E. Doctor Smith's Blog

Vacationing in Kauai this week has afforded me the opportunity to catch up on reading, spending time with family, friends and listening to music; music I might not ordinarily be exposed to. Enjoying an after dinner Mai tai with my sister-in-law Diane, I mentioned that one of my favorite musicians, Futureman of Bela Fleck and the Flecktones, had just finished a tour with Hawaii's most famous uke player. "Jake Shimabukuro?", she asked. "Why yes!" I said, "Do you know him?" Diane revealed that Shimabukuro had once performed for her young cancer patients at Capiolani Childrens Hospital in Honolulu. "He was amazing and his music was beautiful. Plus he was really, really fast." I first heard Shimabukuro on the Flecktones' 2003 album, "Little Worlds". His recent video performances on MySpace during Futureman's Black Mozart Ensemble's tour, will convince anyone who sees it, that Shimabukuro is indeed one of the most

Before my arrival in Kauai this week, fellow music lover, friend, (and D1 Supervisor candidate) Eric Mar, turned me on to the song "E Ala E", by "IZ", aka Israel Ka"ano'i Kamakawiwo'ole, one of Hawaii's greatest musical geniuses. The 1995 album featured the political title song "E Ala E" and the moving "Kaleohano". As his career progressed, IZ became known for promoting Hawaiian rights and Hawaiian independence, both through his music (whose lyrics often stated the case for independence directly) and through his life. IZ became famous outside Hawaii when his album "Facing Future" was released in 1993 with his medley of "Over the Rainbow" and "What a Wonderful World", which was subsequently featured in several films, television programs, and commercials. Kamakawiwo'ole was nicknamed "The Gentle Giant" by his admirers. He was described as always cheerful and positive, and he w

"Twenty Years of Talking Tabla" is a 20-year journey through the career of percussionist Trilok Gurtu. Rita Ray of BBC Radio described him as “a serial collaborator” – this carefully chosen compilation shows exactly that side of him. As a world class virtuoso, now in his mid fifties, Trilok has attracted a world class set of collaborators; these started with John McLaughlin in whose trio Trilok flourished as the featured soloist for 4 years, other jazz greats continued this path – Joe Zawinul, Jan Garbarek, Don Cherry, Pharoah Sanders were all attracted to Trilok’s burning sense of rhythm. Of course he is deeply rooted in the Indian tradition, so it is no surprise to see that collaborations also took place with the glitterati of Indian musical society – his mother, Shobha Gurtu, Zakir Hussain, L. Shankar, Shankar Mahadevan and Sultan Khan. World music has become an established genre in which Trilok has further “ploughed his own furrow” to great effect, collaborat