As modern humanity has moved away from striving toward its essential self, the voice and language of the Drum has lost its meaning. In his 1992 article, Drum is the Ear of the Gods: Africa’s Inner World Of Music, Richard Hodges asserts that “[s]ubtle verbal expressions may be encoded in drum language. Almost everybody can understand this language

As modern humanity has moved away from striving toward its essential self, the voice and language of the Drum has lost its meaning. In his 1992 article, Drum is the Ear of the Gods: Africa’s Inner World Of Music, Richard Hodges asserts that “[s]ubtle verbal expressions may be encoded in drum language. Almost everybody can understand this language at a basic level; often there will be other levels of meaning woven in which can be understood only by drumming initiates of a certain level of experience. This is the source of the concept of the “talking drum.” Drum language can be used for reciting history and myth, for praising kings and patrons, for topical social commentary, for long-distance communication.” This concept of the Drums talking, “reciting history” and “topical social commentary,” is the basis for this series of recordings.