The Native American flute is an ancient instrument native to the Woodlands and Plains peoples of North America. It was used to create a soothing moment in times of rest, for the courting of young women in camp, or to aid in healing. Like many aspects of Native American life in the face of official and natural cultural assimilation, use of the flute fell out of common practice and was kept alive by a few solitary practitioners like Doc Tate Nevaqueya of the Comanche.
In the 1970s, young players, notably Kevin Locke of the Lakota and Tom Mauchahty Ware of the Kiowa, reintroduced the use of the flute and the traditional melodies. Another flutist who began to publicly perform at this time was R. Carlos Nakai. Born in 1946 in Flagstaff, Arizona of Navajo-Ute heritage, Nakai from early youth involved himself in the culture of his people, and also lived and studied with other North American tribes.
Nakai’s southwestern surroundings as well as his culture, heavily influence his work. He points out that “A lot of what I’ve been taught culturally, comes from an awareness of the environment… How I feel is based on my impressions of being in certain spaces at certain times. Thinking back… on personal tribal stories and the history of my culture figures into how I organize my music.”
Beginning with the melodies of the Lakota, Blood, and Zuni, Nakai used his musical training (he studied trumpet and music theory with Ronald K. Bowen and Birley R. Gardner) to expand on traditional music techniques and practices. Nakai saw his role as a flute player not to reiterate the traditional sounds but to seek new avenues of expression using the flute. He performed not only the time honored melodies but wrote his own and used the cedar flute in new musical settings including jazz ensembles, in collaborations with piano and guitar, and the concert hall. Additionally Nakai created new sounds for the flute using electronic technology such as synthesizers and digital delay.
While solo flute albums such as Earth Spirit, Emergence, and Canyon Trilogy are the core of his work, Nakai is ambitious regarding joining forces with other musicians. He views collaborations as “philosophical communication between… musicians” and opportunities to explore beyond traditional musical and cultural boundaries.
Evidence of this is heard in the mid-1994 release Island of Bows, recorded with a Japanese group using acoustic and traditional Japanese instruments. This collaboration came about according to Nakai because his Japanese cohorts were “… looking for new areas of musical performance… not strictly traditionally oriented.”
An on-going fraternity is Jackalope, a culturally diverse jazz ensemble with several recordings to their name, which was founded by Larry Yañez and Nakai. The group’s music, self-described as “synthacousticpunkarachiNavajazz” uses electronic and modern instruments mixed with traditional, ethnic instruments allowing Nakai to again “break the rules.”
Nakai’s diversity is apparent through a synopsis of his work. He was a 1994 Grammy Award finalist for “Best Traditional Folk Album” with Ancestral Voices, a collaboration with guitarist and luthier William Eaton. With Arizona composer James DeMars, Nakai offers two classical albums Spirit Horses and Native Tapestry.
He has written and performed scores for film and television including selections for the National Park Service, Fox Television, the Discovery Channel, IMAX, the National Geographic Society and many commercial productions.
Since 1990, Nakai has also collaborated with pianist Peter Kater. Together they have recorded four albums, Natives, How the West Was Lost, Honorable Sky and Migrations (winner of the 1992 Indie Award).
In 1992, Nakai received the Governor of Arizona’s Arts Award, the second Native American so honored.
In 1994, Nakai was conferred with an honorary doctorate by Northern Arizona University and the Arizona Board of Regents for his “exceptional achievments and contributions to humankind.”
In 1995, Feather, Stone & Light, a musical trialogue with longtime collaborators William Eaton and Will Clipman, was noted as a Billboard Critic’s Choice and quickly debuted on Billboard’s Top New Age Albums chart, remaining there for 13 weeks.
Nakai once again broke new ground in the fall of 1996 when he debuted his first jazz album, Kokopelli’s Cafe, featuring The R. Carlos Nakai Quartet.
A prolific musician and composer, he has 27 albums in commercial distribution, including 18 releases on the Canyon Records label. Just counting his Canyon titles, Nakai recently surpassed the 2,000,000 units sold worldwide.
And when he is not recording, composing or researching, 70 to 80 percent of the year is spent touring (click here for a concert schedule) throughout the U.S., Canada, Europe and Japan performing and lecturing on Native American culture and philosophy. Nakai wouldn’t have it any other way. “… We were put on the earth to experience life in its totality. And if you’re not doing that, you’re essentially wasting your time.”
Canyon Records Productions
Since 1951 Canyon Records has specialized in the production and distribution of traditional and contemporary Native American music. Our philosophy is to develop and promote the cultural expressions and creative aspirations of Native American artists and their communities. For five decades we have brought the finest musical performances from long cherished tribal traditions to the latest fusion of Native and contemporary musical styles.
Our site includes our new releases, upcoming concert dates, a complete CD and cassette catalog, music samples, ordering information, biographical information and information about Canyon Records.
