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Hugh Tracey’s son, Andrew, is “THE” expert on Karimba Music Andrew Tracey with a photo of his father Hugh recording an unidentified mouth bow player Andrew Tracey, ethnomusicologist, musician, and now-retired director of ILAM (the International Library of African Music), is a noted authority on karimba and mbira. He did much research and study in the field on these two instruments. Andrew has written several seminal scholarly papers on these instruments giving us much of what we know and understand about them today. A few months back I sent him my new karimba book “About 30 Traditional African Songs for the Hugh Tracey African Karimba” and here is his thoughtful review.

Sound recordings for eight different types of karimbas in a wide variety of tunings Click to transfer to Karimba Shop Page This is a companion article to the post “Introduction to Karimba” where I explain the history and kinds of karimbas in the world. This information will help you learn more about the karimbas that Kalimba Magic offers.  In this post, I provide sound files for many of our karimba models so you can hear them side-by-side.  I also provide links to the product pages in the Kalimba Magic Shop.  If you are in the market for a karimba this is the go-to place for comparing the different models by

This article explains this rich but confusing instrument Click to open the Karimba Shop page The first thing that is confusing about the karimba is that people assume its name is a misspelling of “kalimba.”  When I say “karimba,” I am referring to the traditional instrument that Andrew Tracey described as the “original mbira” from 1300 years ago. The name “karimba” can also refer to one of the new tunings we have derived from this ancient instrument. It certainly can be confusing:  does this instrument have 8 notes, 9 notes, 13, 15, or 17 notes?  Yes to all!  What key is it tuned to?  Great question!  Let’s not view these

Learn to play a kalimba version of the piano ostinato in Coldplay’s “Clocks” Click the link at bottom to hear Coldplay’s “Clocks” An ostinato is a motif or phrase that persistently repeats in the same musical voice.  Almost everybody knows the piano ostinato that provides the foundation for Coldplay’s compelling song “Clocks,” written a decade ago.  Evocative and haunting, this song seemingly brings to life a dream world.  (Click on the link below this post to hear it.)  While I’ve enjoyed this song since it came out, it never occurred to me to play it on kalimba until recently at a music therapy conference.  One of the attendees started playing “Clocks” on

The Songbird and Spirit Medium of Modern Zimbabwe Chiwoniso singing and playing karimba in a Kwanangoma-style resonator Klara Wojtkowska writes about the spiritual mythology of one of her mbira heroes. Chiwoniso Maraire was in love with her homeland, Zimbabwe, as only one who walks the narrow path between those who belong and those who are foreigners, can be. Born in Olympia, WA, young Chiwoniso and her siblings performed in the Maraire family ensemble. Her father, Dumisani Maraire, was a famous mbira player who trained at the Kwanangoma School. Her mother, as Chiwoniso described, was a marvelous singer. As a teenager she and her family moved back to Zimbabwe where Chiwoniso

My experience with karimba and mbira B. Michael Williams’ karimba, made by South Carolina mbira maker Andy Cox. Percussionist, composer, author and educator B. Michael Williams specializes in mbira, frame drums, djembe, and contemporary percussion. His mbira books are a great resource for any student of kalimba. Here are a few selections from Mr. Williams that give us a glimpse at a compelling and unique taste of his thoughts and experience with karimba and mbira.   A Rough Start My mbira journey began with Andy Cox’s karimba and Paul Berliner’s book, The Soul of Mbira.  Andy had made me a karimba. When he finished, we decided to meet at a

Chiwoniso found just where her voice fit, and it was on an F# karimba Chiwoniso, the late, gifted Zimbabwean-American musician, played a 15-note karimba. This instrument was originally taught at the historic Kwanangoma School of African Music in Zimbabwe, popularized by her father Dumisani Maraire as the “mbira nyunga nyunga.” It was usually tuned to the key of F. But Chiwoniso played her own 15-note in F#, in a not-uncommon musical strategy.  Often musicians will change the tuning of their instruments for the purposes of fostering their best singing (or that of the vocalists they accompany).  I myself play guitar for some women singers, and every time we try a