Indigenous in the News' podcast

Indigenous in the News Featured Artist Review
Joanne Shenandoah - Bitter Tears | Sacred Ground
By Jamison Mahto

I mount up and roll down 18th flowin??™ strong at the start despite no warm up, headed south, thinking Minnehaha Blvd. west. The weather is going down hill and the scene is one of a sludge pile as the previous nights??™ warm-up has left huge piles of semi-melted snow everywhere with dirt, soot, oil and grime the predominant ingredients. This is the only time of the year that Minneapolis becomes an ugly urban nightmare.

The new Shenandoah/Bucher collaboration CD Bitter Tears Sacred Ground spins me back in a time warp to dreams of road side souvenir stands a two mile ride away from Lake Winnie, soda pop ten cents, puppy love in a polka dot bikini, we never wore shoes all summer long. I remember hearing these songs in those days of skinny dips, beer battered walleye fish fry??™s, wild rice and fry bread, cooked outside and the brilliant northern sunsets of true summer madness. Our dad bought us bikes at summer??™s start. These are the summers of which dreams are made. Oh summer thou art goddess of my world.

This CD pays tribute to the contributions of three song writers that have had enormous impact on the lives of ordinary working class Native Americans and is steeped in the lives and lifestyles influenced by the Depression, mission boarding schools and the end of WW II. This CD is in honor of Peter Lafarge, Floyd Westerman, and Johnny Cash.

The song As Long as the Grass Shall Grow refers to the treaty signed before a dam covered up the Seneca nation and compelled them to move from their home. This is a beautiful rendition of a Lafarge classic addressing the results of the dam. The song acts as a foundation and background for the spoken word story telling skills of Joanne.

Mike??™s baritone vocal does the song Apache Tears justice in examining the cause of the gemstones referred to in the title. Curtis Waterman does an incredible job with the harmonica playing on this trac as well as some of the following material as well.

Apache Tears is followed by another Lafarge classic story song sung beautifully in a duet by Joanne and Mike entitled Drums. I had originally questioned whether there were going to be duets as a result of this collaboration and I??™ve not been disappointed. They trade verses and harmonize on the chorus. I remember this song coming out a brown plastic RCA radio as the women made the fry bread dough and we cleaned the fish on the pick nick table outside that reservation tarpaper shack.

This CD includes the Star Spangled Banner sung by Joanne acapella in a uniquely beautiful mission boarding school rendition. Indiancool. The national anthem segues smoothly from a short harmonica TAPS into the song that most people associate with Peter Lafarge; ???The Ballad of Ira Hayes.??? The story song about the Pima Indian that was at the top of Mount Suribachi and among the Marines that raised the flag.

The Talking Leaves the sixth trac refers to are the Whiteman??™s talking leaves (or paper and writing) and speaks to the Cherokee alphabet created by the great Sequoyah. ???If the Whiteman talks on leaves, why not the Cherokee????

You can only finish a CD of this kind with a song like America. An original song written by Joanne, it is a song with a sentimental attachment to the Bitter Tears Sacred Ground to which the title of the CD refers. Again, the wonderful harp playing puts the mood right.

This CD examines artfully and profoundly some of the music that over the years has provided a sanctuary for Native people across the nation while presenting material that some how remains under the pop music radar. This is an extremely important CD in that regard. It is done with style, passion and intelligence. I like the approach that this material receives from two veteran Native American musicians and the Hondo Mesa Records people are to be commended for the solid production values they bring to the table

My dad bought us bikes so that we might experience the simpler time every body always talks about. Damn if I don??™t love that old man for teaching me how to ride a bike. By the time I reach home, I??™m riding in whiteout blizzard conditions but I don??™t even care because I??™m snug in the summer of which dreams are made.

Jerry M. Dearly, Sr. ??“ Sutapi

Jerry Dearly was given the name Sutapi which translates to mean ???Sharpshooter??? in the Lakota Sioux language. He was born in 1948 in the Oglala community of the South Dakota and, like many of his peers, he made his way to Minnesota where he has resided with his family for the last 29 years.

Jerry was taught the traditional ways by his father Jimson at an early age. He continued his education by graduating from the University of North Dakota ??“ Grand Forks in 1972 with a degree in Elementary Education as well as attending a Masters degree from UND. Sadly, the year 1972 saw his father pass on to the spirit world. It was at this time that Jerry began dancing as a culmination of his father??™s teachings as well beginning his career as an educator at the Loneman school in Oglala, South Dakota.

1974 was a year of singing and learning songs of Oglala traditions. Jerry has sung with many groups over the years. He raised his voice with the Crazy Horse singers, Sons of the Oglalas, Red Cloud singers, and Porcupine singer. Jerry said, ???Being a Porcupine singer, this is a natural miracle.??? He now sings with the Lakota singers. Jerry acknowledges all singers and drums. He will gladly support any group if asked.

Jerry attributes his knowledge to the teachings of his many relatives and friends. It is this knowledge of which he is always willing and proud to share throughout Indian Country be it the local community, powwows, or in the classroom.

???I have had, and still have the best singing teachers in the world, because when the student is ready to learn, the teacher appears.??? ~ Sutapi

Indigenous in the News Featured Artist Review
Indigenous - Broken Lands
By Jamison Mahto

Is knowing you??™re an egotistical arrogant self centered bike ridin??™ blues lovin??™ obsessive compulsive mad man self-deprecation or self-awareness? I am condemned to a sun lit search for legendary, stopping off at the Spyhouse for a cup of dark roast, the latest Indigenous CD Broken Lands loaded, the bike tuned-up, my heart aching for the freedom of wind and weather.

???From the group??™s beginning in his parents??™ basement through the release of 2006??™s Vanguard debut Chasing the Sun, Indigenous was a family band. But after that disc . . . Nanji recruited guitarist Kris Lager, keyboardist Jeremiah Weir, bassist Aaron Wright, and drummer John Fairchild to tour behind Chasing the Sun. They also appear on Broken Lands, joined by drummer Kirk Stallings, percussionist Chico Perez, and Mato??™s wife Leah Nanji on backing vocals. Producer Jamie Candiloro (Ryan Adams, R.E.M., Willie Nelson, the Eagles) completed the studio team.???

The trac Eyes Of A Child, a medium tempo blues shuffle with an interesting chord modulation, is one of my favorites on the CD because of the sentiment and reminds me of something Stevie. It??™s a philosophy regarding one??™s behaviour in life and something that I try to practice in my own living. ???Don??™t you wish you could see thru the eyes of a child

In the song Place I Know Mato sings, ???walkin??™ down the street, no shoes on their feet, sometimes they??™ve got nothin??™ to eat, in this place I know.??? Could be any reservation in North America, could be life in any third world country on the planet. The Vanguard promo material says, ???One of the most compelling (songs) is ???Place I Know,??™ a riff-rocker that decries the poverty and isolation of Reservation life. . ."I love the way all of these songs came out, but ???Place I Know??™ is one of the closest to me," Nanji says. "It??™s important to bear witness about the things that inspire love in your life and about the things that make you sad.???

The fourth trac All I Want To See is based on a latin rhythm with a beautiful minor 7th major 9th chord structure. The percussion and female harmony vocals fatten up the flesh of something reminiscent of the Carlos Santana Band??™s second album from back in the day with a sweet Greg Rolie style Hammond Organ solo. This song looks at experimenting, pushing the envelope and represents thinking outside the box.

I Can??™t Pretend gives us some acoustic guitar as an intro to a slow tempo blues rock ballad. Mato does blues ballads exceptionally well and you don??™t have to sound like dirt, whiskey and cigars in order to have soul. When he sings ???I can??™t pretend to be the one for you??? he??™s singing about integrity in a failing relationship.

The song Just Can??™t Hide has a hard rockin??™ start and is about jelousy in a romantic relationship. This is a well constructed song in a form that resembles what has been termed Southern rock. My favorite music in this world is the southern style of rockin??™ a blues song. ???I just can??™t hide the way that I feel.??? It??™s about wearing your feelings on your sleeve.

Make A Change is something of a traditional old school r n b style song reminiscent of something Guitar Slim might have done that features a blistering guitar solo and brilliant slide work.

The song Let It Rain is built on an interesting chord change for a blues oriented song in the same way T-Bone Walker??™s Stormy Monday was a unique interpretation of the blues and really allows a guitar player the room necessary to great playing. Mato sings, ???Let it rain or let it shine, all I want to do is spend my time with you.??? Very cool and very romantic.

By the time I??™m headed west toward the sun and Hennepin avenue to trade licks with rush hour traffic I am riding hard imbued with flesh and blood, mortality, magic and mystery, star blind sexuality, you got a great pair of hands and you were born into a great name as my thoughts crash into a wall of cascading memories of times gone by.

When the doctor looks you straight in the eye and says you only got a little time left son, how will you act? Every thing gets boiled down to the essence of breath and breathing and when that happens, I??™m going for a bike ride, bobbing and weaving through traffic, look at life through the eyes of a child and run red lights like I was gonna live forever.

Indigenous in the News Featured Artist Review
Martha Redbone - Skin Talk
By Jamison Mahto Jamison Mahto

I am The Syntax Savage riding a prayer in search of the cumulative litany of sin and salvation, looking for forgiveness that is a promise of wind and rain, a look into the depths of my own soul, a look of darkness as I don a game face for the streets of south Minneapolis, Martha Redbone??™s new CD Skintalk on the Ipod, pushing off and rolling down the path with destiny as my destination.

Martha sets the tone of the CD with the song Talk About It. Her range is terrific, combined with her soulful interpretation of the lyrical sentiment Martha is right there with the greats in my opinion. ???Why can??™t we talk about it? What are we gonna do? Here lies the logic that remains today, we know what we??™re in for, passion likes no open doors, we??™re too young to die. Tryin??™ to send a message to stand down, we gotta hurry ???fore its too late, I only wish that we knew the answer, then maybe we could save the day???

Lyrically she is very strong and there??™s something a little Stylistics in her arrangements. The only thing missing is the chipmunk 1st tenor voice over top everything else. The similarity is unmistakable to me and paying respects to your mentors is a good thing.

The song Medicine Man features a YES contrapuntal intro with the mysterious sound of medicine to it. For a people so in need of healing, native people need to hear Martha sing. This is an important concept inside the community but also relates to the healing power of love. This song integrates some traditional vocables over top the rock solid playing of a band that cannot be underestimated.

Certainly one of my favorites and the title song of the album, Skin features a Steve Vai style guitar intro that moves to a bottom heavy funk groove as Martha sings in the chorus, ???Imma skin, Imma skin, in the skin I??™m in. Imma skin, Imma skin and I??™m alive, gonna be the same old skin 'til the day I die.??? The title of the album indicates a sense of humor about some things. It could infer or refer to a person??™s ethnicity but, could also easily be construed as a sexual innuendo double entendre of sorts meant in only the most romantic sense of the words that she uses.

The song Children of Love features Dennis Banks & Gyassi Ross and starts with a traditional vocable chant in the intro but segues nicely into a low smooth groove when Martha comes in with her vocal and it Includes spoken word over top the groove. How cool is it to include uncle Dennis in this recording? I recently watched We Shall Remain which documented the take over at Wounded Knee and Russell tells the story of how the government sent F-16??™s to fly over the church and Dennis ran out into the yard pulled his pistol and began firing at them. Russell says, ???That??™s like the great eagle swooping in for the kill on the little mouse and that mouse is standing there going like this.??? Yeah. Natives do defiance and we do it well. The vocable chanting comes in over top the groove later in the song and it keeps this song vital and in the pocket. We all know how much we owe Dennis Banks and crew and we??™ll never forget.

Martha ends her CD Skintalk with the song From Now On which features a very snappy hot rhythm section that pulls dancing out of my heart and I??™ve got the bike bouncin??™ down the sunny side of Park Avenue on my way home for another cup of my favorite fuel.

Martha has done what I??™ve only been able to dream about. A melding of traditional elements with the funk and groove of classic blue collar Rhythm and Blues. I have had dreams about this CD. It??™s absolutely wonderful stuff and my advice is that you go buy it now. Martha is a talent so huge and creative that she is the one Native Artist I??™ve reviewed that has the potential of cross over into the general public??™s consciousness and have an impact on the way other musicians will view their material as well as being able to maintain longevity in the music business.

The poetry of sweaty sex, the funk of factory fumes, Jack Daniels and hand-rolled Cuban cigars, the swinging saxophones of romantic self-determinism on one hand and the neon night time madness of Minneapolis streets, given as a gift to the goddess of time, struck down by the lightning of steel and glass on the other, the r n b ride is lower and slower and if angels ride bike in heaven they??™re listening to Martha Redbone and Skintalk and there??™s no pot holes in the street.

CD Review By Calvin Daniel.

If you want one word to sum up Arlette Alcock's release of Wolfgirl it would be 'lyrics'.

This CD has some strong messages entwined in the songs, starting with Alberta Sunshine and Kitsilano Boys, the first two songs on this 11-cut effort, along with others such as the title-cut Wolfgirl.

I would say the key to enjoying this CD is to actually listen to the words, and digest the sentiment behind them.

Musically, Alcock has taken a folkish approach, keeping the instrumentation minimalist in order to highlight the words, and it works.

Alcock's voice has something of a conversational feel, perhaps homage to the oral storytelling of First Nations and Metis people. Whatever the reason, it generally works, although on occasion she might have simply opted for the spoken word as a change of pace.

This may not be for everyone, but it is a good musical window to the culture of Canada's founding people, and the messages presented are worth contemplating.

Indigenous in the News Featured Artist Review Night Shield - Love & Hated

By Jamison Mahto

Recent Nammy award winner Gabriel Night Shield includes the adult illustrated novel, "Scalped" in his press kit? Right away I've got to find out what's up wit dat?

Gabriel Night Shield's CD Loved/Hated features Night Shield as artist and producer doing work with the likes of Jay Nez, Jackie Bird, and Buggin Malone, award winners in their own right. There is a unique mix and blend of talents in the tracks on this disc.

Gabriel Night Shield, a member of the Rosebud Sioux Tribe, grew up on the Rosebud Reservation cut his eye-teeth on the likes of such Hip-Hop classics as Bone Thugs N Harmony's, "Creepin On Ah Come Up", Wu Tang Clan's, "Enter The 36 Chambers" to 2Pac's, "Me Against The World".

In 1997 Night Shield attended the Art Institute of Seattle to study Audio Production in Seattle, where he made a lot of important contacts in the business and he also started to develop as an artist recording many of his own songs.

On Loved/Hated, the Night Shield third CD there are many highlights and included among them is the dynamic What Can I Say. With a nice start and a good dance beat, this rhythm combined with the great lyric could put Mr. Shield over the top and this cut has serious potential written all over it.

With the track Boom the overall production quality and sound style is reminiscent of Eminem and the "8-mile" Detroit sound as NS pays homage to a talented white hip hop artist and explores the nuances of the sound. This piece has great audiio production quality, the strong lyric and combination of beats makes this a winner.

In the more R n B inspired track "Lil Shorty" the electric piano brings a welcome change-up to the instrumentation and include the great singing and harmonies and you've got more than just another R n B piece. This song has a beautiful sentiment for the artist's baby daughter and lets us in on the soul of Mr. Shield. "but I better run along, I got a little shorty waitin' for me at home." I have enormous respect for this track.

Night Shield proves he can think outside the box with the cut, "Broken Dreams." When you sample Arnold Joseph (Gary Farmer) from Smoke Signals and you've got Jackie Bird singing you are now working from a new perspective; you are working on a work of art.

This song is a deep departure from the ordinary, It stands apart from standard hip-hop and is the Native American hip-hop voice that I personally look for in my research of the genre. Night Shield says: "Are you really ready to die / Just to prove who's harder / How 'bout working really hard / Just to prove your smarter /" All right class, listen up, Mr. Night Shield has something to say.

Building to the last track on the disc where the rhythm ends with The 605 (Cruelty III) in which the big daddy brings the posse together for the big finale. Perfect. Smart. It's an inspired multi talent jam session in a format that is somewhat reminiscent of the old school free-style jam. This is an incredibly insightful and profound ending to a good work deserving of the recognition its been receiving.

Apparently the audio recording classes were a wise investment. Night Shield sheds light on walking the walk and he lets us inside the footsteps of his musical journey with his Nammy award winning CD Loved-Hated. Thanks, bro'!

Contact Night Shield - info@nightshield.net

Reporter
Jamison Mahto
jamison@iicoc.com
www.iicoc.com
Click to hear music and interview

If you would like to republish this article, please feel free to.

Indigenous in the News Featured Artist Review
Forth Yeer Freshman - Rock Your Box
By Jamison Mahto

One sultry summer afternoon, a friend of mine from Chicago and I were cruisin' the back roads of Wisconsin lookin' for a good fishin' hole with a good watering hole next to it. We ended up rollin' straight up Interstate highway 94 to Milwaukee home of our favorite beverage. He pulls up in front of some crazy isolated and abandoned store front in the ghetto someplace as the sun was getting golden before it sets us up for night, a night of full moon and dancin'.

By the time midnight arrives everyone in the place is in a dancing mood to be sure. What we didn't understand at the time was that this was a punk club and that the dancin' was gonna be slammin'.

Well, one things leads to another and we thought these people wanted to fight. It got a little tight in there but we made our way to the door and out into the fresh Milwaukee muggy summer night for our escape back to Chicago and further bar hopping until the sun also rises. It was a gas.

Forth Year Freshmen features Aaron Howell(Vocals), Tay Hamilton(Lead Guitar), Logan O' Connor(Bass), Jerry Cass(Rhythm Guitar), and Tyrell Blossser(Crums) who come from Denver,CO.

These are accomplished musicians, two tight guitars that trade, call and response, but the essential rhythm is never lost. The rhythm section is exceptional and tight. They are on time. The vocalist has good range and rage, enough to go around. The guitar solos are inventive and catchy and the songs are played with passion by all the members of the band.

Although strictly speaking we can't really consider this music punk. it contains some of the elements of the genre. Given the length of some of the songs, this sound is more of a rock and roll sound, cleaner and crisper than a lot of punk recordings that are on the market today. A couple of my resource people in the genre state unequivococally that this is not punk rock but Raunch and Roll. Raunch because of the somewhat racy lyrical content. However, the music itself is rock and roll. I've been saying that this is rock and roll with a punk attitude.

In other words there is more going on here than meets the ear. In the song W.T.H.O., you get a12 bar blues shuffle as an instrumental break. I always believe that the difference between rock star and musician is the musician's ability to give you something more.

An accomplished musician will invariably show you how he got to where he is by paying respect to those that went before. Barring actually doing cover songs, it behooves the musician to use some intelligence and include hooks that people will identify with. Nothing cuts through the bull shit like great rock and roll.

As the drummer hits rim shots, they switch it up to "Why don't you please take me home?" A brief tribute to Axel Rose and company in the vocal break. There is real skill and talent involved in this song but, why W.T.H.O.?

Balls Deep features a nifty intro guitar hook. It is based on the same in your face raw sexuality that great rock n roll Is known for. A rhythm change pulls back to a slower tempo and features some excellent guitar work. Clean, crisp and confident. The three C's of rock guitar playing. They end this song with a key modulation. If you end a song with a key change it shows that you've studied and that you understand the math of your sound.

No Means No is a Blues rock tune that features an excellent harmonica fill over boogie guitar with a ZZ Top, Billy Gibbons-type vocal. Low volume, as opposed to most of the material which is to be played at volume.

Following the Intro is the song Friend Of Your Mom's(Featuring White Fudge) which rolls from the hard rock groove to something of a reggae groove, with a dub vocal/spoken word on top which creates a synthesis that is unique and interesting. Here is a band that will go places because there is something going on here besides the raw sexuality and explicit lyrical content.

So if you're into a hard, fast rhythm section with excellent talent on the guitars and a singer that actually sings, then the Forth Yeer Freshmen might just be your cup of coffee. Just be cool when there are little kids in the room. The reason people use lyrics like this to communicate is because they've had a difficult childhood, so don't hold that against them. This CD will have you boppin' your head in no time.

Contact Forth Yeer Freshman - forthyeerfreshman@comcast.net

Reporter
Jamison Mahto
jamison@iicoc.com

Indigenous in the News Review Nosotros - Llena La Alma By Jamison Mahto

How much does anyone really know about music if they don't speak the language of the musician that plays it? In listening to a Spanish speaking band I am privileged to know a good friend that I can go and visit who is fluent in the language and also a great player with a wide and professional back ground in music. When I need to know anything about any genre or form of music, I don't hesitate to ask him what his thoughts are.

There has been an incredible influx of Spanish speaking immigrants to this country over the last several decades and the proliferation of great Latin music continues unabated. The dance halls are still incredibly popular in the Latin community and I see the crowds standing outside the speakeasy during smoke breaks dressed to kill and looking for some action; the squeeze box, fiddles, guitars blazing down Lake Street on a hot July evening as the orange sun lurks just above the horizon.

"Latin music includes the music of all countries in Latin America and generally features elements of European, African and indigenous music fused." An emphasis on rhythm and the concept of syncopation are essential elements to the Latin music sound. The dances include such forms as the cumbia, samba, rumba, meringue, salsa, etc. The sound often includes plenty of acoustic guitar, horns, and lots of rhythmic percussion instruments with an emphasis on a particular vocal sound.

Llena la alma is hot, southwestern dance music and the members of this band are fueled by the Tabasco and tostada romance of traditional Latin rhythms. Nosotros(us) is busy establishing a niche for themselves in their genre. It is an original Southwestern sound that includes jazz, rock, some traditional Spanish sounds and is rich in the culture of our southern brothers.

The members of the band are David Diaz(Lead vocals, Flute, Soprano Sax, Alto Sax, Tenor Sax, Baritone Sax), Shane Derk(Electric Guitar, Nylon String Guitar, Steel String Guitar on Entrada/Salida), Randy Sanchez(Tres, Nylon String Guitar), Justin McLauchlin(Bass, Vocals), Dennis Jasso( Drums, Vocals, Steel String Guitar on Eres Tu' Quien Escojo), and Chris Trujillo(Timbales, Congas, Percussion).

The song Entrada(entreaty), a genuine southwestern sound with an infectious beat starts out the CD and it features some beautiful Spanish acoustic steel string guitar work. We are invited immediately to dance by the sound of tight professional harmony vocals.

Hermosa which translates "beautiful girl" is a salsa inspired dance tune; a "pan-Latin" genre born in New York in the 1970's in the Cuban and Puerto Rican communities and it includes a very soulful tenor sax intro and solo. The song features a blistering Santana-esque electric guitar solo bordering on jazz rock playing.

The song Mama Tierra(mother earth) is something of a departure from the usual romantic love ballad that comprises most of the material dance bands play as there is indeed a message here. It starts low and easy with a saxophone collage intro that reminds me a little of an avant garde jazz sound The rhythm section, drums and bass, is superb and on-time, not just here, but throughout the entire work. It's the same for the percussion work of Chris Trujillo and if this song doesn't get you to dance, you're dead.

No me digas(don't give me) the fellas drag out the horns for a song that reminds the listener familiar with such things of the sound of Deodato. Another fine electric guitar solo and it is indeed jazz rock guitar. For an old guitar player like myself this is pleasant listening to me. I like the sound here a lot.

Voltee la taza(swirl the cup, spin the bottle) gives us a glimpse of the Brazilian beach jungle samba and a pair of traditional flutes and a solo flute played well. I can see the straw hats. Again a strong nylon Spanish guitar with an interesting twist on the sound with the addition of a soprano sax solo.

Siempre siguimes(always we follow) contains a very hot techno latin intro and has a salsa feel to it. I love the sentiment of this song. In Spanish the lyric is: "Tienes que saber, De donde vienes, Asi puedes entender, Para donde vas." Translated to English it says: "You have to know Where you came from, That way you understand, Where you're going." Oh, really!

I guess music really is the universal language after all, cuz' I thinks I hears these cats loud and clear. I don't think there's any confusion about what these gentlemen are saying so roll back the rug, kick off your shoes, put the Llena la alma CD in the player because there's no way you're gonna get away from here without dancing.

Contact Nosotros - nosotros@nosotrosmusic.net

Reporter
Jamison Mahto
jamison@iicoc.com
www.iicoc.com

If you would like to republish this article, please feel free to.

Indigenous in the News Review Nosotros - Llena La Alma By Jamison Mahto

How much does anyone really know about music if they don't speak the language of the musician that plays it? In listening to a Spanish speaking band I am privileged to know a good friend that I can go and visit who is fluent in the language and also a great player with a wide and professional back ground in music. When I need to know anything about any genre or form of music, I don't hesitate to ask him what his thoughts are.

There has been an incredible influx of Spanish speaking immigrants to this country over the last several decades and the proliferation of great Latin music continues unabated. The dance halls are still incredibly popular in the Latin community and I see the crowds standing outside the speakeasy during smoke breaks dressed to kill and looking for some action; the squeeze box, fiddles, guitars blazing down Lake Street on a hot July evening as the orange sun lurks just above the horizon.

"Latin music includes the music of all countries in Latin America and generally features elements of European, African and indigenous music fused." An emphasis on rhythm and the concept of syncopation are essential elements to the Latin music sound. The dances include such forms as the cumbia, samba, rumba, meringue, salsa, etc. The sound often includes plenty of acoustic guitar, horns, and lots of rhythmic percussion instruments with an emphasis on a particular vocal sound.

Llena la alma is hot, southwestern dance music and the members of this band are fueled by the Tabasco and tostada romance of traditional Latin rhythms. Nosotros(us) is busy establishing a niche for themselves in their genre. It is an original Southwestern sound that includes jazz, rock, some traditional Spanish sounds and is rich in the culture of our southern brothers.

The members of the band are David Diaz(Lead vocals, Flute, Soprano Sax, Alto Sax, Tenor Sax, Baritone Sax), Shane Derk(Electric Guitar, Nylon String Guitar, Steel String Guitar on Entrada/Salida), Randy Sanchez(Tres, Nylon String Guitar), Justin McLauchlin(Bass, Vocals), Dennis Jasso( Drums, Vocals, Steel String Guitar on Eres Tu' Quien Escojo), and Chris Trujillo(Timbales, Congas, Percussion).

The song Entrada(entreaty), a genuine southwestern sound with an infectious beat starts out the CD and it features some beautiful Spanish acoustic steel string guitar work. We are invited immediately to dance by the sound of tight professional harmony vocals.

Hermosa which translates "beautiful girl" is a salsa inspired dance tune; a "pan-Latin" genre born in New York in the 1970's in the Cuban and Puerto Rican communities and it includes a very soulful tenor sax intro and solo. The song features a blistering Santana-esque electric guitar solo bordering on jazz rock playing.

The song Mama Tierra(mother earth) is something of a departure from the usual romantic love ballad that comprises most of the material dance bands play as there is indeed a message here. It starts low and easy with a saxophone collage intro that reminds me a little of an avant garde jazz sound The rhythm section, drums and bass, is superb and on-time, not just here, but throughout the entire work. It's the same for the percussion work of Chris Trujillo and if this song doesn't get you to dance, you're dead.

No me digas(don't give me) the fellas drag out the horns for a song that reminds the listener familiar with such things of the sound of Deodato. Another fine electric guitar solo and it is indeed jazz rock guitar. For an old guitar player like myself this is pleasant listening to me. I like the sound here a lot.

Voltee la taza(swirl the cup, spin the bottle) gives us a glimpse of the Brazilian beach jungle samba and a pair of traditional flutes and a solo flute played well. I can see the straw hats. Again a strong nylon Spanish guitar with an interesting twist on the sound with the addition of a soprano sax solo.

Siempre siguimes(always we follow) contains a very hot techno latin intro and has a salsa feel to it. I love the sentiment of this song. In Spanish the lyric is: "Tienes que saber, De donde vienes, Asi puedes entender, Para donde vas." Translated to English it says: "You have to know Where you came from, That way you understand, Where you're going." Oh, really!

I guess music really is the universal language after all, cuz' I thinks I hears these cats loud and clear. I don't think there's any confusion about what these gentlemen are saying so roll back the rug, kick off your shoes, put the Llena la alma CD in the player because there's no way you're gonna get away from here without dancing.

Contact Nosotros - nosotros@nosotrosmusic.net

Reporter
Jamison Mahto
jamison@iicoc.com
www.iicoc.com

If you would like to republish this article, please feel free to.