Two Desert Dances: Bridging Cultures
Two Desert Dances
by Hank Hehmsoth is a groundbreaking composition that merges jazz ensemble with Native American dance recordings from the 1950s. This work, inspired by archival field recordings from the John Donald Robb Archive, features a live ensemble performing alongside original recordings of Native American musicians. Inspired by intricate rhythms and timeless melodies from Jemez Indian and Southwest Native American traditions, "Two Desert Dances" celebrates the connection between past and present in a deeply spiritual and artistic dialogue.
1. Arroyo Storm The first piece, "Arroyo Storm", draws from a Jemez Indian dance recording featuring the incredible voice of Ramon Herrera. Recorded in 1957 in Cochiti Pueblo, NM, Herrera’s vocal style is mesmerizing—a brisk 5/8 rhythm interwoven with nuanced pitch inflections that outline an inverted diminished (octotonic) scale. This rhythmic complexity and harmony offered an inspiring foundation for my arrangement. Herrera’s vocal range spans a major tenth, with inflections and pitch variations that are rarely seen in Native American music. His deep understanding of rhythm and harmony reflects a natural sophistication that harmonizes seamlessly with jazz improvisation.
In the process of working with these recordings, I was struck by the cultural depth and spirituality that emerges so naturally in this music. It amazed me how Padilla and Herrera’s melodies and rhythms, which evolved organically within their communities, could resonate with such sophistication and beauty. Writing "Two Desert Dances" brought me closer to the rich spiritual heritage of these artists.
In 2011, I was awarded my first MacDowell Fellowship for a composition that took me on an extraordinary journey into the cultural richness of Southwestern Native American music. This work, titled "Two Desert Dances", combines jazz and string ensemble with archival field recordings of Native American dance music, dating back over 60 years. The next year, the Norlin Foundation selected me for the prestigious MacDowell Colony Norton Stevens Fellowship, one of the highest awards in the U.S. for artists. I was honored, not just for the composition, but for the spirit of my work and its relevance in the world community of artists.
The journey to create "Two Desert Dances" began in the John Donald Robb Archive of Southwestern Music. With 6,000 recordings online, I was captivated by the simplicity yet immense musical richness of Native American melodies and rhythms recorded in the 1950s. These ancient, resonant themes inspired me to create a contemporary jazz composition that allows live musicians to perform in sync with these historic recordings, intertwining the past with the present.
2. Blue Moon Mist The second piece, "Blue Moon Mist", is inspired by Vicente Padilla’s 1952 recording of a four-note melody on a pito, a Southwest Native American flute similar to an ocarina. Padilla’s phrasing shows remarkable complexity, and as I listened, I was drawn to the harmonic possibilities within his melodies. This piece reimagines his themes in a jazz context, with rich harmonization and an open section for improvisation, celebrating the natural beauty of the original.
Presenting this piece as a live performance alongside the archival recordings is my way of connecting audiences to these voices across generations, breaking the silence of these remarkable Native American musicians and sharing their artistry with today’s world. "Two Desert Dances" speaks to the power of music to transcend time and cultural boundaries, revealing the universal language of rhythm, melody, and improvisation.
