Born and raised in Batavia, Illinois, Christie was originally a classical instrumentalist. Studying as a flutist and pianist she began performing at an early age. She practiced diligently, became an Interlochen alumna, and faithfully followed standard performance major procedures. At 14 she opened her first teaching studio. All was going according to plan... ...but when a weighty college decision perched on her path, it seemed to get in the way rather than offer flight. So her irrational inner performer took control of the reins! Before she knew what'd happened, she'd won an audition for a military band. At Fort Campbell Kentucky she supplied troops with a variety of musical entertainment, from woodwind quintet to ska punk, before a nauseating audition won her a transfer to Washington DC and join The Old Guard Fife and Drum Corps. There she was morphed by the compelling philosophy of The Artist's Way (Julia Cameron) and mentored under the guidance of an unobtrusive life guru (gee, you are you). She was able to let go of the competitive aspect of being a professional musician and get on with the creativity - thank g.o.d. (good orderly direction)! Meanwhile, the corps got her interested in historical and traditional music as well as simple system flutes...and reconnected her with a seedling dream of playin' fiddle. She pursued these interests eagerly, but when the United States waged the War of Injustice on the Iraqi people, she decided not to lend herself to the bloody cause and so left the service. A 10 month backpacking sabbatical in the west of Ireland matured Christie's passion for wooden flute playing and traditional Irish fiddling. Extended solitary habitat in a deserted horse stable brought spiritual revelations and lots of songs -- surprisingly contemporary songs. Upon returning to the United States she recorded her first album, Lockdown, which is a series of compositions in a variety of genre reflecting her various musical interests. In a bold experiment, Christie laid down her instruments from 2005-2008. Making space to discover a new passion and exercise her skill set as a caring human being, she devoted her time and energy to the art and science of midwifery. Learning about pregnancy, birth, herbal medicine, homeopathy, client advocacy, and philosophy helped her explore ideas about nature, feminism, and her own future as a fertile mammal. After a few years of study through the National Midwifery Institute, and an intense internship at a high volume borderland birth center, Christie was very tired. She sighed contentedly at the thought of her flutes, thinking of all the innovations to come. Anne Frye's Holistic Midwifery and other such texts were placed lovingly on the back shelf, and this time, rather than a baby, a renewed devotion to music was born. This year Christie is locked in the woodshed, committing herself to tone production, restoring technique, and inventing a new musical style. Her work is primarily focused on multiphonic flute playing, attacking counterpoint as complex as Bach fugues and unaccompanied duets between Chet Baker and Stan Getz. She is very interested in ways in which the flute can stand alone as a solo performance instrument, and works under the influences of Jean Michel Veillon, Matt Molloy, Greg Pattillo, Jaco Pastorius, Bruce Molsky, John Lennon, and Ian Anderson. She currently resides in the Bay Area area where she enjoys fluting, composing, experimental music, gardening, vegetarian cooking, fiddling, reflection photography, indulging in overly-rich crème brûlée, going barefoot, lying in the woods, cracking cardamom pods, singing songwriting, doing yoga, making tea, making messes, creative writing, glasswalking, feminist health advocacy education, and home birth midwifery.
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