The Archambault Indian Flute

THE ARCHAMBAULT INDIAN FLUTE-By David Yeagley Timothy Archambault is quickly become the authority on American Indian flute playing. He will soon become the leading performer on the instrument. He just made his first professional recording with the Polish National Radio Symphony in February (2006), and he is scheduled for world premiere performances at the Smithsonian’s National Museum of the American Indian in Washington, DC, in October (2006). Born in Willimantic, Connecticut, Archambault is a direct descendent of Etienne Pigarouiche, Kichesipirini Shaking Tent Medicine Man. His Indian heritage is complex and includes several different tribes, Canadian and American. He grew up spending summers at Lake Wangumbaug Coventry, Connecticut. There his Mermere (grandmother) taught him traditions and customs of the Ojibwe & Algonkians.

Timothy Archambault (Kichesipirini-heritage) CYJO Photography The Archambault name is found not just in north eastern woodland tribes, but in northern plains tribes as well. Tim Archambault is connected to many blood lines, and well enough, for Tim is competent on a variety of American Indian flutes, and is also knows historical songs of many different Indian nations. Tim is distinguished from two other leading American Indian flute players. R. Carlos Nakai (Navajo-Ute), the most famous, is a highly commercialized lyricist, and concentrates on a dramatic, singing tone. He has made many recordings (mostly for Canyon Records), seeking to make the Indian flute popular by presenting various New Age venues, jazz, and folk venues. Nakai does not limit the Indian flute to any one circumstance. Nakai is traditional only in the sense that he is limited to the pentatonic scale. He has presented no chromatic, scalar use of the Indian

flute, at least so far. James Pellerite, who is not Indian, is the first to bring classical, European performance style to the American Indian flute. Pellerite performs on the instrument as though it were a classical concert instrument. Pellerite plays all the chromatic scales, with true artistry. Pellerite is less concerned about American Indian tradition than even Nakai. Of course, it is not Pellerite’s purpose to preserve Indian tradition, but to bring the sound of the Indian flute on to the ‘high brow’ European concert stage. This he has done quite successfully. Pellerite has published much of the new music written for his classical style of Indian flute playing. Mr. Pellerite has opened the door for the Indian flute to enter into the classical world. No folk instrument has been brought into the symphonic venue since the hunting horn, in the 18th century. Pellerite has established a historical chapter in western music. Yet, it is Timothy Archambault who holds the future of the American Indian flute, both in terms of preserving tradition and developing technique. Archambault is an artist, and like Pellerite, has mastered the chromatic scales. Of course, Archambault has authentic Indian heritage, and is steeped in Indian knowledge—especially that of the Indian flute. He has close connections to living descendents of famous Comanche and Sioux traditional flute players. Archambault is the heir of the Indian flute in modern times. Most importantly, Archambault is reviving the long lost “warble” technique, untouched by Nakai or Pellerite. Archambault knows that most flutes made to day are incapable of this unique, traditional Indian performance phenomenon. The “murmur” has been lost. Archambault is reestablishing it. Archambault is highly educated. He studied music theory at Brown University, and he holds a degree in architecture from the Rhode Island School of Design. He currently works with Rem Koolhaas at OMA-NY, one of the prominent architecture companies in the world. Archambault is very intelligent and articulate, and is well prepared to manage his Indian flute inheritance.