Nominated as the Best Native American Music Album category at the Grammys, Sacred Ground blends wordlessly, and elegantly clutches many tribal songs with a spirit of tribute, deference and celebration. With a marvellous casting this album honours the North American Native cultural music and fetches us a truly inspired and spiritually purified rhythm of peace, deeply penetrating and healing, all mixed with strong emotional sounds. You'll be transported to the banks of a sparkling arroyo or staring out at the divine Black Hills of the boreal United States.
Grammy winner Bill Miller delivers "Sacred Ground" and "Spirit Wind" in which those moving lyrics remind us that our history is a succession between cause and effect. Rain does not fall before clouds are formed ... isn’t it? All what is sacred is locked up in our present, not because the past doesn’t return but because the present is always new and never turns over on its steps.
"Can you Hear the Call" and "People of Yesterday" are wonderfully interpreted by Robert Mirabal. His raucous voice confabulate through wood, drums and strings sending one to feel the mantrap of the macrocosm's indigenous-rooted appeal. Fading away is like a talk about seasons. Seasons? But it is never the same spring. Our hearts which beat, but it is never the same beat. The sun which shines? But it is never the same light, neither the same morning, neither the same day, nor the same people with us. They have all gone, they are not here, not any more.
"Mountain Song" showcases Star Nayea and Grammy winners Primeaux & Mike. They bring about dreams blended with roots, which for me is what makes us free and this is why to remember is necessary. The non-contradiction and identity principle is a call of each individual. The possibilities, the realities and the necessities must be preserved. Destiny will always go in those directions. Thus, fate is just the simple submission of our dreams to the identity principle as when we sing to our mountains.
Joanne Shenandoah’s "Seeking Light" is one of the best tracks of the album. Shenandoah knows how to transport us with her songs toward an opened city, and this opening -- our roots, love, traditions -- is the single residence. The bloom of age dies and passes when old age occurs, and youth finishes in a complete being. Childhood in youth and the first age dies in childhood and the day of yesterday dies in that of today and today will die in that of tomorrow. Time is mourning to be, we all are looking for redemption, seeking a light, somehow, somewhere....
Little Wolf Band’s "Raven" and "Prayers in The Wind" perform Native singing with delicacy and the ardour augments the spiritual territory they delve into during these orchestrations. This seems obvious, but the easy beauty; one is not always in a state to accomodate it. But when it does surprise us, it is like the obvious in that it is necessary for music to carry love, which offers softness against violence or bitterness.
"Let us Dance" performed by Primeaux & Mike and David Carson is a masterpiece. The music and the message convey universality. The ideology is a particular point of view which claims with the universal, a relative point of view which claims with the absolute, a subjective point of view which pretends objectivity and a desire which claims truth.
The album ends up with Walela and Joanne Shenandoah’s "Mother Earth" crying for protection of what surrounds us. Here the artists claim nothing more or nothing less than the prophet role. If one listens to the messages of these songs and one includes/understands the intensity of each word, it means to say that art advances and that Native rhythms will not die. Any poet starts with the first word. The past and the history are used to invent the future for of which this is a need. Art, like childhood, has its eternity in front of oneself. Their sky moves with each step.... like A Tribute To Mother Earth.