In the past fifteen years or so there has been an increased mainstream awareness of Native American people, culture, and identity. While some very positive and affirming things have been borne out of this, there has, unfortunately, been a hobbyist movement among Indian afficionados, even to the point where some ‘become’ Indians themselves. Sadly, even highly valued entities such as dream catchers and the Native flute can be regarded or even trivialized in a light less than fitting of their purpose, meaning, and communal value. It is therefore with great excitement and interest that I was able to speak recently with Joe Fire Crow, a Northern Cheyenne flute maker, instrumentalist, chanter, and father. He comes from Montana, home to the Northern Cheyenne; after spending time living in the Dakotas, he has been living in Connecticut for the past few years. I was honored to be able to have a conversation about music making, the flute, and some of his life experiences surrounding his flute playing and two CDs of his music, Cheyenne Nation, nominated for a Grammy, and Fire Crow. Citing encouragement from another Native flute player, Kevin Locke, and influences from other Native performers and cultural activists, he has embarked on a journey of writing and arranging music that use traditional Native music forms. He makes and performs on his own instruments. While not copying nor imitating traditional songs he uses a simple four part structure found in much traditional Native music, a beginning, a two part body-middle section, and an ending. Indeed, after listening to the CDs several times, I was continually amazed at not only how fresh they sound to me but also to how I had an innate sense that I knew these songs; such was the strength of both his writing and playing. The Grammy nomination for Cheyenne Nation has pushed his work into a larger light, allowing for a greater and broader audience, and he currently is working on a new CD of music, including an interest in drone flutes and in trying a more mainstream “rock & roll” style. What did strike me most was the variety and range of style he shows on both CDs, both as a performer and arranger. On his music, he concluded by saying that he has matured now, and that “...how to walk with what you have to say; to go to the highest places you must know what you’re doing, you must have a connection to inner strength...music teaches younger people to be better people.” He mentioned that each of us can beto be with a strong foundation to guide anything we want us, the conscious contact with a strong connection; clearly, his own foundation is apparent through his playing and music. For myself, I found that the order of works on both CDs seemed to follow a narrative order, the keen sense that I was experiencing a story or journey and not just a casual listener. Cheyenne Nation has twelve tracks, and each title is followed by a brief program note describing the track. “By My Own Hand” is dark and quiet, a flute with a chanter giving thanks with piano. “War Dancer” is stylized dance, a peppery flute melody accompanied by a drum & chanter. “Two Buffalo Bulls” is a beautiful homage to his Father; after the first two tracks with instrumentals joining the flute, this is refreshing in its simplicity and solitude of one flute, standing and singing alone, in grace. “Cheyenne Nation” has a seamless, pure melody, backed up by a rattle, jingles, modern chorus and a jazz compliment. “Cheyenne Honor Song” is an homage to Ancestors, and their hard, brutal forced migration to Oklahoma Indian Territory and the journey back to home in 1878; a small drum assists the flute in this very poignant, beautiful song as the Ancestors move back north. “Bobtail Horse” is another family piece, a homage to his brother; a saucy melody with a walking bass-line, and “bright and energetic..fits him just like this song does.” “Circle Dance” has adagio feeling with a simple piano background providing a soft cascade of sound. This is intimate and sweet; a reflection on the majesty of the Earth and her beauty. “Mother Wolf” is an embroidery of sound, introduced by a chorus of male voices with flute singing over and with them; the language pronunciation is very clear, and this work shows the freshness of using both flute and voice. “The Twins” is written for a pair of friends, fellow adventure partners. Scored for flute and drum, it reminds me of a social dance, presented for the sheer joy of dancing. “Meadowlark Sunrise” returns to the jazz idiom, using bass and background instrumentals, the lovely meadowlark singing an ode to the new day. Delightfully, the addition of birdsong turns this work into a conversation between flute and the bird. “Young Wolves” has soft drums, rattles and a canon-like accompaniment, adding dimension to this work. It is an exquisite miniature. As a coda, “Walking In Daylight Woman” is an homage to his Mother. The purity of line and the single flute suggests a contemplation of gratitude and strength. Fire Crow consists of more solo flute playing on seventeen tracks; again, each song is followed by its history in the CD liner. “First Flute Song” is just that, speaking like a prayer. “Creator’s Prayer” has effects imitating the wind, spoken words uttered in prayer, and heartbeat that resonates throughout. The flute soars, in the background, an eagle cry, assuring us we are not alone. “Wolf Song” is an important work, inspired by songs of Ancestors. “Standing Rock” is a love song, clear, warm, singing and chanting in beauty. “Flight of Dreams” is really unusual and original in its sound quality and effects. “Pretty Bird” is a delightful work, fun and inviting; as his notes say, written for the inner child in each of us. “Medicine Elk” is more serious, very beautiful and radiant. “Woman First (Karrie’s Lullaby)” seems like a possible companion to “Medicine Elk” in its beauty, a lullaby for his daughter. “Round Dance Song” is just that, an invite to the community, an invitation to the dance. “Horse Stealing Song:” one of the most striking things about Joe’s work is how he sites other artists inspiration, support and belief in his own creative work; in this work, inspired by Doc Tate Nevaquaya, night sounds, thunder and a drum offer a background for this tribute. “Early Morning” shows awe and respect for the small bird of the early morning, the solo flute having a conversation with the birds. “Fire Keeper” is proof to never underestimate the power or inspiration born in the other world of dreams; a tribute to his son, this song was born in a dream. “Water Song” seems familiar to me; perhaps it is a message that is conveyed on the blessing of the gift of water and the ceremony that caresses the inner self. One of my favorites. “Old Man of the Rain” Forest is a trio for flute, chanter, and drum, recalling the “awesome beauty” of the South American rain forest. “The Mist” brings us the respite of a solo flute for self examination. “Wind In My Mind” is the last dramatic work for accompanied flute, another meditation for self-reflection, reminding one that continued growth is always possible. “Coming Home” is a fitting memorial and tribute for the Ancestors, marking the time when the Northern Cheyenne were sent to Oklahoma in the 19th century by the US Government, and their return journey home to the North. The solo flute finishes this part of the story. This work, as the beginning, returns to Ancestors, learning from the past, living today, and dreaming for future tomorrows. What struck me most about
this CD was my perception, to my ear and mind, of three distinct sections,
showing the past, the present, and the future. In this way, the continuous
living connection with Ancestors is identified between then and now,
through the world around us and the People. Both CDs are produced
on the Makoche label,
a sound & music recording studio based in Bismark, ND. The flute
sound and voicing quality is excellent on each track, as well as the
instrumentals and voices; these are quality recordings. |
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