LONG BIO:

The drumbeat steadily builds as the native flute rises to the heavens.  Then the voice, ancient and warm begins to weave sound and story and song.  The audience enters the trance and begins to connect to their deepest transcendent knowingness.  The ceremony has begun as the ship lifts up taking us home to our place in the stars.

 

Jaraneh Nova is inspired by the pioneers of song and sound.  Her artistic journey weaves original music and native heritage into medicine stories that heal and transform.  Her lyrics are powerfully born from prayerful states and channeled from ancestral helpers.  

 

Her live show is a beautiful tapestry woven with live loops of ambient sounds, native flutes, guitars, vocals, and prayers.

 

This can be transcendence. 

 

This is a musical spiritual quest and homecoming for us all.

 

Festival audiences at Lucidity, Coachella, Cosmic Carnival, Love Fest, Inlakesh and more, lovingly join in the trance-like native ambient folk-tronic experience.

 

Small venues fill up with beautiful vibes and ancestral energies when she brings her musical offerings that lift the spirit and open the heart.

 

Jaraneh Nova is a life long musician with her roots in Opera, Jazz and the Classics.  Her first band, Blues Crusher was a successful experiment in Psychelic Blues Rock.  Her next project, Big Bone Lick (named after the famous Mammoth burial site in Kentucky) created a fresh Tribal-tronic sound.  Next, she began her solo project: Red Road Medicine Show, an evening of live-looping and indigenous wisdom teachings.  She is currently working on her first major album release: Emergence.  Please visit her Patreon page to join her growing tribe and to support her in raising funds to record this seminal release in 2020.

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SHORT BIO:

Jaraneh Nova is an American born songwriter, vocalist, multi-instrumentalist based in Ojai, CA.  She has been called the Voice from the Ancestral Well, drawing inspiration from her ancestral roots. She brings the essence of Traditional Native American Music and merges it with a modern freshness. 

Recently, Bear McCreary (Emmy award-winning composer) spoke about me and my work on the 4th season of Outlander. The exerpt from his blog is below. So exciting!

While these colors provided the backbone of the majority of scenes involving Native Americans, several sequences stood out to me as needing something special. I added a featured vocal to their already exciting instrumental palettes. Typically, the presence of vocals or choirs in Outlander was always used to represent Claire’s journey, or the Stones, or The Skye Boat Song. This is the first time such a distinctly new vocal presence has been introduced to the score, and I hope it had the same impact on audiences that it had on me!

The first such sequence occurred  “Common Ground,” during Jamie’s confrontation with the “bear.” This passage of the score is based on the Cherokee Bear Dance, and the vocals were performed by a talented Native American singer named Jaraneh Nova. I was utterly stunned by her unique musical personality, and was thrilled with how she integrated her sound into the score and elevated the drama.

“I could feel the respect that Outlander extends to the First Nation peoples, how they really value and honor authenticity,” Jaraneh said recently, reflecting on her experience with the score. “The sessions were a beautiful coming together of my ceremonial experience and musicianship, while serving as narration to the unfolding story. Finding vocal lines inside Bear’s brilliant scoring was a true pleasure! I especially enjoyed mirroring the emotion in the scene with the vocal. High vibes and great fun!”

After our first session, I was on the lookout for another sequence in which to feature Jaraneh. That opportunity would arrive in the finale, during the scene in which Claire hears the tale of Otter Tooth. During this passage, Jaraneh’s voice returns, set above the haunting texture of ambient synths, symphonic strings, and Native American percussion. Here, Jaraneh sings words and phrases that are common to Mohawk or universal, making occasional, slight omissions to fit the words into the space afforded by the drama

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