Traditional, arranged by SAMULNORI, reconceived by Wynn Yamami, realized by KIOKU.
This Korean prayer song was once performed by shamans to invoke blessings from various deities and ancestral spirits. The drumming group SAMULNORI adapted this prayer and combined it with rhythms derived from rural music traditions (nong-ak, also referred to as pungmul, poongmul, poongmul-nori). Formed in 1978 by Kim Duk Soo, SAMULNORI takes its name from the “four instruments” to be played: the kwaenggwari (small hand-held gong), jing (larger gong), janggu (hourglass-shaped drum), and buk (barrel drum). The present arrangement begins with Pinari (transferred from the voice to the alto saxophone) and includes rhythms and melodies from the Chungbu, Honam, and Youngnam regions.
Traditional, reconceived and realized by KIOKU.
Kulintang (or kolintang) refers to an instrument consisting of eight small gongs in graduated sizes and the overall ensemble which can include larger gongs (gandingan, agung, babandil) and a drum (dabakan). This musical tradition developed on the Filipino island of Mindanao in two adjacent provinces: the Maranao (people of the lake) and Magindanao (people of the flood plain). Used as a means of social interaction, entertainment, and a necessary component within healing ceremonies, kulintang represents a rich social and musical tradition. Since the 1960s, kulintang has been introduced to a wider audience by such scholars and performers as José Maceda, Robert Garfias, Danongan Kalanduyan, and Usopay Cadar. The title “Binalig” refers to an improvised and rhythmically-complex piece, but is also related to “balig” with implications of informality and foreign-ness. The present arrangement consists of three overlapping movements and was developed by KIOKU.
III. THE DRUM THING.
John Coltrane with Jimmy Garrison and Elvin Jones, realized by KIOKU.
Aside from his innovations in timbre, phrasing, solo development, and composition, the saxophonist John Coltrane embodied the connection between music, the self, and spirituality. His musical explorations of “African-ness” as an African-American served as an important example to others in search of musical “roots.” While Crescent (1964) is usually not discussed in this context (perhaps due to its close chronological proximity to the hugely-influential A Love Supreme), the album contains a remarkable improvisational feature for drummer Elvin Jones entitled “The Drum Thing.” As realized by KIOKU, this musical meditation retains the haunting melody and redistributes the bass pulse and drum set phrases to laptop, taiko, and cymbals.
Traditional, arranged by Kondo Katsuji and Tomida Kazuaki of KODO, reconceived by Wynn Yamami, realized by KIOKU.
On the remote volcanic island of Miyake-jima off the eastern coast of Japan, a drumming style developed that, to some, mirrored the strenuous physical movement of fishermen reeling in their nets. This distinctive rhythm and performance style (crouching low to the ground) was made famous through an arrangement by Kondo Katsuji and Tomida Kazuaki of the drumming group KODO. In most performances, KODO precedes “Miyake” with a fisherman’s song (“Okiage”) from Hokkaido. The present arrangement replaces the angular arm movements with a flowing style, adds an allusion to the rhythms of Hachijo-jima, and introduces a second folk song lamenting the decline of fish off the coast of Esashi, Hokkaido (“Esashi Oiwake”).
AMBIENT WORKS composed and realized by Christopher Ariza. THANK YOU to all our friends and supporters, including the New York University GSAS Music Department, Michael Beckerman, Elizabeth Hoffman, Pauline Lum, Lawren Young, Ryan Dorin, the Washington Square Computer Music Studio, and Soh Daiko.