finds Tibbetts once again beautifully adorning Drolma's haunting chants to create works of ethereal power and spiritual grace.
Guitar aficionados have been following Steve Tibbetts' since 1977 as he has steadily gone about making himself one of the more inventive musicians on the American music scene. To a wider audience, however, Tibbetts remains a mystery. His albums reflect his own interest in everything from 1970s progressive rock (King Crimson, Eno, etc.) to ambient electronica, to world music. But the two collaborations with Chöying Drolma occupy a special place in Tibbetts' music.
Chöying Drolma is a fascinating character herself. She told an interviewer "Even before I was a nun I always had this thought, this question, wondering why, if boys can do something, why can't girls? "That kind of attitude continued with me even in the nunnery. I would see lots of male teachers come and teach. All males. Why is it only monks that go on to become teachers, to get these chances? The Tibetan word for 'woman' translates as 'low birth.' I hated that." She decided she wanted to change the traditional lot of women in Tibetan society, and given her notoriety since 1997's Chö, she has found the opportunity to do just that. "That's what I want to do with the school I've started, the Arya Tara school. I want nuns to learn many things and know why they are doing what they are doing, what the benefit is in it. Not just in practicing Tibetan Buddhism, but in learning math, English, learning basic medicine. If they're doing something, they must know why they are doing it."
One audio cd. Approximately 42 minutes.