Ekayani and the Healing Band
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Ekayani and the Healing Band

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The best kept secret in music

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Ekayani and the Healing band will bring their smooth, mellow blend of jazz and soul music to the KNITTING FACTORY OLD OFFICE in NYC Jan 26. Also performing will be Mariana Bell, Johnnie Foreigner, Michael Lozzie and Scarlett X.
EKAYANI's sound and artistic expression have taken 10 years to develop, spawning two records and popularity in the New York and Miami club scenes. She began her career in France with the help of friend and musical composer Paul Mahoux, with whom she has worked throughout her career, even collaborating with him to write five songs off her latest album. Alongside the talented Healing band, composed of guitarist Jerome Covington, Matt Aronoff on bass and percussionist Rohin Khemani, Ekayani draws from her emotions, aspirations and spirituality for musical inspiration exlporing the themes of love,hope, and self-discovery.
Ekayani's style is difficult to place in one specific category. Although her sound for the most part could be described as jazz, HER OVERSEAS EXPERIENCES AND INFLUENCES help bring a worldly feel to her music. Her sultry voice has graced the stage of multiple venues and even airwaves such as NPR and WBAI. She has even started her own label named Damn'IT! Records , on which she released her first full length album,simply titled FULL LENGTH. Recently her track "La Raihna" reached number 2 on the HEATSEEKERS chart for ADULT R & B.
The show begins at 7 pm and tickets can be purchased at the Knitting Factory on the second level for $10. For more information visit ekayani.com or knittingfactory.com


- Charlie Carroll of The Aquarian Arts Weekly Jan. 18, 2006


With a make-it-new album and a series of exciting live Downtown NYC performances, a musical transformer is poised for a breakout. It’s a sweet summer night at the C-Note during New York’s annual Howl Festival, and the magic is in full swing for Ekayani and the Healing Band.

Dressed like an urban gypsy, shaking a tambourine and punctuating the music with her long, storytelling arms, the stunning singer and her empathetic band begin weaving a radiant web of story-songs, quasar beats, jazzy riffs and love songs from their debut CD, Full Length. And the packed house on Avenue C responds with cheers, claps and whistles. Something’s happening here, and everyone can feel the buzz. The Healing Band (Jerome Covington, guitar, Matt Aronoff, bass, and Rohin Khemani, drums and tablas) is getting into some serious grooves behind Ekayani’s city-born meditations and recitations, laying down the gamut from pulsating R&B to sparkling jazz inflections to crackling funk. The music cups Ekayani, supporting her as she reaches for another connection, another invitation. And there’s a communal vibe in the air between performers and audience, especially when Ekayani, singing to the crowd, tenderly urges her people to take care of themselves. “There’s a lot of love in here tonight,” she says. What to call this? Throw out all the old categories if you need to find a label for Ekayani, a musical transformer whose magical singing and songwriting are now radiating out of the Downtown musical scene.

World music? Yes, Ekayani’s musical sensibility started taking final shape in the seven years she lived in Paris, and she occasionally sings in French.

Jazz? There’s definitely a glamorous chanteuse spoiling to get out, right beneath the facade of the ultra-modern downtown diva.

Spoken word? No doubt an Ekayani performance can include poetry, singing and chanting in any mix of the three. But none of these categories really defines the nexus Ekayani embodies, the patch cords she joins between the physical and the spiritual, the empirical and the energetic, the romantic and the serious. New labels need to be thought up to describe her. Maybe “jazz word music” or “spoken world groove” are closer to catching the spirit of this truly original musician. Besides her commanding presence on-stage (she retains the grace, style and beauty of her time as a Parisian model), Ekayani is also a serious student of musical styles and composition. She has put in a rigorous apprenticeship over the past dozen years, honing a practiced ear and a voice, serious and sensual at once, that sounds like no one else. During her time in France, she met up with guitarist/composer Paul Mahoux, and his brilliant playing, music and intuitive arranging were the perfect complement to Ekayani’s maturing vocals and songwriting. The result of their partnership, Full Length, is a wide-ranging exploration of themes both physical and metaphysical, ranging from the serenities and anxieties of love to the quest for spiritual equality. Ekayani’s impressive range takes her from a spoken word meditation on a summer day in Paris (“Une Fille Qui Parle De Ses Desires”) to a gorgeous jazz ballad (“La Raihna”) to diva dance music (“Like Fire”) to a poetic, a cappella read on a modern tragic heroine (“Ophelia Drowns”).

Ekayani has supported Full Length with a series of gathering-the-clan gigs in her native New York City and radio appearances and webcasts on stations like WBAI, NPR and WFLO. She has also just recorded a DVD sampler with producer Darrell Briscoe. Ekayani is currently thinking ahead to her second CD, which she has already written all the songs for, as well as planning live shows both here and overseas.

To hear samples from Full Length visit "www.ekayani.com"

















- The Bozone-Nov. 8, 2005



The Women Who Rock Playlist

By Mark Fogarty 2005

Imagine if you will that we are listening to one of my favorite radio stations. It is called WWR, and it plays only songs by Women Who Rock. (I can’t call it WWWR or KWWR as there are actual stations with those call letters.) I will be your humble programmer for this evening, and what follows will be a partial playlist of artists that have been in heavy rotation on my own version of WWR over the years. To be modern, I’ll load them up at random, iPod style.

WWR is a station I have been fascinated by for many years. The first song I ever heard by a woman was “Downtown” by Petula Clark in 1964 or 1965, and the most recent (2005), is by downtown NYC artist Ekayani, whose pulsating version of Joan Armatrading’s “Like Fire” has been bouncing around in my head for the past several weeks. WWR is a great station to listen to while doing your taxes or planning the rest of your life. In fact, the world seems a grander and more hopeful kind of place altogether when WWR is on. Here is who you will be listening to tonight:

EKAYANI. Listening recently to Ekayani and the Healing Band’s CD Full Length, I was taking notes while thinking about how to describe her voice. Direct, no diva affect. Full without being husky. Reserved, perhaps in the interest of a serene urban cool. Sensual, definitely, sexy, probably. Looking down, I noticed I had written down what I think is a brand new word combining the last two attributes, “sensy.” Ekayani combines a Sade-like jazzy delivery with a Downtown New York City attitude. So an Ekayani performance can modulate from singing to spoken word to chanting, from English to French, from a riff on a jazz song to an a cappella read on Shakespeare’s Ophelia. She gets on the WWR playlist for her elegant, stylish musical imagination, aided and abetted by musical partner Paul Mahoux’ splendid presentation of her. Through his urgent and passionate arrangements, he lovingly sets her in a very hip cameo. His music is also very sensy! Available at http://www.cdbaby.com/cd/ekayani3.

copyright Mark Fogarty 2005
- Mark Fogarty


Ekayani,
Thank you so much for inviting us to hear your music. We absolutely loved your sound! It was a good mix of sensual sound and voice...sometimes sassy but always an integrated musical texture with a dreamlike dimension that approaches retro musical vision of 70's "mellow" and contemporary urban. We enjoyed the journey. Your stage presence is magnificent and your hands are extemely elegant and theatrical. See you soon and thanks for the invite!"
Mike Singletary-Radio feature producer CBS Radio (Jul 4, 2005) - Mike Singletary-CBS


The Knitting Factory 6/09/05
It is an awful night for music, hot and sticky. The show I’ve come to see is three flights down in the claustrophobic subbasement of The Knitting Factory, the ultrahip New York City address for everything that is happening in music five minutes from now. The bar and performance space are full of humid people, hanging and talking as two bands bustle through a set changeover.

But something is about to change the soggy vibe at the Knit, as Ekayani and the Healing Band get ready to showcase their new CD, Full Length. The Healing Band, three young guys of very serious mien who let their instruments do the talking, start up with a short, jazzy instrumental called “Animist.” (The Healers are Jerome Covington, guitar, Matt Aronoff, bass, and Rohin Khemane, drums.) Ekayani, a tall, slender, rather stunning woman, starts to speak over another sharp riff of theirs, punctuating the rhythmic details of a summer afternoon in Paris with her long, storytelling arms and a tambourine.
Then, something happens that I don’t remember happening often before, in more than three decades of seeing live shows in loud bars just like this one. The tumult ceases; the loud chatter stops. A hush descends over the darkened room, and over the bar and the soundman’s area where I am and the dark little nooks that people spread out into. And this rapt silence lasts until the loud devotees of the next band to play come threading in and talk over the music.
I write this down in my notebook without quite knowing what to make of it as I listen to Ekayani recite the rest of “Une Fille Qui Parle De Ses Desires.” I note approvingly she is improvising away from the album track, adding details from a recent trip to Miami, in which friends and fans have done her the homage of calling out to her as one of her song characters, Ophelia.

On the next tune, “La Porte,” I note her more assertive vocals and easy command of the stage, with the Healers framing her supportively. Ekayani has grown in vocal authority since recording some of the Full Length tracks five years ago for an initial EP, loosening up, shedding some of her original, careful delivery. She is clearly coming into her own.

Next comes “Like Fire,” Ekayani’s take on the Joan Armatrading song. She scored a downtown NYC success with this track a few years ago, and on this night the Healing Band varies the tune a bit with Covington’s new, growly licks. Ekayani sings confidently, dropping the lyrics in between the choppy swirls of music.
Then the band signs out as Ekayani does what now is literally a signature song of hers—“Ophelia Drowns.”
This imaginative a cappella piece combines some lines of Shakespeare’s with Ekayani’s new millennium read on the old story: “knowing what you know and acting on it,” as she says from the stage. (She is a rather deft conductress of her own set, illuminating tunes with quick, sharp phrases, cutting the explanations short before they wear out their welcomes).
The band is back in for “Bells,” in which Ekayani does a bit of chanting to add to her vocal repertoire of singing and spoken word over riffs (spinging, I call this). She is ready to navigate her way to the end of the set with a couple of romantic, dreamy ballads: “Blue and Gold,” which finds room for a little Billy Strayhorn, and “La Raihna,” some romantic reflections “written in Paris during a series of thunderstorms.” With these gorgeous tunes, Ekayani channels an inner, old-fashioned chanteuse, which inhabits her artistic self right alongside her more modern downtown diva.
Now she and the Healers are done, to steady applause, the spell is broken and the Knit is ready for the next loud band that wants to shake up the night. But I’ve been thinking about that silence that fell. Usually there are only two ways to quiet a loud bar: turn the amps up to 12, or get them all to dance. And neither of these is the reason tonight.

It comes to me. The hush that fell, like the guys calling out to her as Ophelia, is an acknowledgement, a quiet nod to both her personal and artistic power. It is props for Ekayani’s imagination and zest in creativity.

In my first mention of her in this column, I wrote that Ekayani sounded like that jazzy, sensual, smooth operator Sade. But I’ve changed my mind. To me, she will never again sound like anybody but herself. And I’ve changed my mind about the sticky night, too. It is a great night for music.
Mark Fogarty 2005 June -These articles are archived - Boomer Box for Boomers That Still Listen to Music (Jun 17, 2005)
- Mark Fogarty


EKAYANI AND THE HEALING BAND AT THE KNITTING FACTORY

New York City singer/songwriter/model/actress Ekayani Chamberlin often goes only by her first name. Although the exact meaning of the name "Ekayani" is unknown, it is likely Sanskrit in origin. As anyone who discovers this bewitching artist soon discovers, Ekayani's sound and physical presence is just as exotic as her name. The statuesque beauty brought her band, the Healing Band, to New York City's famous Knitting Factory on the night of Thursday, June 9th. Ekayani proclaimed to the audience, "I dreamed about playing here for the last four years!" And when this lady's dreams were finally realized that night, what a night it turned out to be! It was hot, hot, hot... and not just because the air conditioning at the Knitting Factory that night inexplicably stopped working. Ekayani has a loyal following of fans, many of whom are more than happy to praise her work. As one young attendee named Ford Fallingstar stated, "Ekayani takes you to another place!" That night, those "places", we were to learn, included such exotic locales as Miami and Paris. For one number, she vividly recreated the idyllic scenario of sitting on a beach in Miami, "Not doing much of anything, really... but enjoying it..." Many audience members, who had not yet seen Ekayani live or listened to her CD (including myself!), were in for a surprise. Before the show, we pondered, What were we in for? Performance art? Spoken word? World music? Jazz? Ultimately, it was a genre-defying mosaic of sounds and styles, bolstered by Ekayani's striking presence and onstage moves: Throughout her music, she seduces the audience with her slinky, rhythmic, and sensual Shiva-like arm movements for songs like "Blue and Gold", her tribute to the East Village tavern of the same name. Obviously, it also didn't hurt that Ekayani has surrounded herself with a trio of expert musicians: Rohin Khemani on drums and percussion, Jerome Covington on guitar, and Matthew Aronoff on bass.

Ekayani has just released a new full-length CD entitled, appropriately enough, "Full Length". She described the making of the CD as "a long journey-- but a very rich one." That night, the audience was treated to eight songs from the new album. Ekayani opened with a jazzy instrumental number called "Animist", which she descibed as "a groove to get you in the mood". It was soothing and ethereal, yet simultaneously dynamic and quietly moving. Next up was "Une Fille Qui Parle de Ses Desires", a song she described as a Parisian love story-- or, more accurately, a hopeful romantic note to a lover. Translated as "A Girl Who Speaks about Her Desires", Ekayani used spoken word set to music to get just the right effect for this one. But just when you're about to label Ekayani's work as solely "spoken word" or "performance art", she breaks into singing voice-- and what a voice it is! One audience member compared her voice to Sade; but more accurately, she's Sade with an edge. After all, she lives in New York City! Ekayani picked up the tambourine as the music became more dynamic. Next up was "La Porte (The Door)", a song Ekayani stated was about the dark side of love. The audience was given a shot of adrenaline with Ekayani's dynamic, funked-up cover of Joan Armatarding's 1976 "Like Fire": "Hey, I'm trembling, I'm all on edge; I'm under, And you've got the power. You can be fire; Or sugar sweet like honey. Like honey; When you wanna be." "Ophelia Drowns", the next performance (described as "a song about self-deception", and obviously a very personal song to the artist), was done a cappella and featured additional text by-- William Shakespeare(!). The band was back for "Bells", a song inspired by a landmark album that came out in 1971 called "Tibetan Bells". "Tibetan Bells" was the first recording to use traditional Tibetan bells and singing bowls, and helped establish some of the fundamentals of New Age music. Ekayani uses some Sanskrit chants for this one, and the result was the most absorbing number of the set. As eclectic and multifaceted as her work is, never once did the show lose its flow or fail to reach the audience. Ekayani and the Healing Band closed with "La Raihna".

Ekayani's music is soothing yet invigorating, prismatic, and multi-dimensional. She's able to take her combo of powerful innate emotions and acquired worldliness (including the romanticism of Paris, the earthy spiritual enlightenment of the East, and the grittiness of the life of a rising artist in New York City), and translate them expertly into her work for the listener to experience. Check out www.Ekayani.com for album info, eye-popping photos, mp3's, tour dates, reviews, and much more!
Jed Star - PM ENTERTAINMENT (Aug 2, 2005) - Jed Star -PM Entertainment Magazine


January 28th , 2005

What do you get when you create a rich brew of fusion consisting of equal parts Heart / Mind/ Body and Spirit?
Ekayani and the Healing Band of course. Not content to fit any stereotype, Ekayani effortlessly embarks on a musical tour with no need for arrival, the journey itself being the true motivator. Fronting an instrumental trio consisting of Matt Dickey – Guitar, Matthew Aronoff – Bass + Rohin Khemane – Drums, Percussion and Tablas, the Healing Band is not your standard issue trio.
On the opening movement called “Animist” Ekayani talks to the audience directly and thanks them for being there. The background is a wash of jazzy drum n bass groove punctuated by Miles Davis like horn stabs supplied by guitarist Matt Dickey’s innovative effects processing.

Ekayani calls her music “Transcendent Alternate Fusion”. Animist fades and with no music she tells a story about a summer day in Paris. The music starts up behind the story, sound track for a memorable day. We are wrapped in the warm embrace of a fond memory as the band lays down a free and easy groove that eventually morphs into a Brazilian carnival jam. Western style guitar phrases echo as the music gets faster building to a climax only to return to a summer day. With French and English lyrics, it’s a musical postcard: See ya soon!
On “La Raihna” we are treated to the confessions of a true romantic. What could be more sensual than a gentle rain in Paris or Lisbon? A simple song, where the vocals are reminiscent of Sade, Ekayani’s voice reveals a lower register that flies in the face of all the pop tarts on the charts these days, thankfully so.
“Bells” Simply a prayer bell and spoken word, stark, minimal instrumental accompaniment, harmonics on the bass, a wisp of cymbal, some treated guitar and what sounds like Krishna chanting. This becomes an acapella called “Ophelia”.
We are allowed to have silence between notes and songs. Refreshing!
“Blue and Gold” a funky song about a bar, an ex boy friend and those nagging little unreleased feelings we carry around like a worn out suitcase. We are on a trip tonight to the full spectrum of what is uncomfortable and what is sublime. There is a stark honesty about this music that challenges the modern sound byte infected listener. You can’t hide here you have to be with yourself and your feelings, because you can actually hear your own thoughts. They’re not smashed against a wall of volume and feedback.
We are treated to a “Poem” called (Crying out loud), spoken word no accompaniment as we prepare for Rohin Khemane to step out front and play some Tabla. On “Jiv Jago”
Ekayani, who speaks a bit of French, Bengali and SanSkrit
actually gets the audience to chant in Bengali. Like a schoolteacher with an attentive class, she gets us into a call and response, Jiv Jago, Jiv Jago, Jiv Jago, Jiv Jago, I want to wear Orange for some strange reason.

She closes the night with the Joan Armatrading song “Like Fire” A rocker with a funky marching groove and some nice finger work from Matthew Aronoff whose bass playing drives the song. We leave on an up note as Ekayani pastes another travel sticker on her suitcase, the astral plane is leaving and we don’t want to be late.
If you like going home with your hearing intact and have been craving music with a transcendent vibe then Ekayani and the Healing Band could be what you’re looking for. You can find out more about Ekayani at her web site, which is:
www.ekayani.com

-Jay Cavanaugh for News Paper Taxi
(Feb 16, 2005) - Jay Cavanaugh


"Transcendental form reaches erotic focus and the lofty syncopation of jazz fusion within an amourous state. Ekayani takes over the vocals on this soft and intricate excursion into tranquil and rolling notational interludes of hypnotic guitar work with well woven stories to make the fabric come into one..a lovely experience. One you have to see live but certainly can get a small dose of here."
-OnlineTV.com - OnLineTV



"The Red Shoes Concert"
Ekayani and the Healing Band at the Knitting Factory, New York City, Jan. 26, 2006

It is an awful night for music, wintercold and arctic windy. But Ekayani is wearing her red speckled shoes, kicks from Miami where the vibe is always tropical, so that's a hopeful sign that this January show at the Knitting Factory can provide an antidote to the deep freeze outside.
Back in the Center of the Universe after a lengthy sabbatical in the Emerald City, the downtown chanteuse seems totally happy about being back in the Big Apple where she was born and bred. And the feeling inside the Knitting Factory, still the hippest venue for music in the world, is an exact match, heart-ember warm.
Click go the red shoes, and Ekayani and the Healing Band are feeling a huge homecoming wave as they take to the Old Office stage. There's a feeling of power right away. Ekayani doesn't so much inhabit a stage as much as she guards it, the way a goalie minds his net-shepherding her songs, her eager friends and fans in front of her, her supporting music men behind her. When she draws up to her full length of six feet one and crosses her arms above her, her long hands nearly touch the ceiling. I note that even her shadow on the wall throws its own shadow.
Ekayani starts as she has usually started these gigs supporting her most recent DamnIt! Records CD, Full Length. A palate-cleansing instrumental, "Animist," is followed by "Une fille qui parle de ses desires," a spoken word meditation on a summer day in Paris. Evoking a warm, languid day of many possibilities, "Une fille" relates in a bouncing world rap beat how it takes her nine hours to make her way across Paris, as she meets one friend and acquaintance after another and ducks into cafes and bars with them for a drink or coffee.
And somehow, this night at the Knit, there they are again, that summer universe of supportive and caring friends, replicated in a New York City winter consort. And soon, they get a chance to prove their affection and devotion when the change of weather steals Ekayani's voice, right in the middle of "La Rainha." This lovely soul ballad has just earned Ekayani top female R&B performer for 2005 designation from the annual New Century Heatseeker rankings, as well as semi-finalist placings in the Billboard and International Songwriter Competitions. What could have proven a disastrous interruption instead becomes the occasion for a sweet moment as fans rush to the stage with offerings of lozenges, water, and something stronger.
You have to have a good sense of what you want to be about to front a group called The Healing Band. On this emotive evening, the healing comes back in the other direction. And the hoarseness vanishes as quickly as it came.
Click go the red shoes again, as Ekayani steps out to acknowledge the welcome-home vibe, off the stage and into the thawing room. She is wearing garlands of bracelets and necklaces, but there is something deeply transparent about her gratitude as she is empowered to run the riffs the Healing Band (Jerome Covington, guitar, Rohin Khemani, drums, and Matt Aronoff, bass) is using to funk up the old Joan Armatrading number, "Like Fire." It's mutual adoration, and the voice-stealing cold has been banished from the toasty room.
Ekayani and the Healing Band are now ready to finish up the tunes from Full Length, ending with the blues lullaby "Comfort" and her time-traveling duet with William Shakespeare, "Ophelia Drowns."
Upstairs after the show there is at least nine hours of happy buzz concentrated into two hours at the bar, as Ekayani catches up with a roomful of old friends and new acquaintances in the center of The Center of the Universe. And while I didn't catch it, I'll bet if you listened very hard you would have heard the red shoes click together for a third time. There's no place like home.
-BRAGMAN

- BRAGMAN MEDIA


Discography

Ekayani and the Healing Band- FULL LENGTH- March 11,2005 on the Ekayani's own Indie label Damn'It! Records.
MORE MP3's: Available under MUSIC at EKAYANI.COM
DIGITALLY AVAILABLE: iTunes, CalabashMusic.com, plus more soon...
RADIO play:NPR's All Songs Considred, WBAI-FM, NYC, WFLO Washington DC, podcasts out of NYC and Monterey, Ca.
"La Raihna" has gotten airplay and streams on WBAI-FM NYC 99.5 and www.wflo.fm
Une Fille Qui Parle de Ses Desires and Like Fire has recieved airplay on WBAI's The Liquid Sound Lounge with Jeannie Hopper
"Une Fille Qui Parle de ses Desires" has recieved play on National Public Radio's Open Mic Stage 81 (internet)
Blue and Gold and Saint Jerome have been podcast on Sunday Go to Meetin" ( Out of Montery, Ca)
Saint Jerome has been played on
http://www.Radio Crystal Blue.com hosted by Dan Herman, NYC
La Raihna, Comfort, Bells, and Ophelia Drowns received airplay on WBAI -FM 99.5 NYC "The Light Show" with host Evan Ginzburg

Photos

Feeling a bit camera shy

Bio

ODE to DURGA's UNDERSTUDY:
From her rather shy demeanor you might never have guessed that Ekayani is actually something of a superhero, sometimes even to her own amazement. Let me recall one particular adventure for you.
Years ago , back in the winter of 1999, Ekayani stopped by the Kruth family estate in the splendiforous suburbs of New Jersey to pay a visit to my old, ailing mother. As it was the maids day off I was in the kitchen heating up some leftover red beans and rice , while my mom dozed in her favorite chair, in front of the television set. Meanwhike, Ekayani sat on the living room sofa, looking radiant in white. My brother Steven was their too, talking with her. They were really hitting it off, getting kind of flirty. I started becoming jealous--annoyed that she liked my brother so much. She was laughing loudly at his jokes. You know that laugh of hers. Then Steven started to sell her some jewelry.
She sat close to him trying on all kinds of sparkly bracelets. The phone rang. It was for him, so he excused himself and went into the other room to take the call. Then I returned to the kitchen to check on the beans and rice that had started to burn.
As usual Steven's array of gadgetry was spread out of all over the coffee table beside the couch. Ekayani picked up the cell phone and his pistol and walked out on the veranda and closed door. She began having a heated conversation in French with somebody on the cell phone and started punctuating her words by firing the pistol in the air. Little did she realize that our neighbors private helicopter was trying to take off at that very moment and she was firing directly at them! Suddenly they fired shots back at her. She began to realize what was happening and returned the volley, bring the chopper down through the towering maple trees, into our backyard. The neighbors, as we had always suspected, were drug smugglers, and the cops soon showed up to arrest them and congratulate Ekayani. As far as I know that was just a typical day for her!

Recently Ekayani called to ask if I would scribe the liner notes for long awaited new album. "Of course!" I told her. So I scrounged up some coloured chalk from the bottom drawer of my desk to scribble a few words on the slabs of our fair city's sidewalk, which I would then snap a picture of with my digital camera as I precariously hung out my apartment window by one hand. Then brimming with pride, I'd email the finished piece to Ek and pour myself an ice cold miller.
But each time I'd turn my back to go inside some careless pedestrian would saunter across my delicate strophes, smearing a letter here or a word there. I wound up standing out there for nearly an hour yelling at those stupid clods to watch out where they stepped, when suddenly it began to rain! It seemed certain that the rain would wash away my ode to Ekayani, and a moment later my lightning fast inspiration would be lost forever. Then she suddenly appeared, swooping down out of nowhere, radiant in a yellow raincoat, to read those illuminated verses over my shoulder.
Although the rain would wash it all away as quickly as I could write, Ekayani, aspiring superhero that she is, remembered the whole thing perfectly, word for word. So the next time you see here, just ask her to recite the wonderful poem I wrote to commemorate this album. It was totally brilliant. Really!
-John Kruth
New York City
Spring 2004

MUSICAL BIO:
A FULL LENGTH MUSICIAN! At fifty- two minutes in duration and 13 tracks long, Ekayani and the Healing Band's new CD lives up to it's name, FULL LENGTH. But the album is also a confident statement of full on artistic maturityand personal identity. At an imposing six feet one inch tall, Ekayani is certainly a full length woman, willing and able to articulate a grown woman's triumphs, fears, and desires. And her record, the result of ten years of apprenticeship and rigourous effort on two continents (France & USA) , shows the full value of her encounter with themes and styles that make up it's groundbreaking music. Her artistry is full length as well!
Conceived in France, where she met innovative musical partner Paul Mahoux, and brought to term in the United States, where Ekayani continues to push her musical boundaries in New York and Miami, FULL LENGTH is a major statement of artistic coming of age by a musician unafraid to go all- in by blending genres, styles, ideas, and emotions.
The songs of FULL LENGTH express a wholly realized woman's strengths and doubts, her intellect and herspirituality, her reflections on love and the absence of love, her hopes for her own happiness and the well being of all the people who hear her. They range in format from alternative/fusion to jazz spoken word, articulated through either totally original speaking, sining, or chanting styles.
The studio Collection EP was a downtown NYC hit, cracking the Top 40 at The Liquid Sound Lounge, and her commanding prescence ( she retains the style and be