Native Trance
by Stonecoat (Contemporary / Native American)

With its trance-ambient and trip-hop grooves accented with contemporary sampling and production, Native Trance is an aural dance with the spirits. Stonecoat was a powerful deity celebrated by the Cherokee nation. His power was emmense undenied. As in life, so in music.

# Title Time Listen
1 The Crossing (The Spiritual Bridge Mix) 3:59 mp3
2 Ani-Tsaguhi (Bear Clan) (The Offering Mix) 4:59 mp2
3 Uktena 4:41
4 Galu-Ladi (Honor) 4:09
5 To All My Relations (A Prayer) 4:20
6 Answer Mother Earth (A Global Union) 6:20 mp3
7 Equoni-Tsisqua (The Crane) 6:44
8 Spring Water People (The Sacred Secret Mix) 3:11 mp3
9 Tsali 4:49 mp3
10 Ugu Ku (The Owl) 5:21
11 Seven Dancing Boys 6:29
12 Yanu 1:00
13 Nun Ynui Wi (Stonecoat) 1:14

Album Cover

Earthtone Records
June 15, 1999

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About the Album

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Written, produced and performed by Dino Soldo
with extra special guests:  Bob Mair - Acoustic Bass , Cui Cui Rangell - Vocals and Chants , Brad Smith - Guitar
Additional musicians on "The Crossing": Bryan Head - Drums , Yvonne Evans - Vocals and Chants     

Recorded at Crashlander Audio
A&R Direction: Jeff Payne and Brad Pressman
Concept and Sequencing: Jeff Payne
Design: Wolfgang Fenchel
Artist Photo by Neal France

Gratitude:  Smithsonian Institute,  JS Hifler, Olegs,  Monster Cable,  LA Sax,  Cherokee Nation  and Dhyani 

A portion of funds from this project will help sustain the environmental hopes concerning this land.




Enthic music can be compared with uncut stones; it is like a deposit of diamonds in the rough.  The addition of 
modern rhythmics and various instrumentals is the cutting of these precious stones and placing them into a 
beautiful setting, transforming the diamond into a work of beauty.  With that, the setting should support the 
beauty and not “kill” it, as is something that happens in many modern New Age projects.  This album by Stonecoat
does not belong to the latter projects.  One can feel that this album is made with great love.

Dino Soldo is a descendent of the famous Cherokee tribe of American Indians.  In the Stonecoat project, Soldo 
made an attempt to preserve the musical traditions of the American Indians, having connected with them with his
own personal understanding.  Stonecoat could be characterized as music which is a mixture of the albums 
“Sacred Spirit” and “Soul Ballet,” but with one serious difference: unlike these completely “sampled” albums, the
music of Stonecoat remains “alive.”  The jazz basis of Stonecoat emphasizes the beauty of the Indian songs.
And one more important detail: this album has a very soft, intelligent sound.  Saxophone parts in “Seven Dancing 
Boys” and “The Crane” softly underly singing.  The sounds of Indians singing is fascinating.  It is interesting to
hear the smooth flowing of flute singing from “The Owl” and “Bear Clan.”  The beginning and ending of the album 
has songs with very little instrumentation.  They give a feeling of the infinity of life.

According to ancient Indian legend, Stonecoat is the name of a strong monster conquered by the Chrokees.  As
a reward for their firmness and unity in battle, he made them a gift of songs and tales whcih became the basis of
their culture and helped the Cherokee to remain as a people.  Every song on this album is a legend.  For example,
the basis of “The Owl” is the following legend: a beautiful young woman wanted to know why her husband brings
from his hunt only small animals and she followed him into the forest.  When she saw that her husband is not a
real man, but an owl, she ran away from him.  The owl disappeared from the forest with a cry of dispair.  While 
listening to “The Owl,” one can feel himself being alone in a night forest listening to the owl’s cries.

I would recommend the music of Stonecoat as perfect background music.

          Serge Kozlovsky
          Muzykalnaja Gazeta (Republic of Belarus)

          August 1999