keep sampling, they're going to be sampling forever.

LINKS: www.airto.com

RockOm Round-up is a quick glance at what's going on around the world in the areas of music and spirituality...

• Multitalented man touts music’s healing power - "If your doctor advises you to sing more next time you visit, you’ll know why. He or she might have attended a lecture this week by Dr. Richard Kogan, a psychiatrist and concert pianist, who led a rapt audience of about 500, many of them doctors, on a diagnostic journey through the life of George Gershwin, arguably America’s foremost musical genius." (mysanantonio.com)

• Alan Tower takes sound and spirit to the edge and back again to the center - "Sometimes, going to the edge of spirituality starts by finding the center. Bay Area musician/teacher/researcher/sound explorer, Alan Tower has been on the cutting edge of music, sound and spirituality for over thirty years..." (examiner.com)

• Soulsavers - Spiritual Enlightenment, Grimly Pursued - "Funerals present more smiles than Soulsavers allowed themselves at the Bowery Ballroom on Tuesday night. Complete and absolute solemnity attended their songs — at tempos from dirge to stomp — about death, wandering, fate and prayers." (NYtimes.com)

An Interview with Brazilian Jazz legend Flora Purim
By Tom Crenshaw, tom@rockom.net

For those who know Flora, an introduction is unnecessary. Her music has interwoven the life fabric of anyone with a passing interest in Latin and American jazz music for over 25 years.

Flora's once-in-a-generation six-octave voice has earned her two Grammy nominations for Best Female Jazz Performance and Downbeat Magazine's Best Female Singer accolade on four occasions. Her musical partners have included Gil Evans, Stan Getz, Chick Corea, Dizzy Gillespie and her husband Airto Moreira, with whom she has collaborated on over 30 albums since moving with him from her native Rio to New York in 1967. In New York, she and Airto became central to the period of musical expression and creativity which produced the first commercially successful electric jazz groups of the 70s.

Shortly after, Flora became instrumental in opening the world up to new notions of what jazz can sound like by linking up with Chick Corea, Stanley Clarke and Joe Farrell to form Return To Forever in late 1971. She went on to contribute to some of the greatest recordings of the seventies - Carlos Santana, Hermeto Pascoal, Gil Evans, Chick Corea and Mickey Hart - with all benefiting from her vocal and arranging skills. In the mid-Eighties, Flora and Airto resumed their musical partnership to record two albums for Concord - Humble People and The Magicians - for which she received Grammy nominations. In 1992 she went one better by singing on two Grammy-winning albums - Planet Drum with Grateful Dead drummer Mickey Hart (Best World Music Album) and the Dizzy Gillespie United Nations Orchestra (Best Jazz Album).

In September of 2002, Brazil's President Fernando Henrique Cardoso named Flora Purim and Airto Moreira to the "Order of Rio Branco", one of Brazil's highest honors. Her latest album, Flora's Song, was released by Narada Records on June 28th, 2005.

RockOm had the honor and privilege to spend an extended period of time with Flora Purim recently while she was in Lisbon, Portugal touring with her husband. In this in-depth interview Flora Purim speaks with us regarding her early years in America, her close association with the greats in jazz music, how music transcends race, creed, and culture and an upcoming movie and book based on her life and career.

Tom:  Tell us what you, your family and friends felt on that March evening in 1964 when the Brazilian military staged a coup overthrowing President Goulart sending Brazil into a totalitarian regime. There was widespread systematic repression of artistic freedom and free speech. Did this play a role in your decision to become an artist and do you ever regret leaving Brazil for America?

Flora:  Sure I regret leaving Brazil because it is a paradise and the outpouring of Brazilian music is so big that wherever I go, all over the world there is always a group playing Brazilian music. I am very proud to be Brazilian, but Brazil was a military dictatorship and the Government was censoring the lyrics of music and songs. I was only 20 years old and in the beginning of my career then. I felt if I didn’t leave the country I couldn't be a singer. I made the decision and since I loved jazz, I decided to go to the USA.

Tom:  When you arrived in New York City in 1967, you immediately jumped into the American jazz scene with the artists of the day such as Thelonious Monk and Miles Davis. Then a few short years later you met Chick Corea, Stan Getz, Gil Evans, Stanley Clarke, Joe Farrell and others. What did you think when you landed in New York and were able to be yourself and express yourself in the midst of such an eclectic music scene?

Flora: I thought I had died and was in paradise. I didn't know how I was going to find other musicians. I asked around at the hotel where I was staying in New York and was told I shouldn't be going into the heart of Harlem because I was white and it was a dangerous place to go. I said, "Well I come from Brazil and we don't discriminate, so I'm going to take my chance. I must go to Harlem; I have to go." So the concierge wrote an address on a piece of paper and I was dropped off at Club Baron.

I tried to pay my ticket to get in but the doorman started to speak to me and I didn't understand what he was saying. He was laughing, making jokes and wasn't going to sell me a ticket. The only thing I understood was that he called me Snow White. In the meantime, a very tall man was standing in the entranceway going from one side of the bar to the other. He saw the scene, reprimanded the man and he gave me his big hand and told me not to be afraid and to sit down with his lady. He invited me inside and I sat down with a white lady. She was very popular inside of the club. Everyone was arriving and kissing her hand and kissing her on the cheek. Later on, I found out she was a famous Baroness - Baroness Nika. She used to help Coltrane and Charlie Parker when they got sick. She was so loved by everyone because she had no prejudice and loved jazz to the point that she would offer space in her house when musicians got sick from time to time.

Then, when I finally sat down and felt more at ease I looked over at the bar and saw Wayne Shorter sitting there along with Art Blakey, Carmen McRae, Richard Davis, and Mongo Santamaria. I saw the creme of the creme all together in the same place. After Mongo Santamaria played his set - in which Chick Corea was the pianist - the second band came in. I didn't know what Thelonious Monk looked like. He was the guy that helped me get into the club. He walked on stage, sat down at the piano and played. I realized I was the luckiest person in the world. The second day in town I found the place where everyone converged after their gigs, talked with each other and jammed. Afterward, we all went to the house of bass player Walter Booker and played more until the early morning.

Tom: Tell me about the events leading up to meeting Chick Corea and later becoming a part of his fusion band Return to Forever.

Flora: I arrived in the US in December of '67, stayed in New York and later I got a call from an ex-boyfriend, Dom Um Romao, who  went on to perform with Weather Report and he said, "Come to California." So I flew out to California and stayed for about six months. I didn't have a work permit but I was going to the clubs. I saw Miles Davis for the first time along with Gary Barton and several of the young, up-and-coming musicians. Gary Barton was only 16 or 17 years old and he was playing free form jazz. A month afterward, my husband Airto (Moreira) arrived. We both went to see Miles Davis together. It was a dream for Airto.  Something happened to him when he first saw Miles.

I received an invitation from the drummer who was performing with South African singer Miriam Makeba who was singing Brazilian music. She had a choir behind her of three or four girls trying to sing in Portuguese. I went back to New York and was hired by Miriam Makeba to be a backup singer and help the girls learn to pronounce the lyrics correctly. Afterward, I sang two concerts with Miriam and she called me up and said, "You are too good to be just a background singer. I’m going to give you the name of my manager. Please look him up. I’m calling him to say I’m sending  you." Miriam's manger took me in and got me a record deal. I signed with the label that was owned by the comedian Bill Cosby. After the record was recorded and was about to be pressed and released the warehouse caught fire. My work was burned and that record never came out. It was a shock. I thought to myself, "It is not my time yet."

I stayed in New York and continued hanging out at the clubs. In the Village there were a lot of jazz clubs with great musicians and I always managed to get in for free.  I met Chick Corea then. At that time, Chick was playing for Miles Davis and Miles was looking to change the band. Joe Zawinul told Miles there was a Brazilian percussionist who was crazy and that he should check him out. Airto then received a call from Miles' manager. I'll let Airto tell you the rest in his own words and then I’ll tell you how it really was. [Laughs]

Later Chick decided to leave Miles and form a group with Dave Holland, Anthony Blackstone, and Barry Altschul [the group Circle]. They were just playing free form and Chick wanted his music to be more popular. He said that people loved the music but it was hard to duplicate the melodies they heard. He became obsessed to have his music sung and duplicated. He was looking for a person to sing his melodies, because if a person could sing melodies the public would understand that they could sing it too. He offered the music to Ella Fitzgerald and several others vocalists. The vocalists returned the music saying they were already well established on the Bebop jazz scene and didn’t want to take a risk of singing fusion because the music was not mainstream. It was fused with different rhythms.

I met Chick at Walter Booker's apartment after a concert. He asked me to come to his home and try some of his music because he was dying to hear someone sing some of his melodies. I said, "Yes, of course." The next day I went to Chick’s home and the first song he played for me was "What Game Shall We Play Today", and then others. I was overwhelmed with the beauty of the music and couldn’t believe I was having a chance to hear it first hand. So he asked me if I would like to sing those songs with him and to be part of the group that he was forming. He met a very young bass player just out of high School who was 17 years old. His name was Stanley Clarke. He invited flutist-saxophonist  Joe Farrell to join as well. Chick asked me to ask Airto to sit in until he found a drummer so we could keep rehearsing. Airto wasn't doing anything since Miles was taking a break, so I brought Airto in and Chick loved him so much that he decided not to look for another drummer.

"Music has no prejudices. Music does not ask you what color you are, where you come from or what your creed is. Music itself becomes God to us whenever we play it."

It was like magic. Sometimes you put five musicians together and they are great, but the magic doesn't happen. But this time it all melded together and became one. We were very excited to be playing and singing original music written especially for us. From that point on Chick wrote more and more and the music aimed at my voice or Stanley’s bass or Airto’s drumming or Joe Farrell’s flute and saxophone. The first album was called Return to Forever and the second was called Light as a Feather, which happens to contain a composition by Stanley Clark and me.

These two albums defined Return To Forever and in America we were not sure if they accepted us or not. But when we arrived in Japan or anywhere else around the world we were so famous we need a police escort. So many people were waiting at the airports screaming and giving us gifts. From that point on I understood there were certain prejudices and maybe the musicians that were dedicated to swing, mainstream, and Bebop were guardians of that style of music, which prevailed at the time. They were not giving in even if our music was nice. The rest of the world embraced Chick’s music. Some first started listening to jazz after Return To Forever and then started looking for other records that we were involved in as well and learning more and more about the other forms of jazz. You were right about one thing - because of my association with Chick Corea I became very, very popular all over the world.

Tom: In 1973 you released your first solo album, Butterfly Dreams, and went on to work with Carlos Santana on his album Welcome (1973) which also featured John McLaughlin, Tom Coster, Leon Thomas and John Coltrane's widow, Alice. Tell us about the vibe in the air working on that album.

Flora: Well Carlos was incredible. We were playing at the Keystone Korner in San Francisco and one night Carlos walked in for the second show. I saw him come in but I had never met him before. After the show he said he was recording that night and invited us to come to Columbia Studios. He played some of the songs for us and asked if we could do something to enhance the songs. He offered me two songs and Airto worked on another two or three songs. The next week he had a concert at the Museum of Modern Art and I sat in with the band. A very famous writer Ralph Gleason wrote a review of the show and said I was great and raved about me. The next day I got a call from Fantasy Records and they invited me to sign a contract with them.

Tom: You were involved as a co-producer along with Mickey Hart and your husband Airto on the 1992 Grammy Award winning Planet Drum album. In speaking with Mickey Hart and Zakir Hussain they both spoke about the spiritual nature and healing qualities in music. Do you feel the same way? Does rhythm and music have unifying and healing properties?

Flora: I would say yes. When Mickey Hart’s wife was about to have a baby and was in labor for hours nothing would help. Mickey put on a track from Planet Drum and she relaxed and gave birth right away. I also learned from Babatunji Olantundi that drums are not made from just any tree. In Nigeria, to cut the tree to make a drum you have to talk to that tree for months and get an affinity and have the tree recognize you - even tell stories to the tree. You and the tree become friends. So when the time comes to make a drum from that tree, the tree is ready and understands it’s not going to stop "being nature", that it would actually be helping the world to know that the first language between men was drumming.

Tom: Through your close friendship with Dizzy Gillespie, who was a devotee of the Bahá'í faith, you came to adopt that faith. How has Bahá'í influence you?

Flora: Bahá'í was a young religion when I met Dizzy. Dizzy used to carry his praying book, which was different than everyone else's.  All the pages were embossed in gold and his name was written on the front in gold. I used to sit next to him in first class, so once I asked him, "You are always reading this book. What is so good about it." He said, "This book is my Bible and I know every single prayer by memory."  I challenged him and he said, "OK, I’ll give you the book and you can open it to any page and ask me." I took the book, opened it to one page, and by chance it was the Prayer of the Traveler. He said, "Which one out of the five?" I chose, thinking it would be difficult for him. He recited the prayer fluently. I thought  to myself "He’s lucky, the Prayer of the Traveler is one he must read most often." I opened up another page, I challenged him again, and he recited the prayer perfectly. He read that book for 30 years every day. He read to remind himself that men should help other men, that a universal language should be created so that people could communicate and that women should be treated equal to men.

I told Dizzy, "I want to be a Bahá'í." He said, "You can’t be a Bahá'í yet." I asked him why. He said, "Before you decide you want to be a Bahá'í you have to read a couple of books to see if you agree with it." I was given several books to read, loved them and said, "I still want to be a Bahá'í." So we were leaving Australia and the family that was receiving all the Bahá'í in the town ran to the airport and gave me the book of prayers, just like Dizzy's book. Inside of the book was an Australian ten-dollar bill. I said, "Wait, I think you forgot the money." The lady who gave me the book said, "No we, didn't forget. You always keep this note inside of the book because this is to bring you more money and it could save you in a difficult situation." I kept it and never spent that money.

Tom: Sometimes music brings people together in ways that nothing else can. What is it about music that bridges barriers and put us in touch with that which we call the Divine?

Flora: Music has no prejudices. Music does not ask you what color you are, where you come from or what your creed is. Music itself becomes God to us whenever we play it. As musicians we only communicate through notes and rhythms. We hardly talk with each other unless it's to give a new idea for direction. At the time we are playing it doesn't count what color you are, where you come from, or which religion you practice. I love that.

Tom: What does the future hold for you?

Flora: I have lots of work ahead of me. I've been in Portugal working with a screenwriter and with another writer to do a book of my trials and tribulations along with a film based on a Brazilian singer who wanted to sing Jazz. This project is very big, is sponsored by the Brazilian Government, and is entitled "Brazilian Flora". I am singing all Brazilian music by Brazilian musicians. Because of my popularity around the world I can bring the new Brazilian music to the rest of the world as long as I keep singing.

www.florapurim.com

Watch for an interview with Flora's husband, Airto Moreira, next week right here at RockOm.

An Interview with Nutone artist Donna De Lory
By Trevor Harden, Trevor@RockOm.net

Donna De Lory's latest album Sanctuary (out now on Nutone Music) is by and large a mantra-based chant album, using ancient Sanskrit devotional prayers alongside original lyrics, all set to a beautiful and meditative East-meets-West instrumentation. Through her heartfelt, gentle and breathy vocal delivery, Donna's singing wraps the listener in a nurturing love and encourages a sense of devotion and transcendence.

Donna has not always been focused on yogic music, however. Her past pop career had her singing vocals on albums by Santana, Carly Simon and Jewel to mention a few. Most famously, Donna was known as one of Madonna's main live accompanying vocalists for nearly 20 years.

In this interview, Donna De Lory shares with RockOm about the title track from her album Sanctuary, how conscious intention transforms music into a healing force, Joseph Campbell's influence on her life and work, and what being open to the Divine Mother has taught her about God.

Trevor: I'm not an overly emotional guy but I found that upon listening to your album for the first time, as the beautiful first track rolled over into your song "Sanctuary" - and I heard how you took this old Christian folksy worship song that I grew up with and brought it into a meditative and spiritual arena - I just got kind of choked up. What is your history with the song "Sanctuary"? Is it something you came upon recently or did you have a church background that introduced you to the song?

Donna: Not really. Growing up my family was Christian-Catholic and mom is actually a recovering Catholic. She was wanting to be a nun when she was young and grew up in Catholic schools and then kind of rebelled against that. So when I was a kid I always wanted to go to church and I went with my friends to different churches or with my Jewish friends to their temple. Not that I was trying to find the place for me, but I just liked the sense of community and the devotion that you felt in that environment. I moved to Nashville when I was eighteen and I went to church there and started on my spiritual path at that time. I probably did hear the song "Sanctuary" in the church but more recently I heard it on a friend's CD.

I heard the words "with thanksgiving I'll be a living sanctuary for you" and sometimes I'll hear words that someone else wrote that really ring true, something I would write. The actual song goes on for many more verses but I didn't resonate so much with the other words. I felt like all I really wanted to say was this over and over again. And that's something I love about the mantras where you take something very simple - either the names of God or a phrase like "I am divine love" - and you sing it over and over again. I love what I've learned about mantra-based music and how I can apply that to other songs whether it's "Amazing Grace", my song "Sky is Open", "May God's Love Be with You Always" or "Sanctuary."

It's beautiful to say something that can resonate with people but not engage them too much. Music is a tool for opening and when you study the history of music I believe that was the original intent of music - to open people up, to heal and to move people. Coming from a really commercial pop background, I now look at music this way and set intentions for the music that I make. I want to have this be my gift for other people to help them. Consider what Mother Teresa did or Amma, people who are giving, giving, giving. I feel like my music is my small piece of what I can do. That song, "Sanctuary", for me reminds me of that. People come up to me all the time and say, "Please don't stop doing this. I know it's hard, you've got your family and other things, but please keep doing this."

Trevor: When we spoke with one of your label-mates and friends David Newman, he shared about the yogic use of sound as a path for healing. So that's what you're talking about here, right? That music has a healing power?

Donna: When you have that conscious intention it absolutely has a healing power. I was doing an interview a couple of weeks ago and someone mentioned a man's name, a healer, and wanted to know if I knew of him. I said, "No, I don't know this person." They said, "He exclusively uses your music to heal people. The vibrations and the frequencies in your music really help and he has a lot of experience with that." It was beautiful to hear that and I thought, "Of course!" I've personally been there with people when they've transitioned and left the body as music played or people will play my music when there's a baby being born. I hear stories like this and that is what music can be used for - these deep, deep meaningful experiences in our lives. And it's beautiful because when you use music in this way you can go back by playing this music again to that place. It's a tool to take you back to that moment again.

Trevor: In the album's liner notes you spoke to how Joseph Campbell was an inspiration for you. What did his work mean to your spiritual journey?

Donna: Wow, it was just his overall view of mythology and man's quest and incredible awe for this higher power. This is what he dedicated his life to study and in going back to see cave drawings and all the art. It's basically this yearning to know God, a connection to nature, and that we're all connected. We need to get back to that place, obviously, because what we're doing with the planet and each other is not respectful. Because of the damage that has been done it's especially time to wake up and to realize these things, that we're all really connected.

Plus he just gives you so much information you can go out and learn about. I first learned Sanskrit from watching him and hearing his talks. He talked about Sanskrit as the great spiritual language of the world because of how old it is and the intention put into it. I went further into studying yoga and began hearing the words again and started putting these mantras and words into my songs. I've always been on and interested in a spiritual path, whether that was studying Joseph Campbell or Yogananda or something from the Christian tradition - wherever I was.

Now it's yoga and everyone's coming together to help themselves and other people through yoga. I love yogis because they're generous and help other people. As far as the physical practice of yoga in our country is concerned, I think it's great if there's a yoga center on every corner because it's just going to make people be more compassionate and have some of this intention. It's OK even if it's just "Namaste" at the end of a class, at least you're bowing to some thing that's greater than yourself and I think we need that.

Trevor: On a personal, non-musical note, I see that you have two children. Everyone agrees that children become like our gurus as they have so much to teach us. What are they teaching you right now?

Donna: You don't know love until you have children; every day I'm being taught something. I'm learning just "being" and not having to "do" all the time - just being in that moment. I'm really feeling time passing quickly now so I'm trying to hold on to these moments. Even when I look back to pictures of my 6-year old daughter when she was a baby, I don't even remember! It's going by so fast. I say to my husband, "Did you take more pictures? Did you get the movie of them?" I'm realizing this is the good stuff, the stuff of life.

It's the interesting thing about life, as you go you realize what's really important. With all those years that I spent striving for something in my career and all those desires, now I'm trying to just "be" instead of wanting so much all the time. I'm just so grateful I'm right here.

Trevor: Speaking of mothers, the culture in which we live here in the West has a very masculine view of God overall. You have "Jai Ma" on your album and so what do you think we're missing in our understanding by only having a Father figure or more specifically what has being open to the Divine Mother meant to your journey?

Donna: I think we're missing the nurturing aspects of the divine. I was watching a video of Amma and they were asking her, "Why do you think people love what you're doing so much, just coming and getting a hug?" She was saying that if she can make both men and women feel more of that nurturing Mother energy, that's what she wants to do. Her hugs are opening those people up. I guess with my music, I want to do that same thing. And by me being a mother now I'm starting to understand it and have more of that to share in my lyrics and music. Since I had my daughter who is six, "He Ma Durga" has been my theme song or mantra. It was really powerful for me and for other people too. When I sing it, people are holding themselves and being compassionate toward themselves.

That's what's missing; we don't have that kind of nurturing support to love ourselves, or know God is the ultimate lover who loves and holds you. And that is what Amma is doing; she's loving everyone. Anyone who comes up there for a hug, she gives them the same amount of love. Whether you're a celebrity or the poor and dying, it's that ultimate love. Also Mother Earth gives us that all the time and we don't see it, though some people do. She's giving us that and we keep doing what we do with the earth and not being conscious, and the Mother's still there giving me another chance to have a child and this life and creation.

I think I'll always sing those mantras because it's so important to me. When I think of doing another mantra CD I think, "I have to keep singing Mother." I just worked on a compilation CD that is specifically made for doctors giving this music to their patients. On it I basically just sing, "Mother, Mother," in English, Spanish and Italian. Sometimes just saying the words "mother" is so beautiful. If we can say these mantras and get out of our heads about our own mothers, but instead recognize that nurturing love that is there for all of us, then we can really feel it. Everyone feels it inside somewhere so I love that music can bring that more to people. At my shows I love when it's exciting and people are dancing, but the most powerful thing is when you get people to open, whether they're crying or want to go give someone a big hug. After I play my music, that's how I feel; I feel like my heart is so much more open.

LINKS:

DonnaDeLory.com

Donna on Nutone Music

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.

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