This evening, we went to the Mesa Arts Center and the Ikeda Theatre, where we had third-row tickets to watch a performance of R. Carlos Nakai with Keola Beamer. Bridging indigenous cultures using the dream world of the ocean, the two artists crafted a delicate and beautiful landscape of heartfelt music. Keola’s wife, Moananlani, rounded out the ensemble, bringing humor, song, and sound to the ethereal flute of Carlos and Keola’s masterful delivery of Hawaiian spirit through song and slack-key guitar. Some of the evening’s songs are from the new CD titled Our Beloved Land from Canyon Records. Great show.
Veena Sahasrabuddhe
This is the second time Caroline and I have had the opportunity to watch and listen to a live performance by Veena Sahasrabuddhe from India. Veena sings Classical Indian music. We enjoy her performance of ragas, but it is her handling of bhajans that we love the most. Following her concert this evening that was held on the Arizona State University campus, we purchased her CD Kaali where she performs Sanskrit Stotras – highly recommended.
After the concert, we stopped in Mesa for dinner at Hodori, a Korean Restaurant. Tonight was a night of seconds, as it was our second time eating here, and it was well worth the time getting over to this side of town. I hope to return soon for another great meal of bulgogi.
Mariachi Juvenil
This is Mariachi Juvenil Mexicanisimo from Phoenix, Arizona; they were playing in celebration of the remodeling of a local Food City grocery store. The guys not only play great, but they sing wonderfully, too and are good at handling a bit of dancing while they play. The trumpet player on the right was quick to hand me a card; contact Carlos Estrada at 602-465-8015 or 602-299-0495 for Spanish speakers.
It was a nice touch having live music in one of the grocery stores we visit, they should do this every weekend.
Front 242
I took a video camera into a concert at the Wartburg in Wiesbaden, West Germany (as it was known at the time) and someone with security politely told me I wasn’t allowed to film without permission of the band. So I went over to the mixing desk and asked Front 242’s soundman/manager, Daniel Bressanutti if I could film the gig; he said, “Sure.” This was the very first concert I ever recorded and my interest was nothing more than that I loved the band. I’d first heard of 242 the year before on German television and knew that if they came to play, I’d see them.
The tragedy of my recording was that I was using a consumer-grade camera with a cheap onboard mic which meant that the audio quality was so poor as to be nearly unlistenable. Back then I also didn’t understand that I should have acted more aggressively and gotten up in front of the stage.