Michael Joseph Ulery
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Michael Joseph Ulery


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This band has not uploaded any videos


The best kept secret in music


"On the new Cd, "O-Glepi""

"The flute music is haunting and evocative, inviting serene transcendence. The combination of guitar, drum and flute yields sensuous, lyrical, rich music. The fluttering echoes and natural rhythms are ethereal and at the same time earthy, leaving me with a melancholy longing for a past existence in simpler times. I will recommend the CD to friends and family."
- "Nea" Brunson

"A different view!"

Ok, Rock and Roll is my life. I'm not ashamed to say it; my love of music has dominated my life in ways that I wouldn't have dreamed of when I was younger. And yet it has always fed my soul and enriched my life beyond measure; just the right album will do that for you. O-Glepi, by Michael Joseph (Ulery) is such an album.

This is a record of instrumentals that showcase Joseph's exceptional compositional and playing skills, and his Native American background. With the haunting washes of flute that define this music, one is tempted to label it "new age" but Joseph's former life as a punk rocker cancels out any hints of bloodlessness associated with "new age" music.

There is a feeling of spiritual calm that runs through many of these tracks: "Ancestors Song", "Mojave Lullaby", "Anpo'we", "Redrock" and "Contemporary" all evoke a sense of peace, grace and beauty that gives one a feeling of hope.

All the material here showcases Joseph's masterful guitar skillz, and often recall his previous punk rocker roots, especially on "Gourdhead", "Red On White (Blood On Snow)" (wonderful mandolin work there), "Sequoia Boogie" and "Time With You". Not a note out of place or a moment wasted; music for the heart and the head.

Joseph ends things on up note with the soaring (no pun intended) "Sparrow" which will leave you glowing feeling long after it's done. O-Glepi is nectar from the gods that should be sipped and savored--allow it to feed your soul.
- E.O.M.Entertainment, Gina Morris

"November Issue, 2005"

The music on this album is hauntingly beautiful and sad at the same time. Sometimes you can hear the cries of the Native American people in his music. Track #4 Traditional (flute solo on hand made 5 hole) is simply beautiful. There is no doubt Michael has perfected his craft it shows on every song.
- Unsigned Magazine

"KAOS- Spin the Globe"

There's something charming about the music of guitarist/songwriter Michael Joseph Ulery. His promotional material emphasizes his mixed heritage, not just his Native American roots, and his mixed musical background (rock/punk/jazz/blues/classical/bluegrass). And his acoustic music reflects the mind of someone being who he is, not some marketing ideal. O-Glepi begins with folky acoustic guitar chords under a Native flute melody called "Ancestors Song." Then a hit of acoustic blues guitar with flute on "Gourdhead." The flutes of mesh well with the guitar, and are featured on two solo tracks. Michael Joseph shows off his own licks on the multitracked "Red on White (Blood on Snow)." He's clear about his music, saying "It is not meant to represent any one particular culture...like the artist...it is a product of various musical and cultural influences." Humble and refreshing, O-Glepi is a sweet taste of contemporary acoustic music with Native (and other) roots. - Scott Stevens

"“Return of the Native to North America “ (Michael Joseph, “O-GLEPI”)"

There is an echoing sadness and an appealing beauty to Michael Joseph’s music. His album O-Glepi subtitled Songs for Native American Flute and Guitar is a testament that ancient themes can materialize into a modern world and still bring peace and comfort to troubled spirits.

From the northern hemisphere to the south, music has always been an essential part of Native American life and Joseph’s music is no small contribution to that tradition. He uses guitar, flute and natural percussion to celebrate the power that music has, to honor the Great Spirit, and to rejoice in everyday life. His style is folksy, yet respectful of his roots. The CD is organic; that is to say it wasn’t a studio perfect recording. Instead, I think it represents a true portrait of a man enjoying and creating music for the love of the experience. There might be a few unscheduled time changes and a few drum beats a little different from the others, but that is what made the whole album earthier and more authentic.

A tune ten years in the making, Ancestor Song opens the album with a soft, trilling flute lead and a warm rhythm guitar. Influenced by his Pan American roots and the songs of his grandfathers, Michael offers a tranquil homage to the past.

The simply titled Traditional is a solo flute piece played on a hand-crafted 5-hole flute. It is a soft, crooning melody that reminds us of echoing mountains, clear rushing streams and the vastness of the open plains. It is a very soothing piece that represents Joseph’s best effort.

Red on White is just about my favorite on O-Glepi. It sounds as if the wind has become real and it plays a number of echoing flutes to commemorate the tragedies of the Lakota. Like many cultures that inhabit the Americas, they were punished for their beliefs and a tenacious hold on their way of life. In particular the Ghost Dance, a dance that promised a return to plentiful food and much cherished freedom turned out to be a catalyst that incurred the wrath of the white man.

Anpo’Wie is a very traditional sounding tune that honors the power of the stars. It seems that on every continent countless numbers of wayfarers used the light of the stars for direction and as a strong basis for their beliefs. The Lakota believe that what occurs in the stars is mirrored on earth.

Contemporary is another flute solo that is melancholy, yet reflects the nature of man today. Hopeful describes it best and reverent to the beliefs that some day it will be as it was. Sparrow brings out the down-to-earth composer and guitarist in Michael as he does a bit of magic and turns a tiny bird into a soaring eagle. It is the sound of a light hearted spirit that loves freedom.

O-Glepi is Lakota for shadow. It is a perfect title for music that profiles the harsh, yet honorable life that the Plains peoples embraced. Even today there is no stronger example of tradition that that of the Native American people. Michael Joseph has put history to music and he has done it well.
- R.J. Lannan - New Age Reporter (NAR) (posted Dec 15, 2005)

"Michael Joseph: A Swim in the Deep End"

April issue:

The “dumbing down” of worldly music has aided in the creation of baseless ideas and/or contents that portray, perhaps, a random scattering of emotions. It’s a win-lose situation: On the one hand, the music’s simplicity and shallowness allows the “toddlers” to swim with both the big kids and adults alike. Tragically, on the other end of the spectrum, we’re left with “grown-up” music fans barely getting their feet wet, wading in music’s hypothetical kiddies pool—offerings that feel no deeper than a bird bath to the more-so refined crowd. By the grace of a guitarist/composer named Michael Joseph and his 2005 release O-Glepi, the aforementioned patrons are given the go ahead to dive in: It’ time for Adult Swim!

With O-Glepi, Michael Joseph (Ulery) reaches beyond typical cultural boundaries, as he spans and weaves from classic guitar work to the classical Spanish plucking style to heavy Native American overtones. The Native American vibe is often carried entirely by the variations of flutes on offer, which he so effortlessly masters throughout the disc. As he states, the album is not to be categorized into one genre or culture-specific medium. Rather, as he puts it: “…it is a product of various musical and cultural influences. Music for the sake of music…”

Titled O-Glepi: Songs for the Native American Flute and Guitar, the composition begins with “Ancestors Song,” arguably a tribute to Ulery’s cultural heritage and its accompanying influences. The song wastes no time in introducing the listener to the album’s two most prominent instruments, acoustic guitar and the almighty flute. O-Glepi is a journey into the deep roots of the artist, both instrumentally and emotionally. All instrumentation is earthly—in a way that the cellophane wrapper smells of both peyote and traditional American comfort food (or may as well anyway).

It’s anything but surprising when the Native chants seem to exist well after they actually appear in the recording. As it seems, so much of what occurs is implied rather than actually recorded to disc. We hear what we want to hear, because we think it needs to be there; it feel like it shouldn’t actually be audible for the masses. Reason for this being: The listener is summoned into the music. Thus, we’re able to give our own input, and rather than being forced into participation—for those moments we don’t care to be—Joseph instead allows us to simply opt for soothing, and perhaps transcending, background music if we wish.

Michael Joseph’s O-Glepi is an inspiring listen. And it’s a great bet to satisfy anyone anxious (and daring enough) to swim in the deep end. - The Indie Review (Chase Scott)


In his sleeve notes, Michael Joseph Ulery informs that this recording "is an effort of combined and varied musical influences" and that this album is "music for the sake of music". What the artist does not state however is how tranquil and absorbing his music is. I defy anyone to feel stressed while listening to this tender, yet simple album. Heavily influenced by his roots, Ulery has created a charming work that flows serenely with gently strummed chords and authentic native flute playing. The term itself O-Glepi is the Lakota word for "shadows" and serves to further reinforce the organic and earthy feel of this album. The album benefits from what can best be described as a naked honesty and humility. For a genuine and satisfying taste of what a campfire on the Plains underneath a clear, starfilled sky must feel like, try O-Glepi- you won't be disappointed.

- - Steve Harvey, Editor (Apr 1, 2006)

"Michael as a featured artist!"

Featuring the warm, melting tone of Native American cedar flute, supported and anchored by mellow, acoustic guitar and soft drumming, "O-Glepi" by Michael Joseph fuses folk styles from rock to folk blues with indigenous music and a calm but directed new age approach regarding accessibility. Similar in ways to the Carlos Nakai and Peter Kater collaborations, Joseph's work is always grounded and earthy, easy to digest and relax to. A very fine album.
- CDBaby


1. Ancesters Song (4:42)
2. Gourdhead (3:38)
3. Redrock (4:12)
4. Traditional Flute solo (2:11)
5. Red on White (Blood on Snow) (4:26)
6. Mohave' Lullaby (6:05)
7. Sequoia Boogie (3:01)
8. Time With You (3:07)
9. Anpo'Wie (3:56)
10. Contemporary Flute solo (2:12)
11. Rosebud (2:23)
12. Sparrow (6:44)

Currently on radio: Gourdhead, Redrock, red on White, Sequoia Boogie, Mohave' Lullaby. Others rotated on some college stations.


Feeling a bit camera shy


Michael Joseph and accordingly, his music is a representation of one of the cultural cross-sections of America. This mixed heritage ranges from Native American to the farmers of Kentucky, to the hills of West Virginia. Michael never consciously decided to bring out these roots in his music, although, as he has learned our roots are inevitable. By embracing these roots, you help keep your ancestors alive.
The progression that led Michael to his current style as a musician stems from his diverse musical abilities, as well as life’s explorations. Beginning at age twelve on guitar, he now resources a variety of musical talents. His personal resources range from; both acoustic and electric guitar, bass guitar, mandolin, traditional flute and drums, Native American traditional back-drop vocals, and various other “as needed” musical accompaniments. These talents along with Michael’s musical influences and experiences have built his strong, unique medley of style.
Michael’s musical influences began in a typical pre-teen sense of Hard Rock, with an additional Punk Rock edge. Although, coinciding with that point in his developing years, he also developed an appreciation for Classical, some Jazz, traditional Blues, and Country/ Bluegrass. However, by age fifteen he played Bass in a somewhat successful Punk band called Armageddon A.D. He later journeyed as either a guitarist or bassist through various harder edged groups like Restless Breed, Speed of Fright, Throat, and Soulscrape/ Overjoy until age twenty-six. He then began to lean towards the acoustic side of music. It was at that time that he also started to explore both his ancestral roots and traditional Native American music, especially the flute.
While exploring this side of his heritage, a ceremonial leader taught him to drum and sing along side some singers from the Rosebud reservation. This area of his musical development was consequently practiced in a traditional Lakota way. The experience helped to enable an outpouring of music. A good example is the song “Rosebud,” from his current release, it stems from these experiences. The outpouring of ancestral influences in his music was not entirely limited to his American Indian roots, but can also be contributed to exposure of Bluegrass and “Old-time Banjo picking.” As a child he would hear stories of his grandfather playing banjo along side accordion, harmonica, and fiddle players. He never imagined he would later find himself in similar circumstances. After hours into playing music in the back of a Native American shop, he often found himself playing alongside a gentleman who also played with his grandfather in those previously mentioned early years. It was during these sessions that he played an open-tuned acoustic song that flowed out of him in the prior year. That song would eventually transcend over a ten year period into the song titled, “Ancestor’s Song.” Partly due to store owner Al Lewis’s suggestion to add the Native American flute over top of the guitar, along with future musical experimentation.
These experiences and teachings, along with Michael’s early love of the acoustic guitar, have been combined into his music. Along with his “vision” of combining both spirituality and growth to his unique playing style. His music is a direct reflection of a culture that bridges much of society and the typical roots of American music, along with the member’s that have brought us today’s influential sound.
"If music is truly from the heart it should have the ability to move you." It is in search of music that may invoke that very cord, that influenced the diversity of sound and culture implemented into this current release.