It’s been a while since I’ve written… Once you don’t do it for a while, it seems like there has to be a pretty big event to justify it. Then pretty soon, nothing seems big enough! Music has come and gone, a million stories… But that was then.

Wendy and I will be in Hong Kong again from April 1 - 10th, for all my peeps out that way. I’m looking forward to seeing old friends and playing some good music. If you don’t know, HK has a pretty amazing nightlife and lots of live music. If I weren’t so comfortable here in SF, I’m pretty sure I would have followed many friends and moved there. Musicians are like that, we don’t care where we live… can we actually make some bread and live a respectable life doing what we love?
REALLY? In Siberia? Call my f*%#$ng agent! And tell me where to buy a good down jacket! C’mon honey, we’re moving!

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On all of those notes, I’ve made some adjustments, hopefully long term. If you’ll remember, I was teaching at the Jazzschool, and getting some momentum with my students. Due to scheduling problems, I wasn’t able to continue there, and had to take a break. In all fairness, it wasn’t like I gave them many choices, and there are a lot of classes at The Jazzschool. So I’ve delegated some responsibilities and decided to take another stab at music full time. Or, shall we say, fuller time.
With this come a few tidbits of good news:

Starting April 12, 2008, I’ll be offering 3 courses at the Jazzschool, all on Saturday. I told them that teaching
was my priority, and that I was available anytime. So now I am able to offer beginning, Intermediate/Advanced classes,
and it is my pleasure to announce: Harmonica Ensemble!

The first two classes are pretty self explanatory. They are open to all ages. The ensemble is an attempt to teach and recreate the vintage sound of the classic harmonica ensembles with a contemporary twist. Using bass and chord harmonicas and a variety of chromatic, diatonic and whatever other harmonicas arise for the occasion, I will arrange specifically for the talent that signs up for the group. It’s an amazing opportunity for intermediate/Advanced players to
perform harmonica in an ensemble, and play together with other instruments. Reading is a plus, but a fully chromatic instrument or
instruments and a good ear is all that is required. Let’s make it happen!

http://www.jazzschool.com/

The online calendar is not up and running yet, but you can download the .pdf version and find more info on page 22.

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DME Ensemble!

I’m happy to announce an exclusive representation with Prince/SF Productions, a local agency, for the Damien Masterson Ensemble. This came out of conversations with a dear old friend, Ken Malucelli, about how I was working on some classical pieces on the harmonica. A light bulb appeared over his head: Ken’s specialty has been in the Fine Arts market, and he said “Why don’t we put together a Classical Harmonica Concert”?!?! And so we have!

This is a “lite” classical presentation, also featuring some Brazilian choros and other world music, along with classics that you’re very familiar with.

To see/read/hear more about the project, go here:

http://www.princesf.com/damien/

There’s already a couple of concerts booked for this summer and fall, so stay tuned…
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DRUM ROLL……paradiddle….SNAP!

THE GIG UPDATE!
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Gem Faire, Inc., presents:

Mar. 14-16
San Francisco, CA
Fort Mason Center
Herbst Pavilion, Landmark Building A (In front)
San Francisco, CA 94123

Performance hours:

Typically 12 - 4 P.M. - just listen for sax & Harmonica, you’ll find me. Bring your ax down and sit in! IT’S FUN!
Most of these gigs are solo, so I take brakes when I want. If you’re planning on coming down, call my cell or email me before.
Gem Faire Charges a $5 entry fee, so if the music is inside, call me to get on “the list”…
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See you soon!

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Damien Masterson http://www.damienmasterson.com
or enter my name in any search engine
415 305 7138 dzm@damienmasterson.com
Damien Endorses Hohner Harmonicas and Audix Microphones

Ali Farka Touré, RIP.

The I moved on to Mbalax, ala Lemzo Diamono and Youssou N’Dour.

From there, on to Mali, Nigeria, South Africa, Madagascar,
a brief stop in Ethiopia, before finally arriving to

Ahhh, poor

Kingdom of Kongo (1395-1914)
Luba Empire (1585-1889)
Lunda Empire (c. 1665-1887)
Yeke Kingdom (1856-1891)
Congo Free State (1885-1908)
Belgian Congo (1908-1960)
Republic of the Congo (1960-1964)
Democratic Republic of the Congo (1964-1971)
Republic of Zaire (1971-1997)
Democratic Republic of the Congo (1997-present)

They’ve been through quite a tumultuous run. The latest civil war, cited as “Africa’s World War”, was one of the most underreported humanitarian disasters in recent times, and has taken about 5 million lives in the past decade. It was never easy, but somehow these people have created some of the most upbeat, vibrant and festive music in the world. At first it was too happy for me, I couldn’t let myself go. But now that I’m enlightened, I can listen to Congolese Rumba, Soukous, and all of the variants and offshoots all day long! Right at the moment I’m listening to “Nazali Mwasi”, by Mbilia Bel & Tabu Ley, from the Stern’s “Mbilia Bel” compilation. A voice made in heaven.

Honestly, it’s like musical prozac. I have yet to hear a minor key Soukous song. I’m sure they exist, but it would be genre defying. This music is deep in history, culture and meaning. Just Google “Congolese Rumba” or “Soukous” and behold. Its evolution over the past century is as interesting as anything I’ve found.

Here are some good places to start:

Le Grande Kalle (Joseph Kabasselleh)
Franco’s TPOK Jazz
Zaiko Langa Langa
Tabu Ley Rochereau
Madilu System
Sam Mangwana

and more contemporary:

Les Quatre Etoiles (Four Stars)
Somo Somo, the band led by Zairean guitarist, Fan Fan
Papa Wemba
Kanda Bongo Man

It appears that the Civil War and 3 decades of Mobutu has taken its toll on the scene. Today, it’s harder and harder to find any of the stars touring and performing, but when they do, fans drop what they’re doing and scramble to the clubs. I wish I had known about this incredible music a decade ago when it was at its height globally, but I was somewhere else then.

Some might say that Congo Rumba just sounds like Africans emulating Cuban music, which is how it began. But if you listen to the development, especially that sweet period where the transition from the 50’s and 60’s to the 70’s, the “Autenticité” period, you can hear the new sound coming about. Today’s Soukous and its offshoots have turned a lot of older fans off. The use of drum machines, synthesizers and stage props (like female dancers and “animateurs”) have made more of the spectacle and less of the music.

I’m hoping to compose some songs with basic ideas and structures from Soukous, especially the extended instrumental “Sebene”, with harmonica and guitar playing the interweaving rhythmic melodies.

Stay tuned…

D