Seattle Crow (241k bytes), Hoh Rainforest (486k bytes)
Artist:
Didjeri Dudes
Title:
Didjeri Dudes
Genre:
Non-traditional Didjeridu
Musicians:
| Musician | Instruments |
|---|---|
| Brian Pertl | didjeridu |
| Jamie Cunningham | didjeridu |
Format:
cassette, Playing time --:-- minutes
Track List:
Publisher No.:
(1995) none - number not known
, Didgeri Dudes, 10339 13th Ave. NW Seattle, WA 98177
Comments:
The Didjeri Dudes are Brian Pertl and Jamie Cunningham. Their music is a blending of chosen didjeridu pairs with nature sounds, conch shells, various percussion and voice. The music centers around the natural environments located in the Pacific Northwest of the USA.
Reviewer: Liner Notes
This work reflects the rather diverse interests of Jamie and Brian. Many of the tracks reflect a specific interest or story particular to a certain culture or region of the world while combining the cumulative experiences of the artist. All tracks are well documented in the included circular. Of particular interest is the track "Real and Virtual Bees" which incorporates recorded bee sounds with spatial recordings created in the studio. Another track which holds personal interest for me is called Gunung Agung having visited the "Mother Temple" of Besakih and, though my work center mostly around the little remaining pre-Hindu traditions, I found the piece a perfect example of cultural influence as opposed to cultural theft. This tape is definitely not the cream and sugar version, but for those of us who like our coffee black and our music mostly un-cooked, it's a real departure from the World Beat formula processed and sold over the counter.
Reviewer: Ed Drury
Brian Pertl, of Echoes from the Dreamtime instructional tape fame, has joined up with friend Jamie Cunningham to produce an excellent tape in keeping with traditional uses of the didjeridu. Consisting mostly of sensitive nature studies and animal imitations, their debut album Didgeridudes reflects the perceptiveness of the musicians. Though obviously not a traditional recording, Didjeridudes shows great respect for the instrument and its people. This is noteworthy, as Brian and Jamie show how, as a western players, we can make an effort to strengthen and propagate the traditional use of the instrument, rather than following the usual trend of assimilating the didjeridu into our musical genre. More work of this nature would be more than welcomed by this reviewer.
Reviewer: Sean Borman