From Navajo and Alaska to Nagaland

The Native Jazz Quartet, featuring Delbert Dale Anderson (Trumpet), Edward William Littlefield II (Percussion), Michael Bartholomew Glynn (Double Bass) and Reuel Vallester Lubag (Pianist/ Drummer).
| Photo Credit: Special Arrangement

The Native Jazz Quartet, featuring Delbert Dale Anderson (Trumpet), Edward William Littlefield II (Percussion), Michael Bartholomew Glynn (Double Bass) and Reuel Vallester Lubag (Pianist/ Drummer). recently performed at the Hornbill Festival in Nagaland. This festival, known for celebrating indigenous cultures, provided a unique platform for the band to share its music and engage in a cultural exchange.

Delbert Anderson, a Diné jazz trumpet artist, and Edward Littlefield, a percussionist of Lingít heritage, brought their rich cultural backgrounds to the festival. Delbert Anderson, deeply rooted in Navajo traditions, often spins songs of love, healing and courtship into his jazz compositions. Littlefield, on the other hand, incorporates elements of his Alaskan Native heritage into his music. “I bring my culture to the Native Jazz Quartet through our social Diné Spinning Songs. Diné Spinning Songs teach life lessons and are a collaboration of time, environment and people,” says Anderson.

During their time in Nagaland, Anderson and Littlefield were exposed to the diverse indigenous cultures of the region. Anderson spoke about a particular sound he heard that resonated with him, and which was reminiscent of the Navajo culture’s deep connection to nature and spirituality. This experience enriched his understanding and appreciation of the local traditions.

The Hornbill Festival served as a melting pot where jazz met the traditional sounds of Nagaland. Anderson and Littlefield’s performances were not just musical acts, but cultural exchanges that highlighted the similarities and differences between their native cultures and those of the Naga tribes. This fusion of jazz with indigenous melodies created a unique and captivating experience for the audience.

The Native Jazz Quartet’s participation in the Hornbill Festival exemplified the power of music as a universal language, bridging cultural gaps and fostering mutual respect and understanding.

For Anderson, the Hornbill experience was very familiar to the Gathering of Nations festival in Albuquerque, New Mexico. “There were many different tribes and families who were welcoming. Having two female Nagaland vocalists greet us with a song was very memorable. It was exciting to see the Indigenous people having pride in their culture and heritage,” adds the trumpet artiste.