To become the world's premier Native American flutist, R. Carlos Nakai had to rely more on research and innovation and less on his Navajo-Ute heritage. While the Diné had a strong flute-playing tradition, it was lost when they migrated from the Northwest Plains of Canada to the Southwest over five centuries ago. While Nakai may not have been "born to the flute," it was curiosity about his heritage that led him to it.
During the late 1960s while researching American Indian music and traditional instruments, the wooden flute piqued Nakai's interest, but it wasn't until 1972 that he took it up seriously. Prior to that Nakai had devoted his musical energies to classical training on the cornet and trumpet.
In his usual determination to have a thorough knowledge of the instrument, Nakai crafted his own. He later learned from a flute-making teacher that rather than the oak Nakai was using, cedar is the only wood that works well. He also discovered that when it comes to flute making, there are no standard dimensions. The finger holes and air column are based on hand and finger measurements and are never the same. As a result, each flute has a different sound and pitch, which makes the tonality of the instruments random. Nakai views each flute less as a musical instrument than "as a sound sculpture - a piece of art that also creates sound."
Part of Nakai's philosophy is to ensure that the native flute does not become a "museum piece" of a bygone culture. Through his original compositions and other musical collaborations, Nakai intends to show the instrument's versatility and capabilities.
Over the past three decades, Nakai has melded his classical training with his expertise on the cedar flute to form a complex, sophisticated sound that not only reveals the flute's uniqueness, but covers the spectrum of musical genres: from devotional meditations to jazz ensembles to full symphonic works. Additionally, Nakai creates new sounds for the flute using electronic technology such as synthesizers and digital delay.
A native Arizonan, Nakai's southwestern surroundings as well as his culture, heavily influence his work. He points out "A lot of what I've been taught culturally, comes from an awareness of the environment... How I feel is based on my impressions of being in certain spaces at certain times. Thinking back...on personal tribal stories and the history of my culture figures into how I organize my music."
While solo flute albums are the core of his work, Nakai is ambitious regarding joining forces with other musicians. He views collaborations as "philosophical communication between...musicians" and opportunities to explore beyond traditional musical and cultural boundaries. His projects include Island of Bows, recorded with a Japanese group using acoustic and traditional Japanese instruments; Red Wind, with luthier and guitarist William Eaton and percussionist Will Clipman; Winds of Devotion with Tibetan flutist Nawang Khechog; Inside Monument Valley with silver flutist Paul Horn, and Ancient Future with his Native Jazz group, the R. Carlos Nakai Quartet. He has also recorded two symphonic CD's featuring classical pieces written especially for him by Arizona composer James DeMars. His latest project is Native Voices, a collaboration with Hawaiian Slack Key guitarist Keola Beamer.
Nakai has written and performed scores for film and television including selections for the National Park Service, Fox Television, the Discovery Channel, IMAX, the National Geographic Society and many commercial productions.
In addition to his artistic successes, Nakai has amassed unprecedented commercial honors, including 6 Grammy nominations and the 1st two Gold Records to be awarded to a traditional Native American musician. A prolific musician and composer, he has 37 albums in commercial distribution, including 28 releases on the Canyon Records label. Just counting his Canyon titles, Nakai recently surpassed 3,500,000 units sold worldwide.
When Nakai is not recording, composing or researching, his year is spent touring throughout the U.S., Canada, Europe and Japan performing and lecturing on Native American culture and philosophy. Nakai wouldn't have it any other way. "...We were put on the earth to experience life in its totality. And if you're not doing that, you're essentially wasting your time.
Music of the Old World and New are vividly combined by composer James DeMars in a new, exciting album. The brilliant sonorities of the Canyon symphony orchestra create a colorful setting for
R. Carlos Nakai (Navajo-Ute) in Two World Concerto and Gray Hawks Rising. The Black Lodge Singers (Blackfeet), internationally acclaimed pow-wow singers, give a stunning performance of Native Drumming.
TRACKS:
Click below to listen.
Two World Concerto (for Native American flute and orchestra):
1. Spirit Call: "paint for us the times to come..." (14:36)
2. Lake that Speaks: "this trembling of beings and things" (7:38)
3. Crow Smoke: "shaping worlds as fire burns..." (7:51)
4. Gray Hawks Rising
(aria for Native American flute and orchestra) (5:02)
Native Drumming (concerto for pow-wow drum and orchestra):
5. Part 1: "Flag Song" (8:30)
6. Part 2: "Destiny Song and Mask Dance" (14:47)
Encores:
7. Seasons (by Shawn Scabby Robe) (2:12)
8. Zuni Corn Grinding Song (arranged by R. Carlos Nakai) (2:32)
Music of the Old World and New are vividly combined by composer James DeMars in a new, exciting album. The brilliant sonorities of the Canyon symphony orchestra create a colorful setting for
R. Carlos Nakai (Navajo-Ute) in Two World Concerto and Gray Hawks Rising. The Black Lodge Singers (Blackfeet), internationally acclaimed pow-wow singers, give a stunning performance of Native Drumming.
TRACKS:
Click below to listen.
Two World Concerto (for Native American flute and orchestra):
1. Spirit Call: "paint for us the times to come..." (14:36)
2. Lake that Speaks: "this trembling of beings and things" (7:38)
3. Crow Smoke: "shaping worlds as fire burns..." (7:51)
4. Gray Hawks Rising
(aria for Native American flute and orchestra) (5:02)
Native Drumming (concerto for pow-wow drum and orchestra):
5. Part 1: "Flag Song" (8:30)
6. Part 2: "Destiny Song and Mask Dance" (14:47)
Encores:
7. Seasons (by Shawn Scabby Robe) (2:12)
8. Zuni Corn Grinding Song (arranged by R. Carlos Nakai) (2:32)
1994 GRAMMY AWARD Finalist in Best Traditional Folk Music. R.Carlos Nakai and guitarist William Eaton create a diverse music that celebrates the rich traditions of the peoples of the Americas. With the Black Lodge Singers.
1994 GRAMMY AWARD Finalist in Best Traditional Folk Music. R.Carlos Nakai and guitarist William Eaton create a diverse music that celebrates the rich traditions of the peoples of the Americas. With the Black Lodge Singers.
Inner Voices presents the haunting flute melodies of R. Carlos Nakai with the richness of a string ensemble in new arrangements of Nakai's melodies. The evocative power of the traditional flute is enhanced by the lush harmonies of violin, viola, cell and double bass in arrangement by two-time Grammy Award winner, Billy Williams. Williams’ arrangements create a tranquil soundscape for the mellow tone of Nakai’s flute that takes the listener on a meditative and peaceful journey into the inner world of memory and dreams. The ten songs include eight melodies drawn from earlier albums plus a luminescent rendition of the eternally popular Amazing Grace. A haunting solo for bass traditional flute rounds out the album.
Inner Voices presents the haunting flute melodies of R. Carlos Nakai with the richness of a string ensemble in new arrangements of Nakai's melodies. The evocative power of the traditional flute is enhanced by the lush harmonies of violin, viola, cell and double bass in arrangement by two-time Grammy Award winner, Billy Williams. Williams’ arrangements create a tranquil soundscape for the mellow tone of Nakai’s flute that takes the listener on a meditative and peaceful journey into the inner world of memory and dreams. The ten songs include eight melodies drawn from earlier albums plus a luminescent rendition of the eternally popular Amazing Grace. A haunting solo for bass traditional flute rounds out the album.
This collection of traditional and new melodies for solo Native American flute continues R. Carlos Nakai's exploration of this expressive instrument. Returning to traditional roots, he presents eleven arrangements of Zuni, Lakota, Kiowa and Cheyenne melodies along with seven original compositions and a work by composer by James DeMars. Nakai beautifully demonstrates the haunting simplicity and evocative magic of the traditional flute.
This collection of traditional and new melodies for
solo Native American flute continues R. Carlos Nakai's
exploration of this expressive instrument. Returning to
traditional roots, he presents eleven arrangements of
Zuni, Lakota, Kiowa and Cheyenne melodies along with
seven original compositions and a work by composer by
James DeMars. Nakai beautifully demonstrates the haunting
simplicity and evocative magic of the traditional flute.
The best representation of R. Carlos Nakai's concert performance for the solo cedar flute beginning with renditions of traditional melodies from the Plains and Nakai's own works in the traditional style. Closes with an ethereal rendition of "Amazing Grace."
The best representation of R. Carlos Nakai's concert
performance for the solo cedar flute beginning with
renditions of traditional melodies from the Plains and
Nakai's own works in the traditional style. Closes with
an ethereal rendition of "Amazing Grace".
Using digital technology, R. Carlos Nakai creates the sound of the cedar flute echoing in the canyons and valleys of the vast Southwest. His seventeen free flowing compositions soothe the spirit and carry the listener to the far realms of the imagination. Awarded a certified Gold Records in 1998 ~ the first ever awarded for a Native American music album.
Using digital technology, R. Carlos Nakai creates the
sound of the cedar flute echoing in the canyons and
valleys of the vast Southwest. His seventeen free flowing
compositions soothe the spirit and carry the listener to
the far realms of the imagination. Awarded a certified
Gold Records in 1998 ~ the first ever awarded for a
Native American music album.
This album best captures the timeless serenity of the solo Native American flute. R. Carlos Nakai's music speaks to the spirit with a simplicity that transcends place and time. Includes original compositions, traditional Athabascan and Omaha melodies.
This album best captures the timeless serenity of the
solo Native American flute. R. Carlos Nakai's music
speaks to the spirit with a simplicity that transcends
place and time. Includes original compositions,
traditional Athabascan and Omaha melodies.
Journeys is one of the first albums released by R. Carlos Nakai in his celebrated 25 year career and demonstrates Nakai's early mastery of the Native American flute and his special ability to bring peace and tranquillity to the mind and spirit.
Journeys is one of the first albums released by R. Carlos Nakai in his celebrated 25 year career and demonstrates Nakai's early mastery of the Native American flute and his special ability to bring peace and tranquillity to the mind and spirit.
Evocative music capturing the vastness and sweep of the American West and the feelings of Native Americans for their traditions and land. Eight songs for Native American flute with synthesizer accompaniment.
Evocative music capturing the vastness and sweep of the American West and the feelings of Native Americans for their traditions and land. Eight songs for Native American flute with synthesizer accompaniment.
R. Carlos Nakai's first recording and still a favorite. Fifteen solo songs of pure, soothing Native American flute music including renditions of Zuni, Blood and Lakota melodies along with Nakai's own impressionistic melodies inspired by his travels throughout North America.
TRACKS:
Click below to listen.
1. Zuni Song (2:24)
2. Whippoorwill (4:26)
3. Wioste Olowan Toki Ya (1:50)
4. 12/13/82 Song (3:25)
5. December Snow (1:42)
6. Winter Solstice (3:17)
7. Wioste Olowan Inkpa Ta-Ya (2:43)
8. 12/20/2 Song (2:03)
9. 11/20/82 Song (1:58)
10. 12/13/2 Song No. 2 (1:21)
11. 11/11/82 Song (1:09)
12. Death Song - Lament (6:36)
13. 10/18/82 Song (2:53)
14. Blood Round Dance Song (2:20)
15. Improvisational Melody -
Impressions of Atitlán, Guatemala (1:53)
R. Carlos Nakai's first recording and still a favorite. Fifteen solo songs of pure, soothing Native American flute music including renditions of Zuni, Blood and Lakota melodies along with Nakai's own impressionistic melodies inspired by his travels throughout North America.
TRACKS:
Click below to listen.
1. Zuni Song (2:24)
2. Whippoorwill (4:26)
3. Wioste Olowan Toki Ya (1:50)
4. 12/13/82 Song (3:25)
5. December Snow (1:42)
6. Winter Solstice (3:17)
7. Wioste Olowan Inkpa Ta-Ya (2:43)
8. 12/20/2 Song (2:03)
9. 11/20/82 Song (1:58)
10. 12/13/2 Song No. 2 (1:21)
11. 11/11/82 Song (1:09)
12. Death Song - Lament (6:36)
13. 10/18/82 Song (2:53)
14. Blood Round Dance Song (2:20)
15. Improvisational Melody -
Impressions of Atitlán, Guatemala (1:53)
Description
Nineteen eighty-seven's Sundance Season was released at the height of Native American flutist R. Carlos Nakai's creative powers and is the first of two recordings done at Lindisfarne Mountain Retreat in Colorado (the other being Desert Dance). While Desert Dance is a solid representation of Nakai's diverse talents, Sundance Season emits a more inspired, alive energy, perhaps due to the Sun Dance festival that took place near Lindisfarne during recording time. Nakai's flute meditations on this collection emote relaxing, centered prayer while his chant and gentle, low drumming seamlessly blend in an added ancient dimension. Particular standouts include "White Shell Dreams" with its cleansing sounds of a fresh rain shower and the Tibetan bell on "Ritual I" and "Ritual II," uniquely bringing forth a peaceful awakening. The solo on the eagle-bone whistle mixed with Nakai's lovely baritone voice provide a pure, golden finish.
One of Nakai's best.
**Item 413, cassette, is no longer available**
Features flute, vocal and percussion, this tape is a
ritual about the ever changing beauty of the San Luis Valley
and Crestone, Colorado ...and interprets Nakai’s
experience in the sacred place of his ancestors.
Code: 4020-700-4 Price: 9.95
Description This collaboration with new age keyboard star Peter Kater is the album that introduced Nakai mainstream record buyers. On its release, Natives stayed on Billboard's New Age Chart for almost a year, paving the way for the current renaissance in the Native flute. Once again the music is totally improvised, with Kater's romantic melodies and fat, left-hand chord clusters on the concert grand, providing a fertile environment for Nakai's flights of improvisational fancy. And although Kater is an impressive piano stylist, this is clearly Nakai's show; the brittle tones of his Eagle-bone whistle, and his measured chanting to the accompaniment of an Algonquin turtle rattle always move the music to a
higher plane.
The panoramic harmonies of R. Carlos Nakai's flute with William Eaton's guitar, harp-guitar and lyre create visions of canyons and plains in these fifteen songs. Music haunting in its serenity, graceful in its simplicity and with a zen-like lyricism.
1994 GRAMMY AWARD Finalist in Best Traditional Folk Music. R.Carlos Nakai and guitarist William Eaton create a diverse music that celebrates the rich traditions of the peoples of the Americas. With the Black Lodge Singers.
1994 GRAMMY AWARD Finalist in Best Traditional Folk Music. R.Carlos Nakai and guitarist William Eaton create a diverse music that celebrates the rich traditions of the peoples of the Americas. With the Black Lodge Singers.
Something ethereal... of the earth... of illumination... a trialogue between distinct voices, an alchemical blending of disparate elements into a new alloy.... like the airborne feather, the music arises out of improvisation, like stone forming in the molten heart of the earth, it moves with patient certainty toward structure and like light, it quickens and enlivens what it touches...
Native American flutist, R. Carlos Nakai, draws on his Navajo-Ute heritage in this fourth collaboration with guitarist William Eaton who adds the unique sounds of his hyraharp guitar, o'ele'n strings and spiral clef guitar to Nakai's cedar flutes. Joined by percussionist and are joined by percussionist Will Clipman they bring fourth a music born in the Sonoran desert and colored by sounds of the world. A BILLBOARD MAGAZINE Critic's Choice.
Something ethereal... of the earth... of illumination... a trialogue between distinct voices, an alchemical blending of disparate elements into a new alloy.... like the airborne feather, the music arises out of improvisation, like stone forming in the molten heart of the earth, it moves with patient certainty toward structure and like light, it quickens and enlivens what it touches...
Native American flutist, R. Carlos Nakai, draws on his Navajo-Ute heritage in this fourth collaboration with guitarist William Eaton who adds the unique sounds of his hyraharp guitar, o'ele'n strings and spiral clef guitar to Nakai's cedar flutes. Joined by percussionist and are joined by percussionist Will Clipman they bring fourth a music born in the Sonoran desert and colored by sounds of the world. A BILLBOARD MAGAZINE Critic's Choice.
Since his first release for Canyon Records in 1983, Native American flutist R.Carlos Nakai has used the traditional Native American flute in exciting new musical settings creating a new genre with widespread popularity. In this album, Nakai continues this musical experiment by joining the haunting sound of the cedar flute with sax, guitar, bass, keyboards and drums. This new sound is a confluence of traditional Native American sounds, Latin rhythms and ethnic jazz. Features Nakai on Native American flute, Amo Chip Dabney on sax, keyboards and bass, Will Clipman on drums and percussion and J.David Muñiz on guitar, bass and keyboards.
Since his first release for Canyon Records in 1983, Native American flutist R.Carlos Nakai has used the traditional Native American flute in exciting new musical settings creating a new genre with widespread popularity. In this album, Nakai continues this musical experiment by joining the haunting sound of the cedar flute with sax, guitar, bass, keyboards and drums. This new sound is a confluence of traditional Native American sounds, Latin rhythms and ethnic jazz. Features Nakai on Native American flute, Amo Chip Dabney on sax, keyboards and bass, Will Clipman on drums and percussion and J.David Muñiz on guitar, bass and keyboards.
Red Wind conjures the subtle beauty and intimate grandeur of the singing desert, weaving aural fables of human and animal presence into enduring tableaus of landscape and sky...illuminate by musical influences from Native American and around the globe. Nakai, Eaton and Clipman discover the exotic in the familiar by journeying deeply into the sonic atmospheres of northern Sonora, blending celebration and lamentation with passionate eloquence.
Red Wind conjures the subtle beauty and intimate grandeur of the singing desert, weaving aural fables of human and animal presence into enduring tableaus of landscape and sky...illuminate by musical influences from Native American and around the globe. Nakai, Eaton and Clipman discover the exotic in the familiar by journeying deeply into the sonic atmospheres of northern Sonora, blending celebration and lamentation with passionate eloquence.
With the towering spires and sky framing canyons of Monument Valley as their stage, flutist Paul Horn and R. Carlos Nakai create a music that is at once intimate and majestic. Wind, thunder, bird song, the keening of falcons and even the raucous cries of curious ravens provide counterpoint to the lyrical grace of Horn's transverse flutes and the haunting tone of Nakai's traditional Native American flute.
With the towering spires and sky framing canyons of Monument Valley as their stage, flutist Paul Horn and R. Carlos Nakai create a music that is at once intimate and majestic. Wind, thunder, bird song, the keening of falcons and even the raucous cries of curious ravens provide counterpoint to the lyrical grace of Horn's transverse flutes and the haunting tone of Nakai's traditional Native American flute.
When the haunting melodies of R. Carlos Nakai's Native American flute are accompanied by AmoChip Dabney's saxophones, synthesizer and bass, they create a music that combines both traditional and contemporary styles in new and exciting ways. This album reflects the panorama of American life and the importance of Native American and African American music design to the American Culture.
The fluid resonance of traditional cedar flute, luminous guitars and the undulating rhythms and textures of electronica weave sonic excursions into the night lounge of the world - reconnecting past and present. Featuring Cilff Sarde, William Eaton & Randy Wood.
Mountain vistas interspersed with alpine parks, stands
of Aspen and conifer forests interlaced with rivulets and creeks of cool, clear run-off emanating from winter's glacial snows far about the tree line... this is the alpine homeland of Colorado's native tribal peoples. Today, the remnants of their summer encampments, in these secluded rocky Mountain fastnesses, are ideal places of spiritual refuge and unencumbered solitude. The nurturing atmosphere offers a brief respite from the cares of the world and within this sacred domain this music was created.
The solo Native American flute speaks to the heart
with an eloquence unmatched by any other instrument.
This collection includes selections featuring the
richness of the bass cedar flute in addition to the
grace of the standard flute performed by the multi-Grammy
& nominee, R. Carlos Nakai.
In 1983, R. Carlos Nakai (Din & Ute) introduced
the haunting and soothing sound of the Native American
flute to the world and began an exploration of the
musical possibilities of this traditional instrument.
This collection of songs draws from the best of Nakai's
recordings and shows the range and versatility of his
artistry and musical imagination.
In Beauty, We Return presents songs for solo flute,
collaborations with other ethnic artists (Nawang Khechog
& Wind Travelin' Band), jazz (the R. Carlos Nakai
Quartet), collaborations with Paul Horn and William
Eaton and closes with the traditional flute in an
orchestral setting.
Talisman celebrates the twenty-fifth anniversary of R.
Carlos Nakai's first release, Changes, and returns to the
pure, haunting sound of the Native American flute
unaccompanied by other instruments. Talisman is a
continuous soundscape as Nakai alternates songs for one
flute and songs for two flutes in a rich tapestry of music
so soothing, it unwrinkles mind and soul...
TRACKS:
Click below to listen.
1. Song of Darkness (4:41)
2. Obsidian Talisman (5:32) - two flutes
3. Coyote Calling (3:18)
4. Celestial Realm (4:07) - two flutes
5. Sun’s House (5:06)
6. Glimmering Dawn (5:01) - two flutes
7. Cedar Breeze (4:01)
8. Happiness Carries Me (4:02)
- two flutes
9. Tranquility (4:27)
10. White Shell Talisman (4:45)
- two flutes
11. Pollen Path (4:31)
12. Wisdom’s Edge (3:47)
- two flutes
13. Sunrise Prayer, In Beauty (6:08)
Total Time: 59:32
Code: 4020-708-413 Price: 14.95
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