Performing on the 21-string Mandinka Harp and the Turkish Oud, Kane Mathis renders compelling interpretations of these traditional musics. Years of study with generous masters have given Kane a rare opportunity to share these traditions with other cultures. 

Kane began taking trips to The Gambia, West Africa in 1997 and has continued rigorous study of the Mandinka Kora. Over the past ten years his performances have earned him recognition by the Gambian president, The Gambian minister of culture, and both national television and radio of The Gambia. 

Kane’s primary kora teachers are Malamini Jobarteh of Brikama, The Gambia and Moriba Kouyate of The Gambia. The Jobarteh family remain one of The Gambia’s most important musical legacies. Tata Din din Jobarteh, Pa Bobo Jobarteh, and Siffai Jobarteh are the families current most visible exponents touring the world. 

Kane’s Oud study began with Mutlu Torun of the I.T.U. conservatory in 1998 in Istanbul and continued with 5 and a half years of courses with Oud virtuoso Münir Nurttin Beken. 

Since completing his study Kane has been sought after as a soloist and accompanist internationally on both instruments. As a composer Kane is generating new works for both instruments as well as experimental work for electronic fixed media for film and modern dance. Kane is the recipient of many grants including a Chamber Music America award as well as an Earshot Jazz “Album of The Year Award.” 

After 23 years of intense traditional study of the Kora and Oud Kane Mathis releases a record featuring himself on both instruments in a trio setting with fellow New York-based musicians John Hadfield on drums (Yo-Yo Ma, Kinan Azmeh) and Sam Minaie on bass (Tigran Hamasyan, Mark Guiliana). This record was beautifully recorded, and mixed by John Davis (Brad Mehldau) at The Bunker recording studio in Brooklyn, New York in live sessions over 3 days.  

Geminus features all original material that is strongly rooted in Kane’s long standing study of these two traditions. 15 years of frequent trips to The Gambia to study with his Kora teacher Malamini Jobarteh and 5 and half years of close continual study of the Oud with Münir Nurettin Beken have given Kane a strong traditional foundation from which to branch out from. 2011 saw Kane’s kora study recognized by the National Center For Arts and Culture in The Gambia. All the pieces on this record are equally constructed from traditional and modern elements. The Kora pieces are all firmly based in the repeating pattern, called Kumbengo, that drives the looping forms of Kora pieces but the arrangements expand in ways that traditional pieces do not, the solo concepts are also equally traditional and contemporary. The Oud pieces use modes that progress in ways that are very strongly rooted in the melodic progressions of their traditional modes but have harmonic and rhythmic elements that are rarely found therein.  

This debut is not quite like any other record that interprets these traditions in a band setting. The lead instruments are uniquely exposed and the general approach trades languid romanticism for highly engaged dynamic energy. Often, fusion efforts buttress cultures up against one another, seldom going beyond the novelty of the encounter. This project presents more as the productive result of a conversation intending to draw equally from each tradition involved.  

Personnel on Geminus include Kane Mathis (Kora, Oud), John Hadfield (Percussion) and Sam Minaie (Bass). Track listing follows: 

1. Route Des Jardins 07:32 (Kane Mathis) 

2. Kürdi Oud Taksim 01:21 (Kane Mathis) 

3. Kürdi 7 and 9 03:42 (Kane Mathis) 

4. Kaira 05:38 (Trad. Arr. Kane Mathis) 

5. August 05:43 (Kane Mathis) 

6. Chant 05:01 (Kane Mathis) 

7. Etude [for Oud in 3 sections] 06:47 (Kane Mathis) 

8. Muhayyer Kürdi Semai 04:37 (Kane Mathis) 

9. Gemini 06:25 (Kane Mathis)  

10. Nikriz Sirto 05:19 (Kane Mathis)