| Home | About us | Reviews | Calendar | Listen | Photo Gallery | Store | Contact us | Links |
Reviews of Chaski Performances On the prestigious Texas Commission on the Arts Touring Artist Roster 1990-2010! Chaski P. O. Box 4303, Austin, Texas 78765 telephone (512) 320-0613 or (512) 912-8096 chaskimusic--(at)--hotmail.com "And also I want to mention the
singing we heard in the pieces from Mexico featured a vocalist, and he
was our kind of South American guitar expert, named Dan Dickey, who's a
part of a trio here in Austin called Chaski. And that's comprised
of Adrienne Inglis on the, uh, basically flute. Anything, anytime
you hear a woodwind instrument, it's Adrienne. And she brought
this bag just, again, full of different flutes from all over the world
and she could play them all gorgeously. It was amazing. And
Shana Norton is on the harp. We heard the harp earlier in the
Mexico cue. Again, completely blown away with her sound and her
playing, and Dan comprise, essentially, that's the trio with our South
American guitar specialist and he also added as vocalist. They're
prominently featured in this next two cues that we're going to listen
to. And these are from Argentina and Chile, respectively, Gaucho Tropilla and Baquenos Descend, music from the
new IMAX film Ride Around the World
composed by Brian Satterwhite." —Brian Satterwhite from Film Score Focus broadcast June 3,
2006, KMFA 89.5 FM
The trio, Chaski, put on a
wonderful
exhibition of musicianship yesterday afternoon. Patrons were
greeted at the door with an offer of champagne and the seating was
ample. I particularly enjoyed my front row seat. The three
musicians entered through a side door and paraded amongst the audience
while playing sikus/zampoñas. They played a good variety
of music using about fifteen different instruments. the one lady
was quite good on the harp and ocassionally played the piano accordian
and some percussion on the bombo (goatskin drum). The other lady,
Adrienne, played the quena, a concert flute and an alto flute quite
beautifully. All three played the different sizes of
sikus/zampoñas. The man played mainly stringed instruments and
sang, although they all sang and danced from time to time. Prior to
each song there was some discussion about the song and the significance
of it.....all in all, a cultural enlightenment in addition to the fine
music. At the first intermission I went up and introduced myself
to Adrienne and told her I had been playing the quenna for a few years
and we "talked music for awhile". She took my e-mail address and
said she would mail me the "dots" to a piece I particularly
liked. The group was out of Austin, Texas and the two women
recognized the name of the bicycle shop on my tee shirt and one said
her husband had bought a bike there. The harp player was wearing
the Livestrong yellow bracelet. This trio was energetic and very
outgoing....I hope they come back soon. P.S. The piano accordian
was a smallish, twelve bass, two and one-half octave model.
"Don't expect Chaski to neatly fit into a particular Latin groove: its music may be Andean-based, but it comes from all over Latin America, from the Andes to ancient Sephardic songs - and its unifying features are delicately lovely harmonies, harp, pan flute and guitar. It's the instrumental pieces, such as 'Elizabeth', which are the strength of the lovely UNAY, displaying the fine interweave between pan flute, harp and guitar. In the sea of Andean-based groups, Chaski stands out both for its wider-ranging subject matter, its approach, and for its classically-influenced pieces and blending in of world influences."http://www.worlddiscoveries.net/Andean.htm I just wanted to drop you a line to let you know how much my family was moved by the service this morning at WPC [Westminster Presbyterian Church]. During the Gloria, Kate (who at four years old still generally gets a little restless during worship) was in my lap. She was beaming from ear to ear while she rocked, and one point whispered to me, "Daddy, why is there ALL this wonderful mysterious music this morning?!" (No kidding, that's an exact quote!) I
just told
her that the special music was to help us remember that we have
Christian family all over the world, and that we were very lucky to
have the "mysterious music" here with us this morning. For me, the
Santo was a particular high point of the liturgy. It brought back so
many faces of Christians who have cared for me in Mexico and
Central America, at one time or another. For some holy moments, it
seemed to me that all of WPC was transformed by it.
Thank you for the gift from you to the [Westminster Presbyterian] church this morning. It was beautiful and beautifully performed--a truly worshipful experience. All the superlatives we can think of and all the thanks for your and Chaski's great gift to Westminster. Many many thanks to you all, and to you especially for the composition. (Also great to see and hear Jennifer with you.) —O. R. Schmidt, 5 October 2003 A review of Adrienne Inglis' flute (actually, quenacho) playing on the soundtrack of Kill Bill Volume 2: "The second of three spoken word interludes, "The Legend of Pai Mei," comes next. In this snippet, excised from the film, David Carradine (aka Bill) exhibits his wonderful storytelling expertise, delivering a prophetic tale about a Chinese priest (Pai Mei) and his encounter with a Shaolin monk. Carradine's smoky voice is augmented by quick flutters of wooden flute, giving the tale added charm, as well as a hypnotically engaging aura." Thank you for leading us in such joyous worship this past Sunday. You helped us celebrate World Communion in a profound and memorable way. My Presbyterian bones are still bulsating with the rhythm! May God continue to bless others through your music as we were blessed. Gratefully, [Reverend] Bill Clark, 7 October 2003 "The folk ensemble Chaski added authentic accompaniement, along with the evening's virtuoso performance—Adrienne Inglis on the flute, quena (straight Andean flute), zampoñas (panpipes) and chajchas (rattles)." —Michael Barnes, Austin American-Stateman, 5 December 2000
"Before accompanying the [San Antonio Society Society] chorus for "Misa Criolla," red-poncho-clad Chaski presented a brief, entertaining solo set using panpipes, cuatro and other traditional instruments. Two folk selections were followed by a nicely contoured adaptation of a Vivaldi flute sonata featuring Adrienne Inglis as quena (rustic flute) soloist." —Diane Windeler, San Antonio Express News, November 2000
"Chaski was an Incan postman, a messenger who literally ran between villages with the news. Local trio Chaski spreads the word too, their message simple: Enjoy the sweet folk sounds of Latin America. Made up of Shana Norton on harp, vocals, and accordion, Adrienne Inglis on flutes, toyos, tarka, maracas, zampoñas, quena, and vocals, and Dan Dickey on requinto, pito, tarka, gritos, guitar, cuatro, charango, and vocals, Chaski has performed in Texas since 1991.* On their fourth release Unay, the trio braids a convincing 50-minute , 17-track lacework of mostly Peruvian and Bolivian music. "Boquita de cereza" is an upbeat Bolivian opener, driven by charango (small shell-backed guitar) and güiro (ridged scraper), with a characteristic quena (sonorific wooden flute). On Unay, Chaski does an untraditional thing for a Latin American album by including three Sephardic songs, music of the Spanish Jesw expelled by the Spanish crown around the same time Columbus invaded America. Because Sephardic songs like "Adío Querida" have the same acoustic lightness and lyrical reality as the Andean works, they mesh well here. Unay is a decidedly local affair, and boasts being "arranged, produced, recorded, mixed, mastered, and manufactured in Austin." No arguments with the results, an even-paced and enjoyable listen." —David Lynch [*actually 1985]
"...realmente me admiré de la capacidad musical y el profesionalismo de tí, Adrienne, por lo cual te felicito, en mi tienes a un admirador de tu talento y valorador de la sencibilidad del artista en este Arte." —Ramiro De La Zerda, Fortaleza, julio 2000
From first grade students at St. Andrew's Episcopal School after our November 1998 concert: Dear Chaski, I like your instruments. Do you do that every year? Love, Thea Dear Chaski, I like the music. Love, Ali Dear Chaski, I loved your music. I loved the harp. It has a pretty sound. Love, Cydney Dear Chaski, Thank you for coming. It was fun. Maybe you can come again. Love, Meagan. Dear Chaski, Than you for coming to the small gym. I like your music. Your music was awesome. I hope you can come to St. Andrew's Episcopal School again. Like three more times. Love, Richard Dear Chaski, I loved the music you guys made. My favorite song you made was the one where you danced with the handkerchiefs. Love, Simone Dear Chaski, I really liked when you danced. It was fun and and I liked the music and your daughter (Mira Dickey) was good at the violin. Love, Henden Dear Chaski, Thanks for coming to the school. I really liked the play. Love, Claire Dear Chaski, Thank you for coming. It was pretty music. I loved it. Maybe I can play with you. Love, Aubrey Dear Chaski, Thanks you for coming to play for us at St. Andrew's. Love, Sam Dear Chaski, Thank you for the music. We like it. It was good. Please do it another time. Love, Blair Dear Chaski, I liked the music. The music was awesome. Love, Alec Dear Chaski, I liked the play. It was fun. I like the first part when you were running around the gym playing the music. Love, Graham Dear Chaski, Thank you for coming to St. Andrew's. I hope that you had fun at St. Andrew's. Love, Kyle Dear Chaski, I'm glad you got to come to our school. I like the music. You all play good. Love, Mollye Dear Chaski, I loved the music and I like the songs. Love, Chad Dear Chaski, Thank you for coming. Will you come again? I like how you sing. How do you do the drum? I like your songs. From, Alex Dear Chaski, I like the first song. Why does the first song not have any words? I love all the songs. I like the clapping songs. Thank you for coming. From Erika Ho Dear Chaski, Thank you for coming. I liked the flute thing. Why did the harp have different color strings? Did you practice? How do you play so well? How do you know so many songs? Love, Kira Dear Chaski, I liked when you played the flute. I wish that you could come back some time. From, Claire Dear Chaski, I liked the songs. I liked the instruments. I liked the dances. I liked the music. I liked the boot music the best. From, Sam Dear Chaski, I liked the music. It was good. You were good. I liked clapping. I liked the harp. I liked the dances or song. And I liked the Thanksgiving song. From, Kelsey Dear Chaski, Thanks for doing the show! I like the music! Señor Dickey, can you teach me to play the guitar? I wish I could play the percussion. It was fun watching. From, Mason Dear Chaski, Your music was the best. I liked the dances and the boot music and the kids. Thank you for coming. Love, Burton Dear Chaski, I liked the play! I liked when you picked the kids. From, Will Bnoscky Dear Chaski, I liked the music. You were great. I liked when you danced. Thank you for coming. That was the greatest song. From, Andy Dear Chaski, I like your band. The last song was the best. Do y'all have a band? I like your music. Thank you for coming. Love, Welsey Dear Chaski, Thanks for coming to my school. My favorite song was the first song. Could you come to my school again? I liked the songs. You were the best singer I have ever heard of. Love, Teddy Dear Chaski, I wish that you picked me. I liked it a lot. I liked the music. It was fun. Love, Thomas Dear Chaski, I like the show. How did you know all those songs? How do you know how to play songs? Can you come again, please? Thank you for coming. Love Michelle Dear Chaski, I liked the music. Thank you for coming. That was great music. That was really good. The music was cool. From, Will M. Dear Chaski, I love your music. Thank you for coming. Your music was great. You were great. I liked the part where the children got to play. From, Evans Dear Chaski, I liked when we clapped! Why didn't you pick me? I liked the music. I like the guitar. That was the best. From, Cartera Dear Chaski, I liked the songs. I liked the instruments. I liked the people who played. I liked the songs the best. I liked clapping. From, Walker
"[El sariri] is a very interesting CD, exceedingly well done...One might expect that the use of so many primitive instruments would result in rough or ragged sound, but that is not the case. These performers are real professionals; and even though each one of them plays several instruments, the quality of their performance is extraordinary...I was fascinated by the Peruvian pasacalle, La pampa y la puna, not only by its haunting beauty but also by the virtuosity of the flutist...The CD is eminently listenable, and I strongly recommend it to anyone who would enjoy a very pleasant regional repertoire performed excellently by a group of virtuosos." —Ernestine Boss, The Triangle of Mu Phi Epsilon, 1996
"Most interesting stuff here. Chaski takes traditional South American styles played on instruments like a 'bird-shaped clay flute,' 'Bolivian cane panpipes' (zampoñas), 'Mexican rain stick' and 'Bolivian goat toe rattle' (chajchas) and add[s] Western flute and harp, remaining, it appears, true to the spirit of the folk material they deliver. The Andean ambiance is lovingly recorded, and the music is as much a subtle pleasure as an education in native South American sounds and styles." —Rob Patterson, The Austin Chronicle, 1995
"Chaski offered music of composers
from the Americas and enchanted
with their mastery of all the subtle variations of the harp-flute duo
possibilities as well as their artistry as soloists Norton's exquisite
phrasing and control of many different touches and her sensitive
dynamic choices and execution were perfectly matched by Inglis' smooth,
warm tone and cantabile expression Inglis' beautifully polished tone
was evident in each movement, whether she played fluid melodic lines or
dispatched rapid and brilliant passages with flair." —Penelope
Kosztonyik, Bryan-College Station Eagle
"This local duo hardly swims the
mainstream of Austin music . .
.Inglis and Norton's technical precision, as well as the dulcet tone of
their principal instruments, contrasts with the rougher-hewn textures
of original-instrument Andean music. . . It's winsome music,
played with verve and skill, and I'm not damning it with faint praise
when I say that this tape makes an amiable accompaniment to an overcast
dusk or a candlelit dinner. Better yet, catch Chaski in person
around town." "...the performances [on Chaski's
cassette tape] are technically
smooth and confident, sparked by a sense of play and inherent
sensitivity to the simple beauties of the melodies."
"We tiptoed in to find harpist
Shana Norton playing solo on the
Venezuelan Concierto en la Llanura (Song of the Prairie). It
looked like a conventional concert harp,...but she didn't play it in a
conventional way.
She swayed like a sprite, long black hair trailing behind, as her hands
danced over the strings and played percussion on the sound board--not
just
single notes, but tone sequences. Adrienne Inglis joined in with
her
silver flute for a flowing, whirling dance called El Diablo
Suelto. And then switched to panpipes for a Bolivian folk song
named for Lake Titicaca. It was the first time I'd seen them
played live. Entranced by the mellow, half-mournful sound and the
sensuality of the instrument's peculiar, breathy articulation, I
marveled at the variety of flutes invented by the creatures of this
planet. They finished up with their own set of variations on
Tico-tico No Fubá, described by Inglis as 'the song that Carmen
Miranda made famous,' or perhaps the other way around."
Dyanne Fry, The Austin Chronicle, September 30, 1988
"Flutist Adrienne Inglis and her harp accompanist, Shana Norton gave a flawless performance. While we have had other superb music evenings in the university artist series, the combination of nearly incredible breath control by Ms. Inglis on the flute with the harp produced the most magical event of the series." —Gene Preston, U. S. Embassy in Costa Rica, 1986
" their inherent sense
of ensemble was apparent,
especially in passages where they shared the melody. Flutist
Inglis has an especially delicate touch with ornamentation and gave a
dazzling reading of P. A. Génin's ubiquitous Carnival of
Venice." Reviews of members of Chaski
On a February 20, 2001 performance by the Wild Basin Winds: "For Mario Castelnuovo-Tedesco's 'Sonatina,' [David Asbury] was joined by flutist Adrienne Inglis, whose fluid cascades of scales beautifully complemented Asbury's lush guitar textures...Paquito D'Rivera's brightly colored 'Aires Tropicales' bristles with rhythmic invention and angular harmonies. The group met it head-on with soaring oboe solos from Davidson, dusky alto flute lines from Inglis and masterful execution of the score's complexities by the ensemble." —Michael Huebner, Austin American-Statesman, 23 February 2001 "Aiding and abetting the quality was Austin harpist Shana Norton, whose nuanced and exciting musicianship has become an instant Central Texas legend." —Mike Greenberg, Express-News, July 4, 1988
"Principal flutist Adrienne Inglis
was a polished
soloist in the thankless neo-classicism of Frank Martin's Ballade for
Flute Strings and Piano...Miss Inglis brought grace to the
score." — Robert Lindstrom, The Oregonian, 22 February
1982
"Frank Martin's Ballade...does require a first-rate soloist and Adrienne Inglis demonstrated she not only had the requisite technique but the musical insight..." — Martin Clark, Oregon Journal, February 22, 1982
|
| Home | About us
| Reviews
| Calendar | Listen
| Photo Gallery | Store
| Contact us | Links |