This
Year's (2004) Guest Artists
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Hot
Club of Cowtown
The Hot Club of Cowtown blends jazz, Western swing into fun concoction by Bill Reed The Colorado Springs Gazette, June 15, 2003 - The Hot Club of Cowtown is about as much fun as you can have with your knickers on.
- Cowtown went uptown Saturday night, bringing their hot jazz and Western swing to the Pikes Peak Center. "It's kind of like playing Royal Albert Hall here," guitarist Whit Smith said. The Austin-based trio turned the concert hall vibe into a down-home shindig in no time.
- Bassist Jake Erwin kick started the band's engine with the indefatigable rubber band he calls a right arm, and Erwin, Smith and fiddler Elana Fremerman soon hit maximum velocity on opener "Little Liza Jane." No pyrotechnics. No dancers or costume changes or elaborate sets. The Hot Club relies on no modern stagecraft, just themselves. That's more than enough.
- Retro outfits and age-worn instruments give the band an old-timey feel. But this is no museum act -- Hot Club's music is vital. These guys crave the stage and the music they create together. All three are in constant motion, bouncing around as if a colony of fire ants is eating them alive.
- The crowd was drawn in first by their energy and then by their talent. The virtuosity sneaks up on you, masked by silly grins and unassuming demeanors. But when Erwin is slapping out the foundation on his bass and Smith drops in a lightning run of bell-like notes on his acoustic Gibson (run through a magical vintage amp), and Fremerman fires up her fiddle licks, then listening to Hot Club is a step away from paradise. The band hit full-tilt on the rousing "Ida Red" and then downshifted into a subtle, lyrical rendition of "Stardust." It was as if we stumbled from a sawdust-on-the-floor barn dance to a ritzy jazz club in a few paces. And that's the charm of Hot Club.
- They started off as a hybrid of Django Reinhardt's hot jazz (Hot Club of France . . . hence the name), Bob Wills' Western swing and 1930s pop ditties. Saturday night's performance proved these influences are melding into something original and exciting. Hot Club has grown from great imitators to great innovators.
Dance Band:
Maya
Soleil
- Maya Soleil brings you a captivating music and dance performance from world-class artists dedicated to
- sharing their art and culture with audiences everywhere. Move to the beat and learn a few African dance
- steps or call-response vocal parts. Enjoy stories related to the songs and insights to multi-cultural life
- experiences behind the lyrics. Maya Soleil excites and enriches audiences while providing a fun
- experience
accessible to all. there will also be hands-on,
educational workshops on African rhythm, dance, and
culture. All programs include African dancers and
audience interaction.
From traditional African music & dance to contemporary world beat, with a bit of R&B and jazz: - 1) Maya Soleil Traditions - acoustic folk music of southern and western Africa, including
- Highlife and Palm Wine Music of Ghana and Nigeria, Kalindula and social dance music of
- Zambia, and Shona mbira music of Zimbabwe. (4-5 members)
- 2) Maya Soleil - electric World Beat fusion band, with saxophones, flutes, keyboards, bass
- guitar, and drum set added to the traditional instruments used for Option 1 (6-8 member
- ensemble)
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The Group
- Multi-talented performers from Africa, Jamaica, Asia, and the U.S., including vocalists-dancers Moye
- Kashimbi from Zambia and Sukutai (Lora Chiorah-Dye) from Zimbabwe. Formed in 1997 by a group of
- already accomplished musicians, band members have performed and recorded with many of the greats in
- African music and dance, including Fela (Nigeria), I.K. Dairo (Nigeria), Obo Addy (Ghana), Dumi Maraire
- (Zimbabwe), Amayenge (Zambia), and the national dance companies of Zambia and Ghana.
Maya Soleil
Energy and Enthusiasm- Original Repertoire
- Contemporary and Traditional
- International Artists
- Multi-cultural, All-ages Show
- For Dancing and Listening
- Workshops
- Versatility
Traditional Musical Instruments used by Maya Soleil:- Balafon (Xylophone)
- Xylophones are used at festivals, wedding celebrations, and funerals, providing both melody and rhythm.
- Related to the marimbas of Zimbabwe and South America, balafons are especially common in the music
- of Ghana and Guinea. In Ghana, the keys of the balafon are made from the male Shea Butter tree. The
- tree must have been dead for several years for it to have lost most of its natural oils. Gourds placed
- under the keys amplify the sound. Among the Chopi of Mozambique, timbila orchestras consist of up to
- 40 people playing xylophones, of six different sizes.
- Mbira (Thumb Piano)
- Commonly played by the Shona people of Zimbabwe, the mbira consists of 22 to 28 metal keys mounted
- on a hardwood soundboard. The keys and soundboard are mounted inside a large calabash (gourd),
- which acts as a resonator to amplify it. Traditionally, the mbira is played with the two thumbs stroking
- down and the right forefinger stroking up. Bottle tops, metal beads strung on a wire, or other devices are
- placed on the lower portion of the mbira soundboard to add a buzz when a note is played.
- Guitar
- In many parts of Africa, the guitar is commonly used today to play traditional music. The guitar replaces
- or accompanies traditional stringed instruments, such as the kora (a harp-like instrument with calabash as
- resonator), the ngoni (a stringed lute), and other lutes (the konting and the khalam).
- Djembe
- The Djembe is used throughout West Africa and now is especially popular for "drum circles" in the USA
- because of its portability and flexibility. This drum has a wide range of tones, produced by its thin goat
- skin, goblet shape, and tight tuning. Most traditional djembes have a plain shell without any special
- carvings. Carved djembes are made from the heart of the Koa tree.
- Dondo (Talking Drum)
- "Talking Drums" are widely used in Ghana (especially by the Ashanti tribe), in Mali, in Senegal, and other
- parts of West Africa. Originally, these drums were used to send messages between villages. The
- drummer produces a wide range of pitches by squeezing the leather strings (which hold the two heads of
- the drum) under his/her arm as he/she strikes the head.
- Ngoma
- The ngoma drum is used in the traditional music of Zambia and is similar to the kpanlogo ("pegged skin")
- drum of Ghana. The ngoma and similar traditional drums of Africa are the forerunner of the Cuban conga
- drum.
- Jun Jun
- The bass drums of traditional African percussion, the Jun Jun provides the heart beat in many drumming
- ensembles. Usually rope-tuned and headed with cow skin, it is played with a heavy stick.
- Agogo Bell
- The agogo bell is a iron bell hand forged in a distinct traditional shape by blacksmiths. Called the
- Gankogui or gakpevi in Eme culture, it is "the forged iron carrying a child". The larger bell is considered
- as the parent and the smaller high-pitch one is considered the child in the protective bosom of the parent.
- Gankogui is the metronomic foundation of the entire ensemble.
- Calabash (Gourd)
- The calabash is a large gourd with a wide opening at the end of the neck and a small opening at the side.
- The player slaps the side or one of the openings with fingers or palm to produce an amazing variety of
- tones. The related Udu is a clay pot drum based on those created by the Ibo and Hausa tribes in Nigeria.
- "Udu" means "pot" in the Ibo language. Many people think that the deep, haunting tones these drums
- produce are the "voices of the ancestors." They were initially used in religious and cultural ceremonies.
- Sacara
- The sacara consists of a clay ring covered with goatskin. It is played by holding the drum in one hand,
- using the thumb placed against the back side of the head to tension the head and produce different
- pitches, while striking the front of the head with a stick. Small sacara drums produce crisp, tight sounds
- and larger sizes produce deeper tones with more resonance.
- Frame drum
- Frame drums are used in many cultures with many names, sizes, and playing techniques. One of the best
- known frame drums is the tambourine, which is a (usuallly <12 in) frame drum with small cymbals set into
- the hoop. Frame drums may have evolved from serving trays.
- Shekere (Axatse)
- The shekere consists of a gourd, hollowed out by removing the seeds, and covered with a net of beads
- or seeds. The sound of axatse is produced by striking it lightly on the thigh (described by the vocal
- syllable as "Pa") and the palm (described by the vocal syllable as "Ti").
- Fanta Bottle
- The fanta bottle is used as a "bottle flute" in the typical way that a child blows across the top of a soda
- pop bottle. It can also be used to produce a crisp "scraper" sound by rubbing an iron nail or wooden stick
- across the ridges on its side.
to Top 
Caller:
Bill Martin
Caller Bill Martin , featured on Oregon Public Broadcasting's "Best of Oregon Art Beat" , leads simple American folk dances such as squares and the Virginia Reel. He is skilled at inspiring the reluctant folks and knows how to get the shy people mixing, moving, laughing and socializing.
- "Your dance was simply intoxicating! Wonderful!" ~ Christy Rheu (Mount Vernon, Oregon)
- "Many locals claim that the dance you did in February was the single most fun thing they ever did in Williams! You fit our spirit the best, because our strength is enthusiasm and energy, not knowing square dance moves." ~ Amber Gayle Evil Twin Publications
- "Parents were dancing around with kids in their arms, and there were people of all ages having a great time." ~ Chuck Powers (Portland)
- "I need more square dances! I had so much fun at Kennedy school that I need more. You're an inspiration and the best caller ever!!!!!!!" ~ Catherine Magasich (Portland)
- "Bill is our long time favorite out here." ~ Keith Harding Mid-Columbia Folklore Society
- "We have wanted to go to the Kennedy School square dance for quite awhile and we're glad we did. As expected, it was packed, which is testament to your fine calling and Foghorn's tight playing." ~ Tim Henckle Hands on Portland
- "Thanks for making the Hoedown such a great event. You combined with the Foghorn really made the night. Hope you all had as much fun as we did." ~ Josh Laughlin Cascadia Wildlands Project (Eugene)
- "Well, hillbillies, don't say you weren't warned about square dancing. The bash last Saturday at the Swedish American Hall above the Du Nord was a flat out blast. We're talkin' cheeks and stomach muscles hurting kinds of fun. Definitely check your cool credentials at the door. This is like collecting baseball cards: so square it's hip." ~ Hicks with Sticks News (San Francisco)
- "Wow, you guys are on fire!" ~ December Carson Siren Music Company (Portland)
- "You did a great job at the dance. We all had a wonderful time. You have an amazing ability to work dance magic with over capacity crowds." ~ Jeff Kazor The Crooked Jades (San Francisco)
- "Thanks again! you really set a great tone for the event!" ~ Mark Niemann-Ross Free Geek Fair (Portland)
- "Saturday was SO much fun! My neice said, 'That was the best birthday party I've ever been to.' Of course, she hasn't been to that many because she's only 5 but I have to agree with her on it. Thanks for being so flexible with our group." ~ Sue Webb (Portland)
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