Ann Licater
10th Annual New Age Song Nominee
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Record Label: Cul de Sac Mystic Productions
www.annlicater.com
Home Base: San Francisco, California, U.S.A.
Genre: New Age/World/Native American/Ambient/Meditation
Categories Entered: New Age Song, World Beat, Instrumental
Work Submitted: “Into the Heart” (from Doorway to a Dream)
Artists Featured: David DiLullo (African Udu)
Label: Cul de Sac Mystic Productions
URLs:
www.annlicater.com
www.facebook.com/annlicater
www.myspace.com/annlicater
www.twitter.com/fluteforthesoul
Influences: R. Carlos Nakai, Paul Horn, Ian Anderson, Tim Weisberg, Peter Kater, Keith Jarrett, et al.
Describe your nominated work: “Into the Heart” was recorded at the legendary Fantasy Studios, in Berkeley, California. I choose Studio “B” which is an intimate space with an indescribable and alluring vibe. I think that has to do with all the great musicians who have recorded at Fantasy including Santana, Bill Evans and Dave Brubeck to name just a few. David DiLullo (African Udu) and I (silver alto flute) recorded this track without using sheet music and in one take. The udu provided a beautiful heartfelt rhythm for me to lay my melody upon. Jeff Oster, a flugelhornist, friend, and fellow-musician on the album, suggested naming the piece “Unveiled” as it evoked a mystical and mysterious feeling. Although I loved that title, I decided on naming it “Into the Heart” which seemed to convey the emotional connection and journey that was the essence of the track.
Why did you choose to submit this work to The 10th IMA’s? Jeff Oster had been a past IMA winner in the “Best New Age Song category” and one of my co-producers, William Hoshal, was an IMA Finalist for Best New Age Song.” So, when he told about the awards I went online to learn more and decided to submit “Doorway to a Dream,” and several tracks, in both the Best New Age Album and Best New Age Song categories. I’m thrilled that I did!
Did you use any unusual effects or instruments in this recording? Yes. Fantasy Studios has a built-in, natural reverb echo chamber. This reverb room sits within the walls of the seven-story Zaentz Media Center where Fantasy Studio is housed. Head engineer Jesse Nichols was on the board for this recording and was instrumental in helping us decide to use the natural and rich dimensional sound of the chamber. Stephen Hart, the former chief engineer at Fantasy and now with The Site Recording in Marin County, California, beautifully mixed and mastered the track by adding additional reverb and delay for the perfect complement of effects.
In terms of instrumentation, I really explored the sonic qualities of the silver alto flute which has a mysterious and melodic tone. I incorporated breathing techniques and fingering patterns as if this western flute were an indigenous one. Most of the music I perform is on Native American and world flutes that are made of wood or clay.
DiLullo used a Nigerian udu for the world percussion sound that I wanted for this piece. I was able to create a universal and global feel for “Into the Heart” by playing the traditional silver alto flute, in a non-traditional way, and pairing it with an exquisite rhythm on a world percussion instrument.
Were there any happy accidents while in the studio, or did everything go as planned? I would call the recording of “Into the Heart: a perfect and happy accident as it was tracked in one take in a semi-isolated studio setting. David Dilullo had several mics set up for his udu and was situated so we were able to see each other through a glass window in the eight-foot-high, movable acoustic isolation panel (gobo). I felt it was important that David and I connected visually to really get into the piece. During a moment of silence before we began the recording, we each set our intention to play from our hearts. The final recording of “Into the Heart” was born out of that stillness and connection.
Did fans help you fund this project? They are now! Every CD sale, download and event ticket sale being sold is helping to support this recording project which was self-funded.
Who’s sitting in your audience? I find that my Native American and world flute music draws a varied, yet introspective crowd that transcends age, gender, ethnicity, religious belief, and social stratum. There is something universal about the sound of Native American and world flutes that seems to instantly transport listeners to another time and place. I hear from people that babies and animals like my music, too. Fans tell me that they play my music for a sense of calm at home, to relax while in traffic, or to help them fall asleep at night. The venues I play are varied as well. I’ve performed in ERs, at Carnegie Hall, in ancient cathedrals and at corporate retreats. In all instances, I feel a responsibility to play these flutes purely so listeners can connect with their inner-being and take the time to relax and meditate. I also find that one of the most meaningful expressions of Native American and World flute music can be experienced beyond the concert hall. I am the creator and facilitator of “Flute for the Soul” workshops, in which participants explore how contemporary replicas of ancient wood and clay flutes can be used as tools for personal discovery, spiritual practice, and relaxation. By journaling, meditating and reflecting on an issue while listening to the ancient sounds of Native American and World flute music, I believe it is possible to tap into one’s intuition to discover more about oneself and one’s journey. Several wellness and health education centers at one of the nation’s largest health providers offers my CDs for sale to employees and members, plays my music in the workplace, and has engaged me as an ongoing wellness workshop facilitator and performer. So, the audiences I am in front of truly are interested in the healing aspects of my music. I think this is a big reason that New Age music is so engaging.
What makes your fans unique? They are truly passionate about how my world flutes seem to open their sense of inner-calm. The wood, silver, and clay flute music I perform is helpful in meditation and relaxation. Many fans are finding me online as this year Doorway to a Dream, the album featuring “Into the Heart,” was chosen as ‘Amazon Best Music of 2010 – Top Ten New Age Albums.’ This has opened up a whole new set of fans with whom I get to meet on Facebook, MySpace.com and other social media sites as well as in person at events.
Are there any songs you wish you wrote? In terms of composing, I write all the music on my albums. It is especially satisfying to be nominated for a song that I both wrote as well as performed.
What artists are you listening to that would surprise your fans? I love Lady Gaga and Katy Perry. I enjoy high-energy music as it is counter to the meditative music I create. It helps balance me.
What is your dream show lineup? Well, I love the idea of “Ann Licater and Friends” which is often how I perform as I love collaboration and featuring a varied group of musicians on world instruments to give an audience a unique and global experience. It’s fun to be both host and performer. In my dream show, my “friends” would include any number of musicians from varied musical genres such as Sting, Enja, Herbie Hancock, Ian Anderson, R. Carlos Nakai, and Santana. I would add Esperanza Spalding to that list, too. I imagine the concert venue would be outdoors in an amphitheater-setting such as Mountain Winery in Saratoga, California. This Native American flute-focused, high-energy, meditation would end with one long improvisational jam session. The show could extend beyond the stage. I envision dancers, beautiful costumes, and a multi-media presentation that would encourage the audience to donate or support a global cause. I see this dream show as a community-building experience.
What is your guilty pleasure on the road? I need lots of sleep the day of a performance. I usually do not eat several hours before I perform, but afterwards I am famished. I love to share that late-night meal with the musicians and crew that help put the show together. In all cases, I like to pamper myself so I am in a calm and relaxed space before I go on stage.
Any close calls or mishaps while on tour? Occasionally thinking I forgot flute and then finding it packed in a not-so-usual place. I usually play at least a dozen flutes and switch them up depending on my mood and the weather if it’s an outdoor event. Some flutes play better in warmer environments and at different altitudes so I have to consider these factors in my set list.
Do you have any rituals before you go on stage? I like to have a circle of appreciation for everyone on and off stage that has helped with the production. It is here where we can set an intention for the show and say a blessing of gratitude for the people who traveled to the venue for the performance. I generally have a few items with me onstage such as photos, treasured tokens of appreciation and fresh flowers, too.
Should music be free? Should gas be free? Should food be free? Such great questions.
How has digital affected your career? I am grateful for all the connections that every tweet, text, email, post and url has made for me and my music to reach so many people. It is getting more challenging to keep up with all the social networking and digital distribution platforms. I attend music and technology conferences to be sure I keep up with the latest platforms, apps, and industry news. In terms of audio quality on digital playback systems, I am looking forward to improvements. The flutes I record have transient tones and sub-harmonics which are often lost in these digital player environments. I imagine this technology is being created now and I can’t wait to discover it. Of course, nothing can compare to a live experience of listening to music.
Are digital singles vs. full albums the future of music? I am a purist. I see an album as a piece of art from the recording artist and his/her team. It will be a sad day if full albums completely go to the wayside. That is like reading one chapter of a book and thinking you don’t need to read the rest to experience the story. It is my hope that there will be a resurgence of album-oriented music. Each of my albums (“Doorway to a Dream” and “Following the Call”) was specifically created to be listened to in its entirety as a long meditation. Full albums are an opportunity to experience a musical journey—a sonic story that has a distinct beginning, middle, and end.
Finish this sentence: The music industry is… complex, ever-evolving and becoming more fan-driven and independent artist-focused. All this is good but not necessarily easy. Great music can rise to the top with the democracy of the internet so more and more artists can find a way for their voices to be heard. As independent artists, we are in a great place to express ourselves globally.