Said about this disc: I love the Jienat CD! My only problem will be choosing which tracks to play. -Fiona Talkington, BBC3 This is great music! [...] The group has the right chemistry and is convincing from the first to the last song. -Eelko Schilder, FolkWorld The songs delivered by female joiker Marit Hætta Øverli get plenty of melodic and rhythmic freedom. -Andrew Cronshaw, fRoots Daja is a CD that should be and will be listened to--- music that speaks for itself, all in all an outstanding, profound and partly very dark album. -Carina Prange, Jazzdimensions This is a musical delicacy. -Peter Bickel, Nordische Musik Liner notes: Inger Anne Gaup is a reindeer owner from the village of Masi. As we can tell, she has a strong personality. Mr Ferrari plays the pandeiro solo while mr Gille's tablas found their way onto the record on this track. Mr Fliflet realized the morning after a housewarming party featuring some Scottish refreshments that it would be a good time to add the low voices. The studio's neighbor then started mowing his lawn at the appropriate time in an appropriate pitch, so his lawn mower can be heard during the intro. Manufacturer unknown. Biera Máhtte lives on the Northern Norwegian island of Senja, known for it's scenic and dramatic topography. He is a successful reindeer owner, and this joik describes him. Fredrik Gille provides the accompaniment. His instrument here (after some mild persuation from the arranger) is a 0.5 litre soda bottle, manufactured by an unscrupulous multi-national company. Sielloabbá is the Arctic version of 'Soul Sister'. Mr Nilsson barks (assisted by novice barker Fliflet), mr Gille plays the frame drum and swiftly rotates a potentially lethal weapon attached to a string above his head, making the motor-like sound on a couple of instances. Daja Juoidá has lyrics written by Isak Samuel Hætta, Issat Sámmol, who lives in Guovdeageaidnu (Kautokeino), Norway. The noise was conceived by Andreas Fliflet, inspired by a performance of the Mongolian traditional piece 'Altai' during the 1995 Kaustinen Folk Music Festival. Percussion solo is by Mikael Nilsson. It is the only djembe solo on this record. The song was picked to represent the county of Finnmark in a nation-wide contest hosted by the Norwegian Broadcasting Company with the purpose of selecting a song for the year 2000. Somehow, it did not win the national finals. Muitun Arvii: Percussionist Arve Nilsen first joined us for our 1997 US concerts. One week after our return, he was killed by an out-of-control truck, on his way to a new job he had held for three days. He was survived by his young wife. This piece is dedicated to him and to his family in an attempt to pay him respect. Mr Gille and Nilsson duel on wooden boxes. Tollevika was concieved one sleepless night sitting in a un-glamorous 4WD by the Tollevika Bay in the municipality of Alta, watching the gentle waves caress the rock beach and the hares strolling about. Then again, the hare may have been behind the wheel. Go Sevnnjoda is a poem by the famous Sami poet Paulus Utsi. It is soundcast by the so far basically non-famous musician Andreas Fliflet. The lyrics reflect on the special melancholic longing one may feel when the loved one is far away and dusk transforms into darkness. Mr Ferrari, Gille and Nilsson share the claypot/drum/tambourine duties. Mr Gille overdubs on a 1.5 litre soda bottle, manufactured by an unscrupulous multi-national company. Ole Gabriel is Marit Hætta Øverli's son; hence she made this joik for him. He is an active kid and likes techno music. Alas, we didn't have the necessary equipment to program the music, so mr Gille had to emulate the drum boxes with his voice. Due to the length of the song, he had to catch his breath on a couple of spots. At those instances, we had to back up the tape a little bit and let him continue from where he ran out of air. RV 970 (Route 970) is the road leading South from Karasjokha (Karasjok) into Finnish Lapland. For some stretches it runs in an undulating shape across narrow hills. If one would choose to drive this part of the road North late one summer night into the sunrise at roughly the recommended speed limit, it's rollercoaster effect could inspire a piece like this. Mr Gille plays his wooden box, the Cajon, in various fashions. There is a live performance by mrs. Bjørg Ludvigsen Furnes discretely buried in the mix, as well as our neighbor's lawn mower whizzing by (turbo charged and Dopplerized by mr. Reidar Skår) Indiánaoabbá's lyrics are by Karen Anne Buljo, melody by ms Øverli. The lyrics pay tribute to their indigenous sisters in the Americas. Originally, this joik was dedicated to a specific person. However, after controversies regarding the person's background, ms Øverli (in the spirit of Beethoven) decided to make the dedication somewhat broader. The percussion crowd play cycles of various meters. They eventually meet, thanks to substantial bureaucratic advance calculations. Ruovgga Jievja is a farewell joik. It is conceived by Ellen Marit Dunfjeld, and deals with the trouble and remorse of leaving someone or something of emotional importance. Ms. Øverli joiks, mr. Fliflet saws. Technical Details The percussionists are all performers in high demand, but all three of them gathered on April 18, 1999 to record the basic tracks in Atlantis, Stockholm. The perc tracks were recorded simultaneously, with an occasional solo overdub. Tracks without mr Ferrari and Nilsson were done in Hammerfest, Norway in the recording facility Joikeredet. There are no keyboards, samplers as such or guitars on this record. The Hammerfest overdubs were made using BK (now DPA) 4006 microphones, TC Electronics Gold Channel preamp going thru an IF-TAD (ADAT-TDIF converter) to Tascam DA-88/38 tape recorders. The Atlantis session used among other things a vintage Neve mixing console and two DA-88's. The record was mixed using Logic Audio running Pro Tools.