A voyage between chaos and order: Kora kana comes to Empty Sea Studios

Interview with Elaina Ellis, Empty Sea Studios.

Click here to purchase advance tickets for Kora kana.

Kora kana will play at Empty Sea Studios on Saturday. We invited band leader Tyler Richart to describe Kora kana’s original blend, and along the way, he told us more about the path he’s taken to a life in uncharted musical territory — including church roots and all-time favorite songs. 

Kora kana brings a blend of musical traditions and genres to its sound. What are the primary ingredients, and how did this mix come about?

The primary ingredients are mostly defined by the musicians in the band. Sean Divine brings his background of playing urban blues on the harmonica, while Cort Armstrong is more fluent in rural blues from the Piedmont, and his extensive studies of Reverend Gary Davis’ style on the guitar. I’ve spent a lot of years studying West African music on the kora and percussion music, but am also comfortable playing bluegrass music, funk music, country music, and singing in those various styles.  This mix came about by us experimenting with the kora, usually after I put away the mandolin for the evening. It’s a late night sort of music, a bit more meditative and laid back than the blues and bluegrass we were playing.

What kind of experience can first-time Kora kana listeners expect from a concert?

I think most listeners who aren’t familiar with the sound of the kora, a 21 string West African harp, will be surprised to hear how sophisticated the sound is, in spite of its primitive look. I think that people who are familiar with the kora may be surprised at how well it blends with resophonic guitar, upright bass, and harmonica. The vocal arrangements are also a bit different than most standard kora music. I’ve really taken care to try and make interesting harmony arrangements and song forms that move these traditional songs away from the standard versions African music aficionados may be familiar with.

Listeners can expect to really take a voyage between chaos and order. Our music is sometimes soft and soothing and moves into emotional and passionate phrases with complex polyrhythmic shifts. People regularly tell me after shows that they felt like they traveled somewhere in their mind as the songs unfold. Listeners can also expect to hear stories about the songs, and learn about the culture of the Mandingue people of West Africa.

It sounds like you’ve been interested in playing music since an early age – is there anything or anyone who sparked/encouraged that interest for you?

My mom recently told me that I was singing as soon as I learned to talk. I vividly recall being in church when I was very young, and understanding that when the “amen” part at the end of hymns came up, there were two chords, and that there were three notes in each chord. I’m very grateful for that early exposure to harmony, and hearing the alto and tenor parts being practiced at home surely helped me. My parents also pushed me to start taking piano lessons early on. My grandpa George was in a brother harmony singing group when he was a young man as well, and he used to pay me good money to learn a song and perform it for him, so I guess I got a bit of it from all sides. I’ve had some amazing music teachers along the way as well, and I’d be remiss if I didn’t mention my drumming teacher, Famoudou Konate. His attention to beautiful tone is unparalleled.

What are the top five songs on your iPod?

I tend to listen to albums the whole way through, from start to finish. When I know just about every note on an album, I tend to move on to another album. I’ll give a shot at my five favorite songs all time, without necessarily trotting out my iPod.

The Anchor Song by Bjork – This has such beautiful saxophone harmonies and voice.  Sparse and beautiful and with some challenging dissonance and resolution.

I Dreamed a Highway by Gillian Welch – This is about as pretty as anything I’ve ever heard. Beautiful and soft and slow, through and through.

Tubaka by Toumani Diabate – A stunning version of this traditional song. I can’t make it through this solo instrumental piece without crying. Toumani is the world’s greatest kora player, and one of the world’s most passionate musicians.

Moanin’ by Charles Mingus – What a hot mess this is! The horn ensemble playing on this makes my brain explode.

Wildflower Soul by Sonic Youth – A great example of chaos and order in music. This song by the legendary punk/experimental noise band ravels and unravels, twists you up and spins you around, but gives you reprieve with an occasional reassuring hug before sending back up that tall roller coaster hill again.

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To experience Kora kana — to listen for all of the influences that Tyler names above — grab a ticket and come to Empty Sea Studios for the May 21st, 8.00pm show.   Click here to purchase advance tickets for Kora kana.