better than anything else, amazing what sound can come out of a hollow piece of eucalyptus or native bamboo trunk.
No one can be certain, but it is estimated that Aboriginals in Arnhem Land started playing didgeridoos approximately 1500 years ago, and from there various tribes adopted them too and they became a customary part of ancient Aboriginal rituals and festivities.
Technically speaking, the didgeridoo is actually considered to be a brass instrument, even though it is made out of wood.
Obviously there is only one note you can play on a didgeridoo and the tone and pitch is the only thing that ever changes.
Despite such limitations, the didgeridoo has been used as a back up instrument in a variety of recording settings by many Australian musicians, both black and white.
Despite such limitations, the didgeridoo has been used as a back up instrument in a variety of recording settings by many Australian musicians, both black and white.
One of the rare times when the didgeridoo featured as the stand alone showpiece instrument was on an absolutely brilliant and totally uncommercialised album recorded by a white Australian, ANDREW LANGFORD.
LANGFORD circa 1995 was the operator of ORIGINAL DREAMTIME GALLERY in Alice Springs. In that same year, he recorded this wonderful exhibition of powerful and atmospheric didgeridoo playing, it is hard to believe that a Caucasian would have been able to possess the technique and inspiration to pull this off.
Langford `blew` a beauty of an album, and the only back up he had to record it was Peter Lowson on percussion and some environmental can music to provide a soundtrack.
Half the 13 songs are just Langford on his own basically, and a few of them are really awe-inspiring stuff. If he would have had a drummer with him as well providing a rhythm section, the exceptionally innovative LOST AVIATOR would be the best piece of progressive rock in recorded history.
All this out of a budget recording studio in Alice Springs. Langford makes his didgeridoo sound like an aeroplane and times his playing perfectly with the pre-recorded soundtrack featuring real time narration from a radio control room.
Langford warms up his lips to feverish levels for the mesmerizing YANKU TIME, probably the most repetitious and `keyless` tune.
LURITJA sees Langford playing at his quickest and with the most dynamic changes, while the eery and bone chilling SERPENTINE GORGE is just one of the most lowdown and dirty didgeridoo riffs you will ever hear which is backed up by well mixed soundtrack music of the sound of a running creek.
LURITJA sees Langford playing at his quickest and with the most dynamic changes, while the eery and bone chilling SERPENTINE GORGE is just one of the most lowdown and dirty didgeridoo riffs you will ever hear which is backed up by well mixed soundtrack music of the sound of a running creek.
SOARING EAGLES, THE HUNTER, HONEY ANTS, YIDAKI, TANAMI FROGS, SOUTHERN
CROSS and CAMEL TREK are great songs capturing the spirit of the Dreamtime legend to the max, the song LITTLE SISTERS is perhaps the only slight letdown because Peter Lowson`s percussion drowns out Langford`s didgeridoo somewhat.
CROSS and CAMEL TREK are great songs capturing the spirit of the Dreamtime legend to the max, the song LITTLE SISTERS is perhaps the only slight letdown because Peter Lowson`s percussion drowns out Langford`s didgeridoo somewhat.
But all in all, it`s an album of `think outside the square` innovation which should be
for sale in a lot more places than just Alice Springs.
for sale in a lot more places than just Alice Springs.
Langford could never repeat it but he doesn`t need to anyway. It was released in 1995 on the Larrakin label.
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