Like the late blues musician Paul Pena in the award-winning documentary "Genghis Blues," I first heard throat singing on a shortwave radio. Static and the occasional invasion of some Senegalese news broadcast muddled the multiple pitches characteristic of the technique, creating an otherworldly cocktail of sound. At the time, I had little idea what my ears were hearing, no clue where it was from, not even what program I was listening to, but I wasn't going to let a little bad reception daunt my stubborn curiosity.

Here's some of what I've learned since that first encounter many years ago: Throat singing or xoomie is perhaps one of the oldest forms of music on the planet. Throat singers produce a low, guttural drone while adding a higher series of harmonics.

According to the Alash Ensemble Web site, the skill in part, reflects the singer's sensitivity to the changing and sometimes subtle sounds of the environment.

"Throat singers use their voices to create sounds of the natural world. The sounds of whistling birds, bubbling streams, howling wolves and blowing winds are often incorporated in the music. Because the horse is such and integral part of Tuvan cultural, many songs are performed to the rhythm that mimics the beat of a horse cantering across the wild open land."

"Traditional Tuvan music leaves open space so that nature might be able to come in and add its own element to the conversation," Miller wrote.

Although the music is sometimes sung solo, throat singers are often accompanied by traditional instruments such as the wooden two-stringed igil, the three-stringed chanzy, the four-stringed byzaanchy and the large drum known as the kengirge. Some of these instruments, such as the igil, are decorated with the carved wooden head of a horse.

Recently I had the opportunity to see the Tuvan group, Alash Ensemble, perform at Barbès in Brooklyn. It was a powerful performance that transported the essence of their connection with the animals, mountains and wind of their homeland to the intimate local venue.

Founded in the late '90s, the members of Alash studied under acclaimed master Kongar-ool Ondar. One element that has set Alash apart has been their knowledge of Western musical traditions. Non-traditional instruments such as guitars and accordions add a unique quality to their songs.

I regret I wasn't able to attend some of the other stops on their tour, such as the Slifka Center at Yale and the Chapel of Sacred Mirrors in New York. However, according to their Web site, another U.S. tour is in the works. I'm especially hoping to catch one of their jam sessions with members of the Sun Ra Arkestra featuring jazz legend, Marshall Allen.

Eirik Omlie is the assistant features editor at The Hour. He can be reached at eomlie@thehour.com.