Jan. 17, 2011 Vol. 6, Num. 1

Kalimba Magic NEWS In This Issue From Mark: This Did Not Have to Happen What's the Buzz at Kalimba Magic Tour the Kalimba Magic Web Site Interview: Aaron Chavez Danny Boy: Free Tablature The KTabS Notebook: Tablature for Danny Boy Student Karimba: Book Reviews, New 9-Note Kalimba Music Therapy for Seniors New Thomas Bothe 2B/9B Kalimba w/Buzzers Kalimba Workshop at Hot Springs Jan. 28-30 How to Get a Kalimba Gig: 11 Musicians Share Upcoming Contest Deadlines Pushed Back

How to Get a Kalimba Gig
11 Kalimba Musicians Share Their Experience

The kalimba is a spiritual instrument. It is a world instrument. From another time, from another continent, from a different realm. Where do you go to do a kalimba performance? It is not surprising that it doesn't fit easily into the standard bar music scene. We asked these professional kalimba players how they go about landing a kalimba gig - and they shared some thoughts.

• Paul Tracey
• Eric Freeman
• Patti Broussard
• Andy Robinson
• Carl Winters
• Laura Barrett
• Martin Klabunde
• Kevin Nathaniel
• Kevin Spears
• Mark Holdaway
• Mwana (Percydee)

Paul Tracey

I was the very first professional Hugh Tracey Kalimba player! My father sent one of the early models to me at my school in England in the 50s, and later - shortly after African Musical Instruments went into production with the treble model - our stage show Wait a Minim! began. That was in 1962.

In the show, we sang a song from Haiti called 'Foyo,' featuring the Kalimba.

We introduced audiences to its charms for 7 years of the run of that show, playing in Southern Africa, London, New York on Broadway, 26 cities across the U.S. and Canada, and finally we ended our run in New Zealand and Australia.

Since that time I have been doing one man shows, usually for school audiences, generally in the Los Angles area, but anywhere I am invited. I often demonstrate the kalimba and proudly tell of the man who created it - my father, Hugh Tracey!

My website: www.paultracey.org

[By the way, even though I've never seen any of Paul's shows, I feel that my own solo kalimba performances are loosely modelled after Paul's one man shows. It is very instructive to read the descriptions of his nine "assembly programs" he presents in schools.]

Eric Freeman

I mostly play events that range from dance classes to burning man events. I don't like most bars, the sound doesn't vibe well with the drinking screen. The music is primarily drums with electric kalimbas or computer, drums and electric kalimbas. Overall, it's loosely based around art and spirituality types of people and places.

Kalimba Sound System website: www.myspace.com/kalimbasoundsystem

Honey Circuit website: www.myspace.com/kalimbasoundsystem

Patti Broussard

I play wherever, whenever I can. Mostly churches, schools, assisted living homes. These are not paying gigs, but are great exposure for me. I also taught a group of seniors at an assisted living home. Places like that are always looking for activities for their residents. A little money could be made doing that. What a hoot! Paying gigs would be weddings, funerals. I am going to approach a local upscale sandwich restaurant in our downtown.

My YouTube channel: www.youtube.com/user/puppetpatti

Andy Robinson

I don't gig too much these days (although I am finishing up a new CD), but when I did, my bands used to play the rock clubs. It's not like I ever played anywhere where people were actively seeking kalimba music! Eventually I took my music in a more acoustic direction and we started playing coffeehouses. It was much more rewarding, because people came to listen instead of drink. You did have to compete with the occasional burst of "percussion" from the cappucino machine, but overall, those were very pleasant gigs. We played for tips, entertained people, sold the occasional CD, drank espresso and ate muffins, and never did figure out a way to really make any money at it. If I'd been a more astute business person and if I'd wanted to devote the time to learning cover tunes I imagine there would have been a whole different set of work possibilities. But I was, and still am, mainly devoted to expressing my musical ideas than working as a musician - simply hearing my music played and seeing the effect it had on an audience was a pretty good reward for me, not to mention the camaraderie and support of dedicated musicians/friends.. But, if you want to get paying gigs, I guess my best advice is, do everything that I didn't do! ;)

My website: www.andyrobinsonmusic.com

Carl Winters

Churches & festivals work for me.

My website: www.kalimbaking.com

[By the way, Carl Winters' performance calendar indicates that he does between 100 and 150 performances a year, making him one of the most performing kalimba artists in the world. While his answer is short, he probably would be worth talking to after one of his many performances.]

Laura Barrett

I play on bills of almost entirely non-kalimba acts, as I've fallen into an independent music scene that consists mainly of electrified bands. I play at bars, theatres, cafes, house parties and the occasional church. I'd love to play at more non-bar spaces, since the sound is so much better for kalimba (and accompanying banjo, flute, violin and other acoustic instruments). Most of the time they're paying gigs, but I've done improv gigs and fundraisers for free.

My website: www.myspace.com/laurabarrett

 

 

 

 

Martin Klabunde

These days I am playing kalimba as part of a set that also includes Ugandan harps (Adungu) and Ugandan kalimbas (Akogo), and djembe (West African drum). We play locally at café's, retirement homes, intensive care, cancer centers and terminally ill units at hospitals, airports, libraries, bookstores (Bookan's, Borders and Barnes and Noble). Recently we have been playing for yoga classes too.

We also book weekend retreats, workshops and performances around the U.S. and are playing at healing centers, and body, mind and spirit centers.

For more information on us, see our website: www.collectiveawakening.us

Kevin Nathaniel

Thanks so much Mark for connecting kalimba/mbira players! It's so important that we know each other and open the doors of understanding and communication. Everyone of us has something, and so there is no hierarchy here, only a circle. So I greet all kalimba/mbira players with "Namaste."

I would like to focus on info that might help in the continual process of getting gigs (or "work") as a kalimba player, but I'd like to add that there is no pathway or rule for this, only some observations I'd like to share. As kalimba players we are percussionists, and every percussionist I have ever met gets thrilled by kalimba. Percussion music is emerging all over this planet as the way to connect culture to youth, to energy. It's undeniably hip, as we are living in a new "hip" focused global culture.

Keep in mind that kalimba has its own musical "galaxies" in which it reigns supreme. In other words, there is a tide that supports what we do. Personally, I still prefer to interchange the words kalimba and mbira. Sometimes academia likes to make a distinction between the two (which is in some cases appropriate). As musicians, we are more about unity, the circle, as we are all part of the same healing circle. I mention this because there is work as an mbira player, and there is work as a kalimba player, and these can be two entirely different things, like two rivers running next to each other going the same direction.

As kalimba/mbira players (addressing the whole circle) we are musicians; we are healers, and we are educators, and more. We cannot avoid the fact that we are all of these things so there is work in all these fields. Undeniably, we do heal people with the magical sound of kalimba. Educators, because practically every time we play there are a number of people who learn and see something they never knew existed. So a lot of our work is about promoting the whole kalimba/mbira experience. Even though this could well be the most ancient musical expression on this planet, within it is a rich seed for the future of music. Ironically, good kalimba players are usually some of the most forward looking of musicians.

I can hear in much of the feedback already that most of us are really on a mission, and whether we have a gig is not the reason why we are doing this. So basically it's on us to not turn down a good opportunity to promote, to establish, to expose, to heal, to reach out with this art form. The work we do today will create tomorrow's market for kalimba players. Imagine hearing the music we are about flowing out of the radio when we turn it on (EWF did that for many of us), and all the other aspects of life where this music should be present.

Gigs can come and go, but I feel we have to be visible on a level beyond gigs. That is our "social security". This kind of social security doesn't come from gigs. It comes from being the best kalimba/mbira player you can be and sharing your music toward the vision of a better world. As kalimba players, we have played on the streets and we've played at Carnegie Hall. The unifying thread is that we treat the two just the same by giving 100% regardless, knowing that we create tomorrow's healing musical world today.

Happy New Year and Best Wishes to you all, Kevin Nathaniel

My website: www.mbirasanctuary.com

[By the way, Kevin has a new CD out - available at Kalimba Magic.]

Kevin Spears

All of the locations everyone has already mentioned are viable places to play whether there is monetary compensation or not. Being compensated for playing, I think, has to do with the mindset of the artist, professionalism and presentation. I believe these are the most important factors:

1. Have and demonstrate a skillful command of the kalimba that is equal to or exceeds the abilities of other great instrumentalists (such as guitarists, piano players, etc). My personal observation is that, although I still have much to learn about this instrument, once I was able to "hold my own" when playing alongside gifted piano players, guitarists, saxophonists, etc., it opened up tremendously the job offers to play solo or in a band setting and it was a great networking opportunity. In the spirit of being helpful yet honest, I really believe we as kalimba players must challenge each other to be better collectively and on par with other gifted instrumentalists around the world. This is why I've challenged myself to sing and play more for 2011 (Laura B. you've inspired me to do that.)

2. Be able to go into a broad range of settings and play music on the kalimba that is relative to the audience before you. Whether one plays cover tunes or original songs, playing the music in a way that moves and expresses our own soul draws listeners in and impacts the overall experience, which again leads to more performance requests and income.

Although I've been blessed with the opportunity to perform in venues of 2000+ seats or more, the greatest impact and most intimate experience has been when I played in small acoustic listening rooms, churches, poetry events etc. In fact for kalimba players just starting to play publicly, I think THE BEST event to play at is a poetry open mic even, and if you have CDs to sell, you will be surprised at the money you can make.

My website: www.myspace.com/kevinspears

Mark Holdaway

Kevin! Thanks for bringing up merchandise! Yes, CDs can sometimes just fly off the table. But here is an offer to you kalimba players out there - if people ask you where they can get a kalimba like yours, you might want to become a kalimba retailer. Contact me if you are interested in retailing kalimbas at your gigs.

While everybody wants gigs, you have to remember that a bad gig is worse than no gig at all. I turn down gigs that don't seem to be good venues for the kalimba. I want to play at places where people can really tune in to what the kalimba is saying.

The public library systems have some paying gigs. You usually need to jump through a lot of hoops to qualify for them. Most of my gigs are at elder care facilities or retirement communities. People in these places love hearing old familiar songs played on the kalimba, but also love to learn about the kalimbas. Stories that use the kalimba go over great with almost anyone, not just children! I have performed at music therapy conferences and music education conferences - that is mostly about instructing people in the art of the kalimba. I love playing in churches - Sharon Eaton's kalimba hymnal is a great resource. I played a patriotic medley in my parents' church. Some of my favorite gigs are Christmas performances - retirement communities, churches, botanical gardens, parks, at the zoo, the Children's Museum. I also love to go and see people in their homes and give them a special gift of music, especially if they are having trouble getting out. If you are in a spiritual community, it should be easy for you to hook up with people to do these kinds of performances, but that is a gift, not a paid gig.

By the way, if you are interested in learning well-known songs for performances, I would direct you towards the Kalimba Americana download, African American Spirituals download, Advanced Christmas download, and the 12 Easter Hymns download. For traditional African kalimba music, there are also the 10 Traditional African Pieces for Alto download and the 10 Traditional African Pieces for Karimba download.

When I do a kalimba performance, I usually bring one or two other instruments so people recognize that I am playing real music. One guy who only saw me performing on the kalimba asked, "Which button do you push to get Silent Night?" But I usually keep the other instruments at about 10% of the song list.

On the other hand, I sometimes play with bands, such as Nobody et al. here in Tucson, in coffeehouses, bars or brew pubs. Though I am playing mostly on other instruments like mandolin or guitar with these bands, I often can get the kalimba into a few songs at these performances.

My website: kalimbamagic.com

Mwana (Percydee)

I'm preparing for two Kwanzaa Events next week, and my Reggae Band is performing some new material. On one of the Kwanzaa events at a church, I will be performing with the treble kalimba along with a couple of drummers and African chanting. This is the season - as well as February (Black History month events) - that I get the opportunity to do kalimba gigs. During the rest of the year, I mostly perform on keyboards with my Reggae Band.

I have not been gigging much with the Kalimb,a but I have been encouraged to incorporate the kalimba into the gigs that our Reggae Band has been booking. I would play my kalimba live for a glass of lemonade and a bag of peanuts.

I have recently invested a lot of money into sound enhancements that will take my Kalimba live performances to another level. Soon I will be able to book some feasible gigs.

I will never forget back in the day, 1978-1981, one of those years while I attended Southern University New Orleans Campus. Our music department performed at The New Orleans Jazz and Heritage Festival. The group consisted of three kalimba players: Roland Lawes, Cheryl, and Mwana Percydee (that would be me - chuckle), a guitar player, a bass player, a drummer, a rhythm guitar player, and three Ladies singing. We did some cover songs but also half originals. One of the cover tunes we performed was a Roy Ayers song and we used the kalimbas to play all the vibraphone and xylophone parts. Each one of the three of us played directly into our own individual microphone so we could be heard clearly. We blew the crowd away and they kept asking for more. I guess the sound of these kalimbas playing in harmony so smooth was just so overwhelming and we rehearsed real hard and long hours putting this show together.

A couple of days later the joint owners of SEASAINT STUDIOS in New Orleans, Marshall Sehorn and Allen Tousaint, contacted our Music Department Director the world famous saxophone player and teacher Kidd Jordan and offered our ensemble all of the free studio time we needed to put together an album for distribution. Mr. Sehorn was so impressed with this new sound that the kalimba brought to the stage. By the way, check the internet and you will see Seasaint Studios has done sound for many of the top level bands - too bad we did not pursue this opportunity, but instead went off into other musical endeavors.

The point I am trying to make to the Kalimba Community is THIS: it is time in 2011 for the Finger Harp Instrument to get the respect that it deserves. We must stand on the shoulders of the great players like Taj Mahal, Pharoah Sanders, Maurice White, Bobby Caldwell, and of course all the great Mbira players of Zimbabwe and Africa who had a dream of this music and instrument being respected in main stream universal music and stand at the forefront of entertainment and financial reward as well. So I am asking every dedicated kalimba and mbira player to work toward making music with this instument to strive to get financially compensated in the upcoming year. I will also try to use Reggae Music as a vehicle to spread the sound of the kalimba. In the song by Maurice White titled Kalimba Story, he says about the kalimba, "Future music, all for you." The future of this kalimba and mbira music is now. I often hear a lot of kalimba sounds in main stream music and advertisements but we are not getting the respect and proper financial compensation or promotion - end of story.

PEACE & LOVE KEEP ON PLUCKING AND DON'T GIVE UP THE FIGHT - MWANA (pronounced OOMWANA) percydee

My website: www.myspace.com/percydee