As
a kid growing up in Southwest Michigan during the early
to mid 70’s, the neighbor kid was my best friend
who had an older brother with shiny metallic blue drum
set. I used to go to his house, listen to Rock'n'Roll records, and watch his older brother play. At such an
early age, I actually felt chills running up and down
my body experiencing the heart pounding rhythms induced
by aggression, speed, agility, but yet grace. I knew
the experience was doing something special to me, but
I didn’t quite understand the significance behind
it.
Some
days I would lay on my bed with the window open and
hear his timely rhythms travel 300 yards across the
field to my receptive ears. The rhythm moved me –
it made me feel alive. I knew at that point I wanted
to play the drums. My parents weren’t big on the
idea as they saw it as nerve racking “noise”
and were already annoyed with the neighbor kid jamming
day after day. Piano lessons were the prescribed musical
instruction of their day, which I rebelled ten fold
in my persistence to want to play the drums.
Time went on, and
through peers, many of which were highly informed regarding
the musical scene, I found exposure to great bands.
Despite everyone’s love for a good lead guitar,
I was particularly intrigued with drummers – the
back bone of the band. Throughout my entire teenage
years, one drummer stood above all the rest in his 360
degree line up of every imaginable percussion instrument
at his disposal, and watching him spin around in his
chair striking so many different objects with such speed,
grace, and precision was absolutely amazing to me. Neal
Peart was his name, and the Canadian Trio was Rush.
I still appreciate Neal’s phenomenal contributions
to this day.
After High School,
an enlistment in the U.S. Army, various factory jobs,
and raising a child while attending college to earn
a Bachelor degree in Environmental Science, I found
myself presented with a wonderful opportunity to work
as an Environmental Health Specialist for the Leech
Lake Indian Reservation in northern Minnesota. I have
historical family roots in northern Minnesota, and the
calling was undeniable – it was time for me to
leave Michigan and connect with this calling. As a white
man, I found myself to be a minority for the first time
in my life accepting employment with Ojibwe Tribal Government.
Due to my ignorance, the culture shock was intimidating.
It took me a while to adjust, and when I did, I experienced
fellowship with some of the most beautiful people I
have ever known, and experienced many Pow-wow gatherings,
which further reminded me of a deeper significance behind
drumming – it was spiritual. The flowing spiritual
energy I experienced during Pow-wow drumming was incredible
– it literally made the hair on my arms stand
straight in the air. It felt warm, inviting, inspiring,
and once again……..it made me feel alive!
Several summers
ago I had an epiphany while attending the Winnipeg Folk
Festival. Drumming circles were the norm at just about
every camp fire gathering, some of which were very large
in size, all of whom knew how to keep a killer rhythm.
I looked into the eyes of people as they drummed and
it appeared to me that they were in a totally different
world – an integral part of the spiritual world
through the language of rhythm. It was the most primal
and universal experience of my life. It made me feel
universally connected - unified with everyone around
me despite the fact that I didn’t know anyone
– it was a common language that everyone understood.
Once again, I felt the presence of a much deeper realm,
and all I knew was that I wanted to be part of that
realm. My friend brought a cuica drum, which I began
to stroke. Each stroke and friction induced rhythm blended
so incredibly well with the ensemble. People were intrigued
and inquisitive: “What is that? Where is that
sound coming from?” This new sound inspired people
to play louder and faster, more in synch with one another,
and the flowing energy was nothing other than moving,
joyful and positive – it was something I had never
experienced before in my life, and I was part of it.
It was at this point when drumming became a permanent
spiritual influence in my life - life is rhythm, rhythm
is life.
Over time I picked
up a few djembe’s, bongos and congas and began
feeling my own rhythms……wherever my spirit
lead my hands to move, and my musical tastes evolved
outside the mainstream finding exposure to Babatunde
Olatunji, Micky Hart, David and Steve Gordon……….the
list goes on. I recognized drumming circles as a strong
and growing spiritual movement, and felt compelled to
spread this joy I brought into my life. I wanted to
make my contribution to the movement, and what better
way than present the instrument itself, bringing spiritual
and healing power into the lives of others to make our
world a more unified peaceful place to coexist.
Long hours were
invested locating a reputable manufacturer who places
environmental conservation as a priority in their operation.
This is extremely important to me given my profession
in the Environmental protection field. During my research,
I was dismayed at the number of manufacturer’s
consumed by greed who cut corners, bypass governmental
regulations, have blatant disregard for permitting and
conservation laws, and use illegally harvested black
market wood obtained from ecologically sensitive habitats.
My persistence finally lead me to an ethical Indonesian
based manufacturer who recognizes the symbiotic ecological
and economic equation, and importance of proper management
and sustainability of natural resources by adhering
to conservation laws, permitting and utilization of
plantation wood - wood specifically grown and harvested
for the handicraft industry. This makes sense - it’s
responsible, and this is the type of operation I insist
being affiliated with. Over the past year I have established
good business relationship, and became an importer of
handicrafts, placing emphasis on ethnic musical instruments
including Djembe and Ashiko hand drums, Cuica drums,
Didgeridoos, Flutes, Handheld Percussion, and accessories. My business is in its infancy, and it is my goal to spread the primal power of
rhythm by offering high quality traditional musical instruments at competitive
affordable prices indicative of fair mark up. My name is Gregg
Anderson, owner of Mother Rhythm Drums & Imports,
based in Bemidji, Minnesota – the head waters
of the Mississippi River – the Nations Ice Box!
Welcome! I invite you to browse my web site.
“May Your
Life Beat to the Rhythm of Heart & Drum.”