Arbiter of Cultural Traditions is a 401c3 non-profit arts organization founded in 2002 as a means to continue the work of the former Arbiter Recording Company by saving performances of musicians whose work embodies our classical music at its height. Our efforts are critical as the aging survivors of past  traditions are not long for this world and decaying media threatens to lose its sounds: our cultural heritage often hangs by a thread. Western classical musicians we have saved such as as Roman Totenberg, Mieczyslaw Horszowski and Ignace Tiegerman played at the highest musical level of their time, of any time. We spare no effort to locate such music-making wherever it survives.

World Arbiter seeks authentic traditional music from  cultures beyond Western European classical music. The late Teresa Sterne who created Nonesuch’s legendary Explorer series was our guiding light in the beginning. Sterne personally intervened to sharpen and define our methodology. Our vital examples document  traditions with scholarly texts to serve as a musical guide and reference work. Multimedia CD projects go beyond music with extensive PDF and video files when placed in a computer.

Latest Arbiter Records Release

Latest World Arbiter Release

Latest from the Blog

Rev. Gary Davis: the sightless visionary guide to a beautiful city.

normal_blind_gary_davis_-_fan_art

Keep listening to Rev. Davis and you’ll wind up with observing emerging architectonic details with each encounter. Meditate or think about it all and you  will be drawn into his thinking on a structural level. For example, in the mere opening of Twelve Gates to the City that he played at the 1967 Newport Folk Festival we find that each and every gesture introduces itself and will be worked out in time, as did Mozart and Haydn with a gambit readied in their opening themes (string quartets, sonatas, symphonies).

His melodic notes pop out in the mid range, a high voice, and some rhythmic action develops in the bass. Beyond notes, every piece he played bears rhythmic identity, actually two: the work’s, and his own.

The luscious A chord arrives after an open E string serves as its diving board.

 

He voices the chord polyphonically to bring two registers in with a rich baritone ‘C-sharp’ below a higher  ‘A’. When I played it with my fingers crushed on the second fret, he corrected my position with this spread he developed to play the chord with a unique voicing. His deliberate tonal balance of an A chord employs a resonant open E (6th string) leading to a a tightened A formed with the pinkie as the gang leader when it follows the E, resulting in a taut chord that he strokes.

photo-12

Next he swings the A chord and places an open D string before playing a very cool bent C with the open G string leading to more chromatic adventures via a G-sharp to E close, drawing attention to the ‘blue’ note that is bent between C and C-sharp: the modal role of the open D and inflected C shape the piece’s identity. To get that open D, the sprawled A chord’s hand position gets uplifted for a sec into space and lands with the index + middle fingers squatting on the second fret.

Moving to a D chord, he has an open A  grace note that not only carries on the presence of the earlier A triad but blends into a new harmony that maintains his rhythm.

With all the implications of higher notes itching to appear, Davis instead has the bass intrude with a lively bounce that resolves with a high-voiced E /E7 chord:

The E7 chord finds the melody continuing in a lower register and again, as the piece began, he punctuates the action with the lowest pitch on the guitar, its open E string that rings as he positions above another unique position at the 4th fret, an F-sharp-diminished -7th chord:

photo-13

With one motion he invokes the lowest frequency to cushion a flash of  the highest pitch so far atop an ornamented diminished chord  that rapidly returns to the fundamental A harmony that again, after a reply from the grumbling bass tones, he closes with a syncopated arpeggiation of the tonic chord in the bass to end the intro without making it feel stable as it lacks a full cadence, creating expectation that he will soon start singing :

These are but mere details, child’s play for Rev. Davis, but under our microscope we observe a strategy and nuance guided by his refined taste and style that lead right into the highest spheres.

After hearing these details, try listening again to the unbroken intro and notice  how you hear it now:

Learning his way of playing has remained a lifelong addiction and act of purification that I just can’t quit!

Allan Evans ©2014