Peru part 2 Lost in Translation

ESTOY ENFERMO
Lima and it's neighboring cities is a very large place. So to speed things up we took a city tour of the old historic center of town. On the way we stopped at the Museo Nacional de Arqueología Antropología e Historia del Perú to look at some prehistoric artifacts. However, I wasn't feeling all that great that morning.

"
The Museo Nacional de Arqueología Antropología e Historia del Perú

I'm not sure why I was sick to my stomach. I was being careful with the water, drinking only bottled water, and hadn't eaten any raw fruit. I did have several Pisco Sours, a mixed drink made with lime juice which I learned later the lime juice can bother your stomach. Maybe it was the rich dinner of duck I had the night before. Either way my stomach was in no mood to be bounced around inside a bus with a bunch of other tourists. But I toughed up and away we went.

The museum was an old hacienda that was built around a courtyard. The displays were tucked into each of the rooms that opened up on to the walkway that bordered this yard.


The Museum walk ways

I was starting to feel queasy again when we came upon the Raimondi Stela



There were many time in Peru when I was brought face to face with something I read about in books, but never in my wildest dreams thought I'd ever see in person. The Raimondi Stela was the first of these encounters.

It was built by the Chavin culture. The Chavín were a civilization based in the northern Andean highlands of Peru from 900 BC to 200 BC



Stylistically, Chavín art makse extensive use of the technique of contour rivalry which allows the viewer to see different images depending upon how one looks at it. The art is supposed to be difficult to interpret, as it was intended only to be read by high priests of the Chavín cult who could understand the sacred designs. The Raimondi Stela is one of the most famous examples of this technique. At the bottom a fearsome deity stands holding two staffs and wearing a very tall headdress of snakes and other creatures. When the stela is flipped upside-down the headdress becomes a stack of fanged faces, the deity, now at the top, is now a fanged reptile, and the staffs also have faces. My photos don't do this effect justice.

The culture of the Chavin and their cultural motifs influenced many of the Peruvian prehistoric cultures that followed. At one time they where thought to be the oldest "culture" in Peru, but there is evidence of earlier cultures these days. The date for the oldest culture in Peru keeps getting pushed back, earlier in time.

There was also some great pottery from the Moche culture, who are know for their pot making skills.



The Moche were a coastal seafaring and fishing people. This was a strong motif in the pieces we saw that day. Some of the images from pots not on display were shown on the wall behind the pottery. The image below shows a Moche fisherman. The whiskered, Dr. Seuss creature leaping to the right of the boat is a seal of some sort.



The culture of the Moche is fascinating, but too complex to go into here.

At the end of the displays came the Inca culture. There was a Quipu on display.



Quipu or khipu (Quechuan) were recording devices used in the Inca Empire and its predecessor societies in the Andean region. A quipu usually consisted of colored spun and plied thread from llama or alpaca hair or cotton cords, with numeric and other values encoded by a system of knots in a base 10 positional system. Some believe they were a binary system. They were not a writing system per se, but rather used to keep count or as a mnemonic device to refresh one's memory. The ability to read them was done by trained individuals called Quipucamayocs. The practice was lost during the Spanish invasion The art of the Quip[ucamayocs died out with them. Their meaning lost to the ages.

The museum also had a photo of two prehispanic Quenas. The rim blown flute of the Andes.



Photos are nice, but I would have rather seen the real instruments.

GHOSTS OF BOLIVAR
After the museum we continued to the Lima city center. We got off the bus at a big roundabout. The buildings were from the 19th century. It had been raining and everything was old and gray looking.



Of course my opinion of this part of town I'm sure was altered by how I felt, lousy, and the fact that there were tons of people around. We had been warned to be careful of pickpockets and it turns out that the day we showed up was Peruvian Independence days, so the streets were mobbed. The President of Peru was giving a speech from the Plaza de Armas, one of the main plazas, but it was not open to the public, only invited guests. Streets were closed and getting from where we were to where we wanted to be, the Plaza de Armas, was not going to happen. Even our tour guides looked nervous.

Nevertheless we walked as close as we could get to the plaza and to the restaurant where we were to have lunch, (something I was not in the mood for.) Our route took us down a street that was closed to cars for the day.


There were soldiers on horse back.


More old churches.


Next to the church was a cool Art Deco building that had been invaded by a fast food joint...


Then we came to a cross street that was completely blocked off for the motorcade of El Presidente and his guests.

We were stuck. As we waited I got my video camera out just in time to film a marching band come by on horse back. While I was filming some people in the crowd commented how much they love their El Presidente.


Click to Play

Being a guest in Peru I thought it best to not ask about these comments. Besides I was still not feeling well. Once the parade of dignitaries and soldiers passed they opened up the street and we went on our way. There were soldiers everywhere. Marching in columns, on horse back, in trucks and jeeps. Many of the uniforms of were colorful and gaudy. I began to feel like I was witnessing an 19th century coup.

We made it to the restaurant. I skipped lunch. Back at the hotel I drank chicken soup for dinner and took it easy. I began to feel better, almost normal. We watched Peruvian TV in the room, most of the programs were from the U.S. dubbed in Spanish.

LOST IN TRANSLATION
The next day we visited a fish market. By then I was feeling great and looking at all the fish was making me hungry. The local fishermen were showing off their catch. One of the fish I did not recognize so I asked our guide what it was. She didn't know either so she asked him. I caught the exchange on film. There was some confusion to say the least...


Click to Play

I think it was eel, but I"m still not sure...

That wrapped up our visit to Lima. The next day we went to the airport and flew to Cuzco in the heart of the Andes. I was glad to leave Lima behind and get to the heart and soul of Peru.

To be continued...

Peru part 1

HOW DID I GET HERE?
This past July I got a chance to travel to a place I've wanted to visit since I was young. Machu Picchu, the lost city of the Inca. Perched high in the cloud forest in the Andes it was abandoned before the Spanish arrived in 1532. They never found it. Except for the locals, it was unknown until 1911 when Hiram Bingham, with the help of local guides and farmers "discovered" the city for the western world. As a youngster I encountered images of Machu Picchu. To my young mind it seemed like an ancient castle in the sky. It has stayed on my list of places to visit during my lifetime since.

The chance to visit Peru happened quickly. The subject came up just eight weeks before the trip actually took place. We thought about it for another two weeks, made the decision to go and then six weeks later we arrived at LAX, tickets in hand, bound for Peru. Our destinations: Lima, Cuzco, the Sacred Valley of the Tambo and Machu Picchu.

Although I went to see Machu Picchu, what I found was a vibrant culture. Full of color, music, dramatic history, prehispanic ruins, cold foggy coastlines and clear mountain skies. For me, Peru was a land of extremes.

When we left Los Angeles in late July it was summer. Peru however, being in the southern hemisphere, was obviously having winter. The weather looked similar to LA's winters. Cool days but with colder nights than we get here in LA. So we boarded the plane dressed for cool weather. On our way we had to switch planes, with a one hour layover in San Salvador, El Salvador, where we were greeted by hot humide weather. It felt like 100˚ and the thick air hit you like a wall. As we were wearing long sleeves and fleece jackets it was very uncomfortable.



Lush tropical jungle surrounded the airport, like a rain forest. But despite a hard search we could not find water for sale anywhere in the terminal. The heat droned on.



I'm sure El Salvador is a wonderful country, I love Pupusas, so I know the food is great, but we were happy to be on our way and escape the humid heat of the tropics. As our plane climbed skyward the classic cone of the San Salvador volcano, or Quetzaltepec, hovered in the distance. We headed southeast. The sun slipped below the horizon.

LIMA
when we landed in Lima at 8:30 local time it was dark, cold, and cloudy. Lima is a big city. Like all big cities there were people everywhere and cars zigging in and out of traffic. The taxi ride from the airport to the district of Mira Flores took about 40 minutes. The streets were busy and full of people. American business reared their heads in the form of McDonald, Starbucks, KFC, TGI Fridays and from the UK was there with Burger King. It's always somewhat of a disappointment to travel somewhere and find exactly what you left behind.


Peruvian Starbucks

We were surprised to find that gambling is legal in Lima and we drove past many gaudy casinos. As we got closer to our hotel in the Mira Flores district, the streets got quieter and quieter. A light drizzle began to fall. For Lima this is a major "rain" event. The city, although right on the Pacific coast, is in a desert and receives only 1/4" of rain on average each year.

We arrived at our hotel, checked in our room, and then checked out some local stores, an upscale market and had a nice quiet dinner nearby. The next day we explored further.

MIRAFLORES
The first place we visited was Kennedy park in Miraflores. It was named after JFK, our 35th president. The "city" of Lima is made up of several towns, of which Lima is just one of the. Miraflores is another. It has it's own city government.


Kennedy Park

Next to the park was a church. My understanding is that Peru is 80% Catholic, but I get the sense that there is a strong practice of the older indigenous religions that predate the Spanish. Very much so in the highlands.


Church near Kennedy Park


Detail of church

As we left the area on Kennedy Park we spied one of the few cats we saw in Peru, sleeping on a grate next to the church.



The next place we went to was the Artist's District of Miraflores. This was an area of several blocks that had little malls full of small shops, or stalls selling everything from textiles to jewelery, art, silver pieces and even musical instrument. We had been told that most of the stuff was not of the best quality, and it was recommended that we wait until we get to the highlands for better stuff. So I didn't buy the long belt shaker I saw hanging from the ceiling of one stall. I never saw another one the rest of the trip am and still bummed that I passed on getting that one.


The inside a mall in the Artist's District


Outside the Artist's District

THE PACIFIC COAST
The building in Miraflores were all painted in pale pastels, adding a bright counterpoint to the gray skies that constantly hung over the city. The clouds were dreary in general, but more so once we walked down to the coast. From Kennedy park it took about 20 minutes to walk to the coast. Lima sits on the Pacific Ocean, but is in the same time zone as New York City.


Lima-Miraflores sits on the Pacific Ocean
In Miraflores there is a new "American" style mall called Lancomar which over looks the ocean. While there were some local stores, many of them were U.S. chains. Nevertheless the view from the mall was very nice.


View from the Lancomar Mall

There were lots of locals at the mall and in the strip of parkland that extended along the top of the cliffs next to the ocean. For a price you could go Para-gliding in the constant breeze that swept the coast up the cliffs. Not a price I would pay...


Para-gliding

Next to Lancomar was Lover's Park which was dominated by a huge statue of a couple wrapped in embrace.

"Get a room!"

For me the highlight of the park was the tile benches that snaked along the sides. Done in a style reminiscent of the work of Gaudi, there were quotes about love set in the tile mosaic.



In my next post about Peru we visit two local markets, including a fish market right on the coast. Things get lost in translation, but it's all good. Plus I break out the video camera...

My Favorite Flute?

I've been out performing this month again and as always I get a question that stumps me every time. "What's your favorite flute?"

I've been asked this question at least a hundred times and it still surprises me. Mostly because I've never sat down and thought about it on my own. "...hmm, what's my favorite flute?" It is a perfectly reasonable question, I guess, but one that I could never answer.

Why not? Well here are a few reasons.

Too Many
I've been playing Native American style flutes for over ten years now and stopped counting how many I had at least nine years ago. As my collection grows I forget about some of the old ones. Newer ones catch my attention and they get played more. It's human nature.

Not All Flutes Sound Alike
Every flute I have sounds slightly different. What I like about the sound of one flute may be great for a certain mood, musical style, or playing style, but not work as well outside of those parameters. I might prefer other flutes for other moods, styles or types of playing.

The sounds of some flutes I own are sweet, some are clear, some are loud, some are soft, some are warm, etc. Many flute have a lot of these qualities, but not all flutes have every good quality one might look for in a flute. I've never heard a flute than can sound both "plains" and "woodland" style. It's one or the other.

This may be why I prefer some flutes over others, they do more of the things I want a flute to do than others. Flutes that can be played soulfully one minute and then aggressively the next I like better than flutes that only play one way.

Too Specific
Some flutes are so specific that they end up limiting themselves. I have drone flutes and doubles that do a few things really well, but not everything. Bass flutes and really high pitched flutes can also fall victim to their specific design. When you get down to it all NAFs are based on one key and that limits them as well. So all flute suffer from being specific in some way.

A World Full Of Options
In the end the main reason why I could never pick a "favorite" flute is that I like to keep my options open. I don't have a favorite color, or a favorite meal, (I do have a favorite food: pumpkin... go figure), I like many different styles of music, a variety of tea blends and types of beer, I like all the seasons (although I think I prefer fall), and as the seasons change and the food at the farmer's market changes I get excited with all the new stuff they offer.

Variety is the spice of life and there are so many wonder things on our planet for us to pick from that I don't see how anyone could ever say "This is my favorite."

So, now that I've thought about it, do I have a favorite flute? Well surprisingly I do...
But it will change tomorrow.

Quiet Journey. Song for Anasazi flute

Quiet Journey: Anasazi flute with images of the Grand Canyon by Scott August.

Recorded live July 16th 2008.

More Videos

Performance at the 2009 Yosemite Flute Festival

I will be performing at this years Yosemite Flute Festival on Friday Sept 25th! I will also be giving workshops and private lessons during the festival which is from the 25th to the 27th. Hope to see you there. Pass this on...

2009 Scott August Signature flute: The Mojave 6

Once Earth Tone flutes had completed the line of the 2008 Scott August Signature Anasazi flutes the big question for me and Geoffrey was "What do we do next?"

The type of flute was the easiest part to answer. I had recently obtained a Mojave flute from Michael Graham Allen and was enthralled with it's exotic sound. It's limited range of notes, however, was some what frustrating. The Mojave replicas that Michael makes has only four holes and could not play any notes above the 5th in any given octave. This is not to say that Michael's flutes are lacking in sound or soul, I just wanted more notes.

So Geoffrey and I decided early on to extend the number of pitches by adding holes. I knew that the next note I heard in the scale was a minor 6th, a half step above the 5th. Above that, to match the top note of a Native American style flute, we picked the minor 7th. The flute is based on the note B.

Coincidentally Geoffrey had been exchanging emails with Frankie Sierra regarding a five hole version of a Mojave flute that he was working on, the fifth hole being a thumb hole. Personally I like to avoid thumb holes if possible so we decided to move the thumb hole to the front of the flute to get the min-6th along with another, higher, finger hole for the min-7th. A total of six holes. This led to the name Mojave-6, or M-6. The spacing of the six holes is in the same style as an Anasazi flute: two groups of three.

Read the complete post

Cahuilla flutes

Several years ago I had the pleasure to visit the Riverside Metropolitan Museum, here in southern California, with Marvin and Jonette Yazzi to look at five Cahuilla/Diegueno/Ipai rim blown flutes they have in their collection. I found out about these flutes from Marvin and Jonette Yazzie and Ernest Siva, an elder of the Cahuilla/Serrano culture.

These flutes are part of the broader western rim-blown flute world which include examples from the Anasazi, Mojave, and southern California cultures.

Like the Anasazi flutes, many of these flutes are made of a elder wood, specifically elderberry. This is a common tree that grows wild in southern California. It blooms with yellow flowers in the spring. The inner core, or pith, of the wood, is soft and can be poked out with a hard stick for flute making. Three of the flutes in the Riverside museum were made of elderberry. The two other flutes were made of river cane. The majority of the flutes we saw that day were thought to have been made during the turn of the 20th century. All had four finger holes.

We took some photos and measurements of the flutes but were not able play them as they had been treated with a preservative that was toxic. I think it was formaldehyde. They also had to be handled with white gloves for this reason.

Measuring about 21" in length with a 3/4" bore, the elderberry flutes' finger holes were evenly spaced in the middle of the flute. No information was known about the tuning or the traditional use of these instruments, although Ernest recalled that elders played this flute when he was a youngster growing up on the Morongo reservation in the San Gorgonio pass. The flutes in the Riverside museum were found in the Diegno/Ipai

The cane flutes were about 17" in length with the top finger hole being about 8 1/2" from the blown end, also known as the proximal end. From there three more finger holes descended toward the distal end.

The flutes all had some decorative markings. Hatch marks radiating from finger holes like sun rays and bands of triangles and wavy lines that were possibly burned on to the flutes.

Several weeks later the Yazzies made a few reproductions of the elderberry flutes. (Fig 1-A below) The pitch classification of the notes does not correspond to any western tuning and seemed to be random. Due to this lack of any tonal focus I never really put much effort to playing these flutes. That was a couple years ago.

About a month ago I dropped by the Yazzies and while there Jonette brought out some flutes that were based on the cane Cahuilla flutes with the finger holes grouped toward the distal end of the flute. When I played these there was a stronger tonal center than the elder berry ones. These were fun to play. (Fig-1 B-E)


Figure 1

One of the better "tuned" ones was based on the note G (above middle C). The tones produced by a straight uncovering of the holes from the bottom up produce the notes G-B-C#-D-E with an overblown octave G. A cross fingering pattern will produce the notes G-B-C-D-E-(G 8va) (Fig 1-D)

Two of the flutes were based on E-G#-A-B-C with an overblown octave E. These flutes tends to wander a bit more between half steps depending on the players embouchure. (Fig 1-B/C)

The Yazzies also made a six hole version, but not based on any of the artifacts we saw. The pitches found in this flute are F-Ab-A-B-C-Db-Eb with an over blown note of E, a major seventh above the root. (Or a half step below the octave.) By not playing some of the notes I was able to come up with some scales, but nothing like the Anasazi, Mojave or NAF scales. (Fig 1-E)

These flutes have a very soft, intimate sound. What I would call sweet. They are not at all loud. Here is an example of flute D from Figure 1.



The Yazzies are making these flutes with their "grand father" tuning. I thought it would be fun to take some of them with me to the Zion Flute School (more on that in a later post) and before I even got them handed out they were spoken for. Luckily, I had one already.

You won't find these flutes on their website, but if you contact them they can fill you in on the details.

© 2009 Cedar Mesa Music. All rights reserved.

Potomac Festival Notes

Last week I performed at the Potomac flute festival. This was my first time performing on the east coast and it was a great experience. The week before I had flown into Raleigh, NC to do a workshop and performance for the Neuse River flute circle. I met some great people there, many of whom I now consider friends.

RALEIGH, NC
From the time I landed on Friday night right up till the following Monday morning I was on the go. Workshop Saturday afternoon, then rushing over to the small hall to set up, then perform, a late dinner, up early the next day to give some lessons...

The workshop was on Intermediate/Advanced NAF playing and the level of the attendees, as with all workshops, varied greatly. There were some very good players and some very good flute makers.

Here are a couple photos from that workshop.


In this one I'm showing how much weight my flute case can case support..


Apparently I also demonstrated how to palm a basketball...

Setting up for the performance I encountered a lot of issues that I don't normally have. The internal routing of my signal path got screwed up some how and it took a while to work through that. Then my small MIDI keyboard was not recognized by my gear. Never did figure out what happened there.

Regardless, once I took the stage I put all this out of my mind and focused on the performance. Without the keyboard I was forced to rearrange my set on the fly, but as I tend to not use a fixed "set" anyway this wasn't a problem.


Performing in Raleigh, NC

THE PIT
After the performance a bunch of us went to The Pit for Carolina style BBQ. The master chef there is Ed Mitchell who is considered by many to be the premier chef of this style of cooking.

Drinking a toast of Junior Johnson's Midnight Moon moonshine with Ed Mitchell.

POTOMAC
At Potomac the set up was flawless. Earlier that day I did a mock set up to find out where things had gone wrong in Raleigh and everything work exactly the way it was intended all along. The signal routing worked fine and the keyboard came online without a hitch. I always try to learn something from any problems and although I never did figure out quite what happened in Raleigh, I did learn more about how my internal routing worked and saved presets for several different configurations to use in the future.

During the performance I tried to played an equal percentage of Anasazi flutes to regular NAFs and debuted several new pieces.

The next day consisted of multiple lessons and an Anasazi workshop. The latter was interesting as everyone was at a different level of ability. Some were well along the Anasazi road, while others had just got their flute that day. A few just showed up to see what all the fuss was about. That made the workshop a challenge. Which level do you gear the class to? I tried to get a little bit of information for every level.

FLUTE ENVY
In between all this I manged to buy flutes from Butch Hall and Colyn Peterson. I also got a flute from Leonard McGann tuned to a major scale and played a cool double by Brent Haines.

Here is the flute I purchased from Colyn and Kitty of Woodland Voices

It's made of Port Orford cedar with Katalox and is in the key of G# (minor pentatonic).


I saw this flute with it's crow/raven design and all weekend keep going back to it. Being at the table next to Colyn and Kitty didn't help. (Big shout out of thanks to Kitty for all her help at my table while I was away giving lessons or my workshop.) At one point Jeff Ball came by and asked me to do an improv that he could film for the portal and this is the flute I picked up. Finally by Sunday morning I knew I had to have it and in fact have ordered a bass version of it.

I also got to try out a prototype of Butch Hall's Anasazi flute. He is trying to base his on the original artifacts that were dug up and so they have a much smaller bore and no notch on the proximal end. They have a very gentle, intimate sound and I asked Butch to put me on the short list for getting one. (So Butch, if you're reading this, don't forget me!)

STAGE SET UP
Judging by the amount of questions I got about my stage set up I'll take a moment to go over it here. I use an Apple MacBook Pro running MOTU's Digital Performer and Reason by Propellerheads . The audio interface is a MOTU Traveler which handles all of my audio routing, including audio from the computer via FireWire.

The mic was plugged into this device and that signal was then routed to a TC Electronics Nova Delay for added delay. The output of the Nova Delay is returned to the Traveler. Then the mic/delay signal is bussed to an output to the hall's main mixing board as a stereo pair, while my "minus" tracks are bussed to another output to the board. Again a stereo pair. This allows the person running the main sound mixer to blend my tracks, which frees me up from having to do any on the fly mixing. This is a luxury, normally I have to do this myself, while on stage, performing.

The keyboard was an old M-Audio Oxygen 8. Normally I use an Axiom 25, also made by M-Audio, but it was bigger than the box that I used to ship stuff back east. This was part of the issue that I encountered in Raleigh when the keyboard wouldn't work. The Oxygen 8 is so old that my USB drivers don't recognize it and I have to go through a MIDI interface. A real pain... The newer versions of all of these keyboards work just fine with a USB cable. The are class compliant

For my performances in both Maryland and North Carolina I played flutes by J.P. Gomez, (2 flutes) Geoffrey Ellis, and Pat Haran, (a double drone flute). As back up for watered out flutes, I carried one each by Geoffrey Ellis and Scott Loomis. For Anasazi I played flutes by Geoffrey Ellis and Michael Graham Allen. Lastly I also played a Michael Graham Allen Mojave flute.

ODDS AND ENDS
This was a really well run festival. From my perspective things went very smoothly. The Saturday afternoon concert did go a little long and forced my Anasazi workshop to start a little later, but everyone was fine with that. There were great performances from Mark Holland and Jeff Ball, and I got to finally meet Geri LittleJohn! On Sunday night I hung out with Jeff, Margo Boone, Brent Haines and his wife, Leonard McGann and others. I also met Jeff's new family dog "Hershey" and just had a nice relaxing time.

The only down side of the trip was that my sinuses were messed up the whole time I was on the east coast. I only mention this because when I told Jeff about the trouble I was having he answered, with one of the funniest things I heard while there, "Welcome to Maryland. If you don't already have allergies, you'll get them here!"

The flight home was long, going through Chicago, but from there we flew right over the Grand Canyon.


Out my window seat I could clearly see and make out the buildings on the south rim. The red deserts a stark contrast to the rich greens of North Carolina, Virginia and Maryland.

Back home in the deserts of LA my sinus problems are behind me, but I brought back new friends, long lasting memories and the hope I can return soon.

LOST CANYONS wins NAR LifeStyle Music award!

Lost Canyons has been awarded a 2008 NAR LifeStyle Music Awards by New Age Reporter. The winners are selected by DJs and broadcasters through out the world. Read More.

Two Nominations for 2008 NAR LifeStyle Music Awards

New Fire" and "Lost Canyons" have been nominated for a 2008 NAR LifeStyle Music Awards by New Age Reporter. New Age Reporter is one the most influential charts for New Age music and it's sub genres. The nominees are selected by DJs and broadcasters through out the world. If you've heard some of my music on a radio station near you thank them, and let them know you appreciate them playing my music!