CONCERT& DANCE LISTINGS • CD REVIEWS • LOCAL CULTURAL HAPPENINGS • CAMPS & WORKSHOPS

FREE BI-MONTHLY Volume 4 Number 4 July-August 2004

THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Exotic Beauty, Startling Voice OAXACAN DIVA LILA DOWNS COMES TO L.A.

BY BROOKE ALBERTS

he evocative and dramatic voice of Lila Downs affects people worldwide with her original poignant songs as well as memorable versions of standard Mexican and indigenous folk songs. She sings her repertoire in inside this issue: T Spanish, English, and various Mesoamerican inside this issue: languages such as Mixtec, Zapotec, Maya, and Nahuatl. Québecois Music As anthropologists (and others) may tell you, things tend to be the most interesting at the threshold (or “liminal”) regions. Lila Downs is uniquely placed at the cross roads of Ben Franklin & The several musical and cultural traditions, enabling her to have the perspective looking in either direction, coupled with an intimate relationship of each view. Glass Armonica Lila grew up dividing her time between her Mixtec mother’s rural mountains of Oaxaca, Mexico, and her father’s home state of Minnesota. She started singing mari- James Coberly Smith achi songs as an 8-year-old in Oaxaca, then took voice les- sons in Los Angeles at age 14. Planning on becoming an & Severin Browne opera singer, Lila majored in voice and anthropology at the University of Minnesota. However, she became disenchant- ed and left school to become a Grateful Deadhead, selling jewelry on the streets. Next, she returned to Mexico and PLUS: learned to weave cloth. This gave her the source material for her college thesis, on how the weaving patterns of the Triqui Keys to the Highway women create a historical narrative language. Keys to the Highway After earlier tours with traditional Oaxacan folk bands CD Reviews Cadetes de Yodoyuxi and La Trova Serrana, Lila began CD Reviews singing in the clubs of Oaxaca and Philadelphia. After meet- Uncle Ruthie ing her musical partner (and now husband) Paul Cohen, she branched out into interpretations of jazz standards. They Calendar of Events DOWNS page 18 & much more...

Page 2 FolkWorks July-August 2004

EDITORIAL

hose of us interested in folk The other new technology that PUBLISHERS & EDITORS and traditional music have a expands our listening pleasure is Leda & Steve Shapiro eye to the past and ears in Internet streaming radio. You can T LAYOUT & PRODUCTION the present. We are fascinated by the track down you favorite radio station Alan Stone Creative Services lives, music and technology of our whether that is a local one (as listed on FEATURE WRITERS forbearers and are often enthused by page 13) or one that you found Brooke Alberts, Lookaround the current (and future) technolo- Googling and listen to it through the Ross Altman gies. speakers on your computer. You will How Can I Keep From Talking Looking back to the past century, find that in addition to radio stations Uncle Ruthie Buell our parents and grandparents grew that take their live feed and stream Halfway Down the Stairs up with music being broadcast over the Internet, there are some sta- Joanna Cazden through the airwaves and picked up tions like Folk Alley (www.folka- The Voices in my Head on receivers called radios. They also lley.com), that are Internet only sta- Valerie Cooley, That Reminds Me...

were introduced to heavy black SONES tions. Quality speaker systems are Viola Galloway, World Encounters disks that stored music and could be A available to attach to your computer Roger Goodman played back at will. These were SONY and the sound is generally pretty Keys to the Highway

amazing, revolutionary technologi- O BY good. (If you do not have DSL or Dennis Roger Reed Reed’s Ramblings cal advancements that had equally PHOT cable you might find these options Dave Soyars, Dave’s Corner amazing and revolutionary sociolog- BY LEDA & STEVE SHAPIRO impractical) ical implications. People no longer The problem that we’ve found Larry Wines, Tied to the Tracks were confined to music and dance of their own making (or with traditional radio and Internet radio is that you listen on EDITORS that of traveling musicians). They could listen and learn from their time, not on yours. So if you are around on Saturday David Ascher • Marie Bruno the repetition of these instant play back machines. Tunes and mornings you can listen to FolkScene and Halfway Down the Valerie Cooley • Mary Pat Cooney stories that were passed from generation to generation with Stairs. But, what happens if you know that you won’t be avail- Chuck Galt • Stan Kohls Britt Nicole-Peterson only human interaction were now recorded for posterity. And able and you really want to catch the show. Until now, the Diane Sherman • Joel Shimberg the art of learning music and stories from others was greatly answer has been “tough luck.” Not any more. We found CONTRIBUTING WRITERS diminished. In its place was we have the entertainment indus- Replay Radio, a $30 computer program that can be pro- Linda Dewar try of today. grammed to capture the shows that you want to listen to and Pat MacSwyney At the beginning of the 21st Century, technology is here to play them back at your convenience. With the price of hard Cáit Reed stay and constantly and rapidly developing. There are some disk space steadily dropping and the availability of devices Dana Whittle new technologies that we already see having enormous such as Apple’s iPod and Archos’ Gmini, you can record for Paul Zollo impact on our lives. later computer listening, listen in your car at another time or DISTRIBUTION The first is satellite radio. We in L.A. spend a lot of time take it with you when you walk your dog. Valerie Cooley • Mary Dolinskis in our cars. We listen to CDs and the radio in our cars. But due Also coming down the technological pike are MP3 play- Chuck Galt • Marge Gajicki Cliff Gilpatric • Scot Hickey to the commercial nature of the entertainment industry, we ers for your car. With this capability you can store hundreds of Sue Hunter • Dennis Louie have been limited to a very small sampling of the music that hours of music so you can listen while you commute. What’s Nan McKinley • Gretchen Naticchia is being made in this world. Satellite radio in its current incar- next? We think that soon you will be able to surf the web lis- Bea Romano • Daria Simolke nation is a “paid for” service. Much like the Internet and cable ten to Internet streaming in your car. Stan Smith • Mimi Tanaka TV, you need a special receiver and have to subscribe. Once So with all this technical capability, what is the down side? Lynn Worrilow • John Wygonski you do, you are availed of many more stations without com- Our lives are becoming increasingly more complicated, with LOGO DESIGN mercial interruption. more things to do and less time to do it. And the choices can Tim Steinmeier There are currently two competing companies that offer become overwhelming. When you have a hundred things to Thanks to all those who have supported and this service: XMRadio and Sirius. Your choice will depend on choose from, choosing is relatively easy. When you have inspired us, especially Warren Casey of the your interest and their programming. Both have a good sam- thousands to choose from, you might just throw up your Wicked Tinkers. pling of folk and traditional music (of both the North hands, pick up your instrument of choice (in the car, that Published bi-monthly by FolkWorks a 501 American and World varieties). You can check them out on would probably be a harmonica :-) ), and just do it yourself. (c)(3) non-profit organization an affiliate of the web at: www.xmradio.com and www.sirius.com. Here’s to the future. Country Dance and Song Society (CDSS). BOARD OF DIRECTORS Brooke Alberts • Linda Dewar Kay Gilpatric • Roger Goodman 11,000 COPIES OF FOLKWORKS ARE Don Kiger • Gitta Morris Molly Nealson • Steve Shapiro DELIVERED TO THE FOLLOWING LOCATIONS: Monika White • Ron Young Leda Shapiro, Executive Director AGOURA HILLS Nordic Fox Restaurant Tower Records Anastasia’s Asylum TARZANA ADVISORY BOARD Virtual World Cafe Sawday & Holmes World of Strings Finn McCool Pub Coffee Junction Bill Howard • Howard & Roz Larman ALTADENA Third Street Coffee LOS ALAMAITOS Hear Music Norms Rare Guitars Colin Quigley • Lisa Richardson Altadena Library Warren High School Blue Mountain Bagels Library Pub THOUSAND OAKS Tom Sauber Coffee Gallery Backstage ENCINO McCabes Guitar Gobel Senior Center MARINA DEL REY Midnight Special Backstage CTMS Center for Folk Music Tower Records Instrumental Music CONTACT INFORMATION Novel Cafe Musician’s Boulevard ARCADIA GLENDALE MID-WILSHIRE O’Briens (Main) P.O. Box 55051, Sherman Oaks, CA 91413 San Gabriel Bead Company Brand Library Russ & Julie’s House Concerts Craft & Folk Museum Rose Cafe Thousand Oaks Library Phone: 818-785-3839 BALDWIN HILLS Borders Books & Music Molly Malone’s Santa Monica Library [email protected] • www.FolkWorks.org Glendale Central Library TOPANGA CANYON Baldwin Hills Library MONROVIA Thunderbolt ©2004 FolkWorks All Rights Reserved Sylvia Woods Harp Center Tower Records Mimosa Café BELLFLOWER Tower Records Monrovia Coffee Co. Topanga Video Bellflower Brakensiek Library Unitarian Community Church GRANADA HILLS NEWBURY PARK Un-Urban Cofee House TORRANCE AD RATES BEVERLY HILLS Baker’s Square Newbury Park Branch Library Wild Fiber Tower Records Beverly Hills Public Library Blueridge Pickin’ Parlor NORTH HOLYWOOD SIERRA MADRE VAN NUYS Size 1 X 3X 6X BRENTWOOD HERMOSA BEACH Celtic Arts Center Bean Town Noble House Concerts Full Pg $660 $600 $550 Duttons Books Java Man Duttons Books Hallenbecks SHERMAN OAKS VENICE 1/2 pg $385 $350 $300 BURBANK HOLLYWOOD Coffee Roaster Venice Library PennyLane KPFK 1/4 pg $235 $210 $185 Amoeba Music Kulak’s Woodshed Guitar Center WEST COVINA Priscilla’s Gourmet Coffee Aron’s Records Second Spin 1/8 pg $150 $125 $100 Public Library Traditional Music Tower Records Genghis Cohen Shamrock Imports Sherman Oaks Public Library The Fret House 1/16 pg $85 $75 $65 Q is for Quilts Highland Grounds Tower Records Viva Fresh NORTHRIDGE La Tazza Coffee SPECIFICATIONS Irish Import Shop SILVERLAKE CANOGA PARK/ Sam Ash Barclay’s Coffee WEST L.A. Full Pg...... 9.5 x 15" Borders Books & Music Coffee Bean & Tea Leaf Odyssey Theatre WINNETKA LA CANADA Eastside Records 1/2 pg H ...... 9.5 x 7.375" Sam Ash Music CSUN/KCSN Rhino Records La Canada Library Tower Records Home Restaurant West L.A. Music 1/4 pg V...... 4.625 x 7.375" CARSON Higley’s Coffee House La Belle Epoque (Acoustic Side) Carson Community Center Atomic Café PASADENA Los Feliz Library 1/8 pg H...... 4.625 x 3.625" Borders Books & Music WOODLAND HILLS CERRITOS LAWNDALE Los Feliz Theater 1/16 pg V ...... 2 x 3" Central Library Nature Mart Tower Records Borders Books & Music Gotham Guitars Equator Coffee House 1/16 pg H ...... 3 x 2" Cerritos Community College Rudy’s Barbershop ALL TLT (THE LIVING LONG BEACH Folktree Gallery Skylight Books TRADITION) EVENTS Artwork should be submitted for Dance and Music Depts Borders Books & Music Old Town Music Soap Plant PLUS FOLK EVENTS printing as 1-color black or grayscale. CLAREMONT Fendi’s Café Peet’s Coffee Uncle Jer’s Claremont Folk Music Center It’s a Grind: Tower Records THROUGHOUT THE LOS Ads accepted in the following formats: Claremont Public Library Lakewood (Woodruff Ave) SOUTH PASADENA ANGELES AREA. DIGITAL REDONDO BEACH The Bookhouse Nick’s Café Signal Hill (Willow & Cherry) Go Boy Records Grayscale/B&W TIFF (min 300 dpi) or EPS The Press Traffic Circle (PCH & Buster’s SAN PEDRO Fremont Theater (outline all fonts or include fonts with file) Rhino Records Ximeno) If you would like to have Digital files can sent via e-mail or on a non- Bixby Knolls (Atlantic & Global Gifts (UN Shop) Grassroots Market FolkWorks distributed to your CULVER CITY Corner Store returnable disk (floppy, ZIP or CD ROM in Carson) Rialto Theatre place of business please e-mail Boulevard Music San Pedro Library PC or Mac format). Include placed images. The Library STUDIO CITY to: [email protected] or call DOWNEY Sacred Grounds Long Beach Library- Coffee Fix 818-785-3839. Current and CAMERA READY Brewer’s Rendevous all branches Williams Bookstore Jennifer’s Coffee City Limits Deli back issues are available on the B&W line art with photos Portfolio Café SANTA MONICA Lu Lu’s Beehive web in Acrobat PDF format. e- (must be suitable for scanning to grayscale) Downey City Library Spring St. & Los Coyotes 18th Street Arts Complex Studio City Music Downey High School mail them to your friends & Diagonal All American Hero Studio City Public Library family. DESIGN SERVICES Mambo Grill (Venice Blvd) Design & layout services are available for a nominal fee. Contact us for details at: www.FolkWorks.org e-mail: [email protected]

July-August 2004 FolkWorks Page 3 LA MUSIQUE TRADITION- NELLE DU QUÉBEC BY DANA WHITTLE ©2004 [REPRINTED WITH PERMISSION] s a musician who grew up in New am currently involved in England, I never suspected that I would a folklore project here at Aone day be an immigrant, living on for- the local gradeschool eign soil, speaking another language and devot- that required all who ing my life to a form of traditional music that I signed up to be part of a hadn’t heard of until a decade ago when I came folk chorale to bring to form duo Jeter le Pont with the late, great along their favorite Franco-American singer and defender of her cul- Québec folksong. ture Martha Pellerin. Shortly thereafter, I married Thirty-three kids signed Québec fiddler Claude Méthé and began to dis- up (the whole school cover even more about the unique culture and only has 125) and music just over the border from my Vermont almost all had a tradi- home. That’s when it all began to get really inter- tional song! Québec is esting. certainly the richer for having preserved so PUTTING IT IN CONTEXT To put the uniqueness of traditional much, although it is Québécois music into a clearer context, it might changing here, too. My help to know that French Québec is perhaps the theory is that large fam- most homogeneous society existing in North ilies, rural isolation (not America today. While there are francophone so very long ago, every- communities sprinkled throughout Canada, body was a “rural”) and Le Vent du Nord (see Skirball Summer Concert Series) Québec is the largest. If you spend time in a lack of competition from other amusements, Québec, you’ll discover that for French-speaking Branche, La Vesse du Loup, La Famille tend to cultivate the musical soul. There is a Québecers of my age (48) and younger, “French- Cantin, Hômmage aux Aînés, Mythes et growing appreciation of trad music in the city, Canadian” is rarely used while “Québécois” most Légendes, Dent-de-lion, Belzebuth, Les Frères where the scale of city living may be a factor in often refers to nationality. The parents or grand- Brunet, Les Charbonniers de l’Enfer, people’s desire to preserve and encourage the parents of this age group, on the other hand, Baqqhus, La Souvenance, André sense of community that comes with traditional musicians might call themselves “Canadien,” meaning Marchand, Denis Fréchette, Simon Riopel, music. Traditional dance is enjoying popularity French-Québecers. In Québec, “national” means Denise Levac, Daniel Roy, Bernard Simard, due to a regular turnout by avid urban fans, a the province of Québec; in the rest of Canada it Rémi and Pierre Laporte, Normand Miron, mixture of those who remember dancing in the refers to the entire country. Confused yet? The Richard Arpin, Gaston Lepage, Gilles Pitre, kitchens of their youth and those who have complex issues of language and sovereignty Lisan Hébert, Serge Thériault, Jean-Claude recently discovered it. Rather than leave their make life very interesting here and I learn some- Mirandette, Gilles Cantin, Claude Méthé and thing different (and often conflicting) every day. roots behind, many brought them along when they moved into town. many, many, MANY more. The Cégep, or col- Five years ago I was transplanted to a rural lege, of Joliette specialises in music and features Québec community 1-1/2 hours northeast of IN THE KITCHEN the first traditional music curriculum in the Montréal, in the Lanaudière region, famous for Here, we are just as proud, and frequently province. It’s no wonder that the region is often its musical traditions. Except for the power lines, prouder, of the “kitchen” version of traditional referred to as the heart of the Québec musical tra- cars, snowmobiles and all-terrain vehicles, life music as of the “professional” one (i.e. per- dition. hasn’t visibly changed much here over the last formed for dollars). While many musicians today In Montréal, the Société pour la promotion de la two centuries. I was immediately amazed by how find their traditional inspiration on recordings, danse traditionnelle québécoise (www.spdtq.qc.ca) useless a phonebook was unless you knew the archival or commercial, the kitchen remains a presents an annual trad festival in May called La street the person lived on. It is not unusual for crucial part of the living tradition. Musical reper- Grande Rencontre, monthly called dances, Danse- there to be five, ten or more pages of the same toires, whether instrumental or vocal, are com- name in the Joliette phonebook (the nearest large monly attributed to specific families or individu- QUÉBECOIS page 22 town). Nearly everybody seems to be related and als. Many a group has been the beneficiary of I stand out like the proverbial sore thumb with selections from the magnificent repertoires of the IN THIS ISSUE my foreign, highly unpronounceable name. Most Cantin, Miron, Thériault, Lepage, Bordeleau, attended Catholic (public) school, thus sharing Pérron and Beaudry families of this region. EDITORIAL...... 2 LA MUSIQUE TRADITIONNELLE DU QUÉBEC.... 3 the same basic reference for religious and moral Much like 100 years ago, parties begin mid- Music & Culture of French Québec beliefs. My own three children didn’t know much morning on a cold winter day, building up steam KEYS TO THE HIGHWAY ...... 4 to speak of about religion until they attended as the beer and music kick in, with a never-end- Benjamin Franklin and the Glass Armonica THE VOICES IN MY HEAD ...... 5 school and had their first Morals class, a relative- ing stream of food set out on makeshift tables. It Our Better Angels ly new alternative to Religion class for those who is a tradition — likely stemming from the “revéil- TIED TO THE TRACKS ...... 6 don’t actually attend church. My own 150-year lons,” or breakfast after the midnight mass — to FREE FOLK/TRADITIONAL EVENTS...... 7 old home didn’t have plumbing or electricity be served a huge buffet around 1:00 or 2:00 am, DAVE’S CORNER ...... 8 until 1964 and we can still use the “bécosses” a brilliant idea considering the spirits that have Local Happenings on the Folk Music Scene (backhouse) if desired. I don’t hear much English inevitably been consumed by then. Meanwhile, ON-GOING STORYTELLING EVENTS ...... 8 WORLD ENCOUNTERS ...... 9 from anybody but my immediate family — even the music goes on non-stop until the wee hours. CD Reviews my children generally address me in French. A typical party might have twenty or thirty peo- REED’S RAMBLINGS ...... 10 The very up side of this profound homoge- ple playing and singing at once, with song after CD Reviews neousness is that the musical culture of rural song arriving spontaneously from some unseen, CAMPS & WORKSHOPS ...... 12 1ST ANNUAL FAR-WEST REGION CONFERENCE .. 12 Québec is vibrantly alive and remarkably pre- seemingly inexhaustible source. ON-GOING MUSIC HAPPENINGS ...... 13 served, particularly in this region. A friend who WHERE AND WHO CALENDAR OF EVENTS ...... 14-15 works with elementary school children told me Québec is huge and every region is home to ON-GOING DANCE HAPPENINGS ...... 16 about the time he was taken by surprise on a countless traditional musicians and singers. What JAMES COBERLY SMITH fieldtrip with a group of young children from St- & SEVERIN BROWNE ...... 17 follows is just a brief overview. THAT REMINDS ME ...... 18 Côme, just north of here. As the bus left the Based in Drummondville, the Centre Mnémo Valerie Cooley Discusses Folky Costumes schoolyard, they all began to sing a “chanson à (www.mnemo.qc.ca) is dedicated to Québécois THE HEART OF THE MUSIC...... 19 répondre” (call-and-response song). Everybody traditional dance and music and publishes both CD Reviews knew the words, and the singing didn’t stop until UNCLE RUTHIE...... 20 an online and print version of its Guide Mnémo, From the East to the West they reached their destination. It is the same story listing hundreds of traditional Québécois musi- LOOKAROUND ...... 23 on my own kids’ schoolbus — they sing on the cians, dancers, storytellers and groups by region Bowers and Beads way there and back every day, including the high- and specialty, as well as a calendar of events that CD REVIWS ...... 24 school aged kids. Linda Dewar reviews recent releases includes informal trad sessions at people’s BULLETIN BOARD ...... 24 When doing school workshops in New homes. Help Wanted Ads, Things for Sale, Things Wanted England, we often asked children about the The Lanaudière region is home to Festival HOW CAN I KEEP FROM TALKING ...... 25 music that went on in their homes. Too often the Woody Guthrie...Was He or Wasn’t He? Mémoire et Racines (www.memoireracines.qc.ca), PASSINGS ...... 26 response was that nobody played or sang in the dozens of groups, including La Bottine Souriante, Charles Chase & Elizabeth Partridge household. Kids were dying to touch our instru- La Volée d’Castors, Norouet, Ni Sarpe Ni SPECIAL EVENTS ...... 28 ments. Some couldn’t even think of one song. I

Page 4 FolkWorks July-August 2004 Benjamin Franklin and the Glass Armonica inner is over and you are nursing what’s left of your last glass of The new instrument became very wine. To amuse yourself between sips you dip your fingertip into popular. Over 400 compositions were the wine and then rub it around the rim of the glass. If you do this written specifically for the instrument D BY just right you are rewarded with an ethereal and amazingly pure musical including some by Mozart and ROGER tone. How did that happen? Can anybody do this? Beethoven. More than 6000 Glass GOODMAN At the risk of taking the magic out of it, here’s how it works. When an Armonicas were produced and the instrument object moves, the air around it is displaced. When that air movement reach- flourished until 1830 when it all but disap- es the ear, it is perceived as sound. If the movement repeats with a definable peared. Composers quit writing for it and manufacturers quit making the frequency then we perceive the sound as a musical note or pitch. This is instrument. What could have caused such a thing to happen? what happens when a string on a musical instrument is plucked with a pick One answer appears in writings from that era. There were warnings that or a finger. The string is stretched and displaced as the pick engages it. the music of the glass armonica had profound emotional effects especially When it is released it moves back and forth transferring a particular fre- on its players, causing melancholia and dementia. It was noted that the high quency of movement to the body of the lingering harmonics and the friction of instrument. The instrument then moves the wet glass forced many performers the ambient air and we “hear” this as into early retirement because of nerv- music. ous disorders. Dr. Franz Anton On a bowed instrument like the vio- Mesmer, the famous hypno-therapist, lin, the movement is similar but the integrated the glass armonica into his sound is sustained. This is because the magnetic séances using its influence to bow hairs, prepped with rosin, grip the get his subjects into a relaxed state. All string, stretching and displacing it until these things led to fear and rejection of the string slips back only to be gripped this music and of Franklin’s wonderful again by the traveling bow. The grip instrument. Interestingly enough, the and release action continues as long as source of the problem turned out to be the bow is moved. the lead-based paints used on the glass Playing a wine glass is basically the bowls. The performers absorbed the same as bowing a violin string but, lead into their systems and actually dis- instead of using a bow, you use the tip played the symptoms of lead poison- of a finger. To play, the fingertip should ing. It was not until 1983 that the man- be very clean and free of skin oils then ufacture of glass armonicas began wet with water, wine or other liquid. GLASS INSTRUMENTS SOME DIFFERENCES again. You may need to experiment to find Musical Glasses Wine glasses tuned by adding/removing water. If you search the web you will dis- just the right amount of pressure and cover the availability of more CD’s speed. Your fingertip will actually Glass Harp Glasses blown and ground into permanent for the glass harmonica then you grip and displace the rim of the glass tune. No water required. might have imagined. One of these, up to the point where it will slip free, Glass Armonica Glass bowls tuned and mounted on a rod that “Cristal: Glass Music Through the letting the glass relax only to stick and spins. Ages” has music composed specifical- release again, and again. This regular ly for the glass harmonica. This CD frequency of motion from the rim is was produced by Linda Ronstadt, transferred to the entire glass and then to your ear via the displaced air who also used a glass harmonica on her own CD, Dedicated to the One I around the glass. Love. You can also find other links and play a Virtual Glass Armonica at The resulting pitch is due to the shape and material of the wine glass but www.fi.edu/franklin/musician/virtualarmonica.html. If you are interested in you can change the pitch by varying the amount of liquid used. The liquid finding out more about glass music you can Google these terms: Harpe de dampens the motion of the glass wherever there is contact. The more liquid Verre, Glaspiel, Seraphim, Glass Harmonien, Grand Harmonicon, in the glass, the shorter the resonating space and the higher the pitch. If you Crystallophone, Angelick Organ, Cristal Baschet, Verrillon, Verrophone, line up several glasses and put gradually more water into each successive Glassychord, Glasharmonika, Harmonika and Harmonica de Verre. one, you can play a scale and then melodies. You can tune a scale by adding So keep on making music but get the lead out first and, of course, stay or removing water as needed to achieve the appropriate sound. tuned. Written accounts of making musical notes by striking glass can be found as early as 1492; however, references to playing music by rubbing the rim Roger Goodman is a musician, mathematician, punster, reader of esoteric of a glass did not appear until 1677. But the “musical glasses” were not books and sometime writer, none of which pays the mortgage. For that, he is a much more than an amusement until the 1740’s when an Irishman named computer network guy for a law firm. He has been part of the Los Angeles old- Richard Pockrich elevated the technique to a professional level and began time & contra-dance music community for over thirty years. While not a giving concerts and drawing other performers to the instrument. dancer, he does play fiddle, guitar, harmonica, mandolin, banjo & spoons. In 1757 Benjamin Franklin, then living in London, heard E.H. Delaval Roger has a penchant for trivia and obscura and sometimes tries to explain perform on the musical glasses. Franklin, like most people who heard the how the clock works when asked only for the time. He lives with his wife, glasses played, was enchanted by the ethereal sound. Unlike others, howev- Monika White, in Santa Monica, CA er, he set to thinking about how the instrument could be improved. This was not an uncommon reaction for the brilliant Franklin who invented the Franklin stove, bifocals, discovered the Gulf Stream, started the first public library and public services for common citizens, experimented with elec- tricity inventing the lightning rod which he gave away for, “the good of mankind,” and helped shape our emerging nation in the New World. Franklin observed that it was difficult to play more than two notes at a Free Copy of time, which limited the chords that could be managed on the musical glass- es. He also noticed that the musician had to rush into position to allow enough time for the rubbing to set the sound in motion. This was exacer- bated for the lower notes that require glasses to be larger and, thus, farther Folk Dance Scene apart. Franklin solved all these problems with the invention of his “Glass This (almost) monthly publication has folk dance events in Armonica.” He had a London glassblower make a graduated set of bowls California and elsewhere, folk lore articles, recipes and lots of with a hole in the bottom of each one. Every bowl was tuned to a different note and painted a different color to make it unique and easy to find. The good reading. It is just $15 a year for 10 issues. bowls were arranged in order by pitch. A cork fitting was used in each hole so they could be nested and mounted on an iron rod. The rod was attached To get a free copy, just call Sandy Helperin, 310-391-7382 or to a wheel that was turned with a foot pedal, like the old treadle sewing Email to [email protected]. machines. Some say that the bowls dipped into a bath of rosin and water as they spun; others classify this as an urban myth since the rosin-water bath would affect the sound.

July-August 2004 FolkWorks Page 5

GIG BOX THE VOICES MUSICIANS FOR HIRE IN MY HEAD BUZZWORLD BY JOANNA CAZDEN Southern California’s premiere Celtic- based acoustic / eclectic band. A unique blend of exuberant Irish dance music with Our Better Angels classic jazz, surf, and spy music of the 1960’s. You’ve heard them on projects as y first column in Folkworks (Nov/Dec 2001) referred to the varied as James Cameron’s Titanic to fictional musicologist portrayed in the film Songcatcher as she accompanying performers like Ray Charles, David Byrne and Brian Eno. Mcame to value American folksongs as highly as the classical Booking now: concerts, corporate events, private parties, weddings. music for which she was trained. A true-life vocal ensemble, acclaimed in 818-904-0101 • [email protected] • their presentations of European art-music, has now duplicated that journey. http://users.adelphia.net/~grlockwood/BUZZWORLD/INDEX.html As national and world crises swirl, their choice to honor the spiritual side CLADDAGH, an Irish folk music band, is of American folkroots could not be more timely. a lively quintet noted for outstanding American Angels, the new and final CD by acclaimed female quartet vocals, harmonies and a hefty dash of Anonymous 4, on the Harmonia Mundi label, is subtitled Songs of Hope, humor. Instrumentation consists of: aguitar, Redemption, and Glory, and the glory here is clearly spiritual—and musi- banjo, bass, pennywhistle, bodhran and cal—rather than overtly patriotic. Liner notes by the group’s primary others... Bookings for concerts, weddings researcher on this project, Marsha Genensky, describe a “journey to the and any other special event. 818-363-1526 roots of Anglo-American spiritual vocal music…eighteenth-century psalm (Creative Spark) www.claddaghband.net settings and fuging tunes from rural New England, nineteenth-century folk hymns and camp revival songs from the rural south, and gospel … an OLD #7 interweaving of oral and written traditions …imprinted on the memories Mississippi native, Cliff Wagner and his of generation after generation of singers.” [Full disclosure: Marsha is mar- band, “The Old #7” are entrenched in ried to a good friend of mine]. preserving Appalachian Bluegrass, the Anonymous 4 has, for more than sixteen years, championed vocal very same music played by The Stanley music of medieval and early renaissance Europe. Famed for their pure, Brothers, Jimmy Martin, and Larry straight (non-vibrato) vocal quality, and their exquisite harmonizing with- Sparks to name a few. Old #7’s sound in the tuning systems that preceded modern equal temperament, the mem- incorporates traditional three part har- bers of Anonymous 4 have inspired numerous other early music ensem- monies and excellent instrumentals influenced by The Delta Blues bles. They also helped to resurrect the music of Hildegarde von Bingen, and Honky Tonk which gives Cliff Wagner & The Old #7 their unique a twelfth-century nun, scientist, healer, and composer, whose “poetic and sound. 310-831-0055 • cliff@old number 7.net www.oldnumber7.net mystical concept of the cosmos has many New Age devotees to this day,” according to the Los Angeles Times. MUSIC INSTRUCTION Although American Angels’ delicate versions of rural American folk- spirituals are far from the raw power of massed Shape Note gatherings or NICOLAS BUCKMELTER the emotive exuberance of modern gospel singing, this collection beauti- Nick has been playing and teaching Irish flute fully combines high art and folk traditions and will, it is hoped, bring more and whistle for more than ten years. In 2003 he serious attention from the former to the latter. Solo and sparely-harmo- toured Japan as a traditional musician under the nized songs are grouped with more richly-developed gospel tunes, includ- auspices of the Irish Embassy in Tokyo. Over ing chestnuts such as Sweet By and By, Shall We Gather at the River, and the years he's had the good fortune to perform Angel Band. Other familiar folk hymns include Wayfaring Stranger and with some of the most respected musicians in Wondrous Love, while the lyrics of Amazing Grace are heard first in an the Celtic world, including the Chieftains, Dale Russ, Pat O'Connor and unfamiliar setting (Jewett) before returning in their better-known melody the Black Family. He hosts a regular session at Finn McCool's in Santa (New Britain). Monica. 760-935-4812 or [email protected] My main complaint about the CD is that the songs are pitched to fit the groups’ concert-soprano lead voices, and are therefore too high for com- CÁIT REED fortable singing-along. This orientation toward performance rather than Cáit Reed is currently taking students who are participation keeps the music in the realm of art-song, even though the interested Traditional Irish Fiddle, Tenor Banjo, songs would have originally been sung by full congregations of minimal- Tin Whistle, Mandolin, Bodhran, Transverse ly-trained rural folk. Anonymous 4’s home repertoire of courtly and Flute and Celtic Song accompaniment. Cáit has monastic music also colors their phrasing, which sometimes emphasizes over 30 years experience as a teacher and per- melodic lines at the expense of clear diction. Nevertheless, this is a lovely former of Celtic music. Many of her students recording, more poignant still as it is the ensemble’s pre-separation swan- have gone on to become professional musicians song. Hypnotic, pure, sometimes austere, American Angels offers a spirit and recording artists in their own right. Cáit of enduring faith despite hard times. focuses on technique, ornamentation, regional Another unusual and spiritual blend of folk and classical vocal music styles, phrasing, creating variations, playing “by comes from a corner of the country far from the formerly English colonies ear” and having fun. Please write her at of the Northeast and Southeast. SAVAE, the San Antonio Vocal Arts [email protected], or give her a call at 310-543- Ensemble, based in San Antonio TX, has released three collections of 1219. Her Web site will be up soon at www.caitreed.com. Latin American choral music from the sixteenth century, accompanied by indigenous drums and flutes. More strongly rooted in folk traditions than You can be listed here! Anonymous 4, their vocal style is less refined and more accessible, though $30/1x • $75/3x • $125/6x • [email protected] • 818-785-3839 still of careful musical quality. SAVAE’s first album, Native Angels, presents music written by Spanish missionaries including the first polyphonic (chorally complex) piece com- posed in this hemisphere. El Milagro de Guadalupe and Guadalupe, Virgen de los Indios, then focus on songs created by local converts to honor the Virgin of Guadalupe’s appearance and revelation in 1531. The group’s latest release, Ancient Echoes, travels further back in time to spiritual songs of the Biblical era, as excavated and re-imagined by early twentieth-century musicologist Abraham Idelsohn. Sung in Hebrew and Aramaic, with texts from the Dead Sea Scrolls and the Bible, this collec- tion uses Middle Eastern melodies and instruments to re-create the sounds of Western civilization’s deeper spiritual roots. It is all really lovely stuff, and ordering info is at www.savae.org. It was Lincoln, in his 1861 First Inaugural Address, who called on “the better angels of our nature” to heal a nation already at war with itself. I’m sure I’m not alone in my fears that current events will keep our national life in turmoil for the foreseeable future. As music traditionally cures melancholy, so may the music of all these angels help guide us “Through many dangers, toils and snares,” and heartaches yet unknown.

Joanna Cazden is a singer-songwriter and licensed speech pathologist. Find her online at www.voiceofyourlife.com

Page 6 FolkWorks July-August 2004

t’s summer, and you’re not thinking about On to our movie review. No, it’s not a learning or watching a movie? We’re sequel to O! Brother Where Art Thou, but Igoing to look at both, anyway. Even with it’s good, anyway. all the festivals profiled in the previous issue, TIED This is a film tribute to a songwriter the exponential greed of gas prices may have TO THE whose influence changed the direction of you seeking something else worthwhile and music. Actually, in Grand Theft Parsons, affordable. So, we’ll profile some great offer- he was already dead as the movie started. ings to guide the songwriters among us to TRACKS And if that sounds a bit indirect, so is the excel, then give you a quick word about a true story that inspired it. movie that’s tuneful and a fun romp. Gram Parsons was the Louisiana-born On to our treat for songwriters, and music legend who infused folk, country, those who aspire to be. We have a double- BY LARRY WINES blues and rock into a genre of late 1960’s header for you. Every songwriter constant- mainstream, as a member of the Flying ly seeks to express, from a deeply personal Burrito Brothers and the Byrds. His place, a perspective that others will who reveal unpleasant things are usually influence is still very much alive in modern embrace with immediacy. Of course, there oblivious to it.” Most of the content is country and new folk. But his death in are countless interplaying factors and no happy, bright and yes, useful, with points 1973 brought events and legends even cra- single formula. Hence, plenty is said and and techniques illustrated with quotes and zier than those surrounding the demise of written as guidance by those who have lyrics that range from Shakespeare to Joan Jim Morrison. attained commercial and artistic success. Osborne. The book is subtitled, “for song- Seems that Parsons and his road manag- Much of that happens right here in L.A., writers and those who love songs,” and er Phil Kaufman had a pact. Whoever died where the music business works. that’s a credible claim. And the inclusion of first would be cremated by the other in the With no snub to other fine guides and her CD allows you to test her own applica- place both loved—Joshua Tree National teachers, this issue and the next, we have tion of what she teaches others. Monument. Of course, Parson’s estranged offerings from three of the best. This time, Becoming Remarkable, by Harriet family, his ex-girlfriend and the law had we’ll look at two books, and next issue, a Schock, from Blue Dolphin Publishing, other ideas. The film version of the factual unique CD-ROM set. Also next issue, we’ll Nevada City, CA, is available from tale is an exploration of Kaufman’s revisit the books and comment about their www.harrietschock.com, from the publish- improbable adventure (taken from a single usefulness and the longevity of their influ- er at 800-643-0765, or through your local chapter of his book) and the motives and ence as true tools for one songwriter. bookstore. [Editor note :Harriet Schock personalities of others as Kaufman hijacks Harriet Schock’s book Becoming will be performing at Coffee Gallery the corpse to fulfill his buddy’s last wish. Remarkable offers purposeful inspiration Backstage in Altadena on July 24th.] It’s filled with great music, some period, and specific points of guidance. At $14.95 John Braheny’s The Craft and some original, and sure to become a cult it comes with a copy of her fifth album, Business of Songwriting is a large-format classic, so see it on the big screen while Rosebud, a CD of music, not instruction. textbook, and delivers the tools to validate you can. So it’s like getting one or the other free, and its cover’s claim as “a practical guide to I was fortunate to catch the West Coast both are fine. creating and marketing artistically and premiere. The film is headed for limited Schock taught songwriting at USC. She commercially successful songs.” This book release in L.A. in July, after screening at is a multi-platinum songwriter and has depth and breadth through all aspects Sundance and its premiere here, appropri- Grammy nominee for the #1 hit, Ain’t No of its twin topics—craft and business. Its ately at the ninth annual Antelope Valley Way to Treat a Lady. Her songs have been design features wide margins with high- Independent Film Festival recorded by Carly Simon, Helen Reddy, concept notes that allow you to quickly (www.aviff.com). It was made chiefly in Manfred Mann, Vicki Carr, Smokey locate each section of text. Good thing, Antelope Valley and in just 24 days. Robinson, Lee Greenwood, Johnny because there’s more insider information Director David Caffey’s 88-minute Mathis and dozens more. Her film and TV than you could imagine finding in one US/UK production was shot on 35 mm film credits take a page to list, and range as place. and includes beautiful night shots that diverse as The Secret Garden to The Last This is a formidable omnibus of artistic effectively choreograph much of the music. Dragon and Delta Force II to Pippi guidance and business practicum. Braheny There’s something of an Easy Rider feel, Longstocking. gives you sheet music and discussions of with gentler music and without the self- So anything Harriet has to say is bound lyrics. He gives you forms for collaborative centered, chemically-altered incongruities to be interesting. And a few of her many partnerships. He gives you structure for or apocalyptic end. It brings fine ensemble students attested to that at the recent and different musical genres and guidance performances from Johnny Knoxville innovative CD release party for Schock about radio formats. He also gives you (forget his Jackass role), Christina Futures, a compilation that features 19 of some embarrassingly bad examples, and if Applegate, Marley Shelton, Robert them, with most on hand to perform their that seems a bit incongruous, it’s useful. Forster and Michael Shannon. one song in the sequence featured on the His book speaks with a personal voice to Those who really know the story will album, and gush with admiration for their making your creative expression meaning- have issues that facts were unnecessarily teacher. ful, as when he says, “You, the writer, must embellished, but this is a highly entertain- Schock’s proprietary method, teaching realize you set off this same crazy process ing film that asks how far you would go in numbered steps to successful songwriting, in the listener’s head with every word you a promise to a friend to fulfill his wishes. is not revealed in the book but much of the write; and it is you who must bring disci- And that’s a good topic for inspiring a song underlying philosophy is there. Unlike pline to the listener’s imagination.” or a discussion around a campfire. most instructional or motivational books, You’ll identify yourself among nothing here is preachy, and her style and Braheny’s types of writers. You’ll delve Larry Wines is a writer, songwriter, journalist the content provide such a good read that into his song types and themes. And this and columnist, mountain climber, museum it’s hard to put down. book shows you how to protect and market founder and former political pundit. He has The book is 48 short chapters that were your creative product. restored steam locomotives and enjoys long train previously published articles, and they’ve The Craft and Business of Songwriting rides, good music festivals, moonlight on water, been nicely grouped and sequenced into by John Braheny, second edition, from riverboats, Shakespeare and great songwriters. sections on integrity, clarity and technolo- F+W Publications, Cincinnati, OH, is His work has appeared “in lots of obscure gy. Integrity is central here, as Schock available at www.writersdigestbooks.com places” throughout America. He writes a col- explains, “The truth simply has more or through your local bookstore. umn with weekly entertainment picks and con- impact because when the writer writes it, it The true test of anything instructional is cert and CD reviews, including lots of acoustic has a ring of authenticity, and when the lis- its continuing relevance. We’ll revisit both music offerings, available www.medianetwork- tener hears it, it has a ring of veracity, both books next time as working tools, and then group.com/index.html. You can e-mail him at musically and lyrically.” introduce you to the CD-ROM package, [email protected] Schock shares countless insights, like, Secrets of Songwriting Success offered by “Songwriters reveal so much about them- Jai Josefs (www.jaijomusic.com), one of selves, perhaps it’s a blessing that the ones America’s top songwriting coaches.

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July-August 2004 FolkWorks Page 7 FREE FOLK/TRADITIONAL EVENTS Editor’s note: We have listed only folk/traditional music and other events. There are many GRAND PERFORMANCES other concerts and family activities during the summer BOULEVARD MUSIC SUMMER FESTIVAL California Plaza 300-350 S. Grand Avenue, L.A. 213-687-2198 [email protected] Veteran’s Park (Note NEW Location) 4117 Overland Ave., Culver City July 9 noon & 8:00pm WORDLY WOMEN featuring MARIA de BARROS and July 25 11am-4pm Gary Mandell’s 28th year producing a free outdoor music festival featuring an SOUAD MASSI A fusion of Andalusion flamenco, folk-rock, Arabian lutes and All Star Lineup including Superb singer-songwriters and Instrumentalists performing folk, other traditional Arab instruments country, blues, jazz, and classical music. Twenty acts in all featuring L.A.’s finest including July 16 noon JUAN SANCHEZ Charango, pan pipes, trumpet, piano, vihuela, accor- Robby Longley, Cerves McNeil, Bruce White, Bob Jones and Mr. Pete, Border Radio, dion, bass, and guitarron playing gypsy rumbas and Cuban guajiras. Evan Marshall, Matt Cartsonis, Bernie Pearl, Ed Munter, Suzie Glaze and the 8 Hand July 17 8:00pm QI MUSIC Musicologist, teacher and composer LIU QI CHAO is a String Band, Harris Levey, Trailmix, Dawn Hummer, Doug Whitney, and Boulevard Music master musician focusing on percussion instruments. A fusion of Chinese folk staff and teachers and more. music with contemporary classical and jazz. CULVER CITY SUMMER SUNSET MUSIC SERIES July 23 8:00pm KHMER ARTS ACADEMY Cambodian dance and music originally developed for worship in the temples of Angkor with roneat (xylophone), kong City Hall Courtyard 9770 Culver Blvd., Culver City 310-398-2583m (cicular gong) and sralai (quadsuple reed oboe). June 10 ACOUSTIC ASYLUM WITH CARL VERHEYEN • Jazz/World music with hot guitar July 24 8:00pm RIZWAN-MUAZZAM QAWWALI songs based on classical Islamic and Sufi texts. A “transcendental experience” according to one critic. July 15 ALASDAIR FRASER & NATALIE HAAS • Scottish Fiddle with Cello August 5 PERLA BATALLA • Latin Folk FORD AMPHITHEATRE FAMILY ACTIVITIES August 19 JOHN JORGENSON & RAUL REYNOSO • Hot gypsy guitar! 2580 Cahuenga Blvd East, Hollywood • 323-461-3673 • www.fordamphitheatre.org SKIRBALL THURSDAY SUNSET SERIES CHILDREN FREE (Adults $5) – Open seating 2701 N. Sepulveda Boulevard, Los Angeles 310-440-48500 www.skirball.org July 12 10:00am DANIEL SLOSBERG Pierre Cuzatte, a musical journey along the Lewis & Clark trail. July 22 8:00pm MARTA SANTAMARIA with VIAJEM led by Brazilian bassist and arranger Antonio de Sant’anna. The ensemble incorporates flamenco, sevillanas, July 10 10:00am MASANGA MARIMBA ENSEMBLE Songs, stories and dances boleros, Spanish songs, Brazilian bossa nova and samba. with Masanga. July 29 8:00pm ARAB-ISRAELI ORCHESTRA OF NAZARETH Arab, Jewish and July 24 10:00am RANGOLI FOUNDATION FOR ARTS & CULTURE Ten incarna- Muslim musicians and singers from Nazareth and Galilee (a region in the north tions of Vishnu. of Israel). They perform classical, traditional and folk Arabic music. July 31 10:00am INTERNATIONAL ACADEMY OF MIDDLE EASTERN DANCE August 5 8:00pm LOS TEXMANIACS High energy conjunto and tejano music quartet. Belly Dance. August 12 8:00pm JAOJOBY U.S. Premiere! Salegy is probably the most danceable August 7 10:00am EUNG HWA KIM –KOREAN DANCE ACADEMY Korean tradi- music of modern times in Madagascar and Jaojoby is its undisputed king. tional dance. August 19 8:00pm LE VENT DU NORD (“North Wind”) California Premiere! Traditional Quebecois band born of richly eclectic musical experiences and tastes. The energy emanating from these four is unstoppable, and audiences everywhere are finding it impossible to resist moving to the music and calling for encore after encore. August 26 8:00pm ATASH (Farsi for “fire) Collaboration of six gifted musicians, fusing the FolkWorks is proud to be an official sponsor of the ancient and the modern to create a message for the world which is both soulful and uplifting they draw on the improvisational elements of jazz and the music of India and the Middle East, meeting the raw energy of rock and the intricacy of Saddle Up Music Festival Western Classical music. SKIRBALL CAFÉ Z Sunday, September 12 • Lancaster, CA

2701 N. Sepulveda Boulevard, Los Angeles 310-440-48500 www.skirball.org July 17 noon MASANGA MARIMBA ENSEMBLE The music from the Shona peo- ple of Zimbabwe. Most of this music is centuries old and has been passed down More than 30 acts on 4 stages! by oral tradition from generation to generation. The instruments used in this ensemble consist of Shona-style marimbas from Zimbabwe. ALL ACOUSTIC August 21 noon TRIO AMOR Y PAZ Soothing mariachi music of Veracruz, Mexico. Cowboy to Celtic • Blues to Bluegrass • New Folk, and more! August 28 noon MASANGA MARIMBA ENSEMBLE African The hottest acoustic acts from the LA club scene! Singer-songwriters from Colorado and Washington State! Cowboy Poetry! Western BBQ - Art show & sale SAVE THE DATE A benefit for Saddle Up Therapeutic Riding Stable, a nationally-accredited SUNDAY - OCTOBER 3, 2004 nonprofit IRS 501(c)3 program serving handicapped and disabled children. BENEFIT CONCERT Details and discount advance tickets on-line at A World of Music www.saddleupfest.org – An Evening of Community – Nevenka (Eastern European) Masanga Marimba Band (African) Buenaventura The Gold Ring (Irish) Yuval Ron Trio Folk Harps (Sacred & Folk Music/Middle East) Conjunto Los Pochos (Conjunto,Tex-Mex) Fine Quality Folk Harps Susie Glaze & the Hilonesome Band and Accessories (Mountain roots/Bluegrass) Paraguayan harps from selected makers with Hand built from high-quality tonewoods One-year warranty on all harps emcee Gary Mandell (Boulevard Music) Strings, cases and other accessories also available TICKETS: General $25 – VIP $50 805-320-0991 www.FolkWorks.org • [email protected] • 818-785-3839 www.buenaventurafolkharps.com

Page 8 FolkWorks July-August 2004

Dave Soyars is a bass player and guitarist, a singer/song- mean tune as well—standup bass and drums fea- writer, and a print journalist with over fifteen years expe- ture prominently, which does occasionally lend a rience. His column features happenings on the folk music Lunasa-like sound to the proceedings. They’re scene both locally and nationally, with commentary on probably the first Celtic band to cover a song from recordings, as well as live shows, and occasionally films English singer/songwriter Linda Thompson’s and books. Please feel free to e-mail him at recent comeback record. Their taste—whether the material is traditional, contemporary, or self-com- [email protected] or write him c/o FolkWorks. TZ posed—is exquisite. Former Fairground Attraction singer Eddi

or this time (and maybe this time only), I’ll be MARIAN KA Reader also has a new one, Eddi Reader Sings the going back to doing more, and shorter, CD Songs of Robert Burns (!!) and it’s a great set of Freviews. While I like writing about things in O BY songs by Burns, some set to new music. Texas more depth, I find myself unable to this time for a very PHOT singer/songwriter Boo Hewerdine has a big role pleasant reason. So far 2004 is shaping up to be the best on this, as do such great Scottish musicians as Phil year for Irish releases so far in the millennium. Cunningham and John McCusker. She does a Probably every major band has a brand new release great job staying true to the spirit of Burns by (with the notable exception of Altan - anyone know avoiding preciousness in the arrangements—some- when their new one’s due?), and a lot of them rank with thing previous interpreters of Burns have not the best work ever by the respective bands. always succeeded in. Even more surprising is that one record label is AVE S Changed Days, Same Roots by the Poozies is responsible for most of them, and it’s one that’s D ’ another good one (this one actually on Greentrax fairly new. I’m not quite sure when it happened, but Recordings, but licensed by Compass) (!), ten suddenly Compass Records in Nashville has gone songs and one tune beautifully played and sung by from being a small independent bluegrass label to four women, particularly Patsy Seddon and Mary the finest Celtic (and English) traditional music ORNER MacMaster, whose blend of electric and both steel label in the U.S. Their release schedule for the last couple ofC years has and gut-strung harps is as much a highlight here as it is in their harp been staggeringly good. It’s not often I review labels, but Compass duo, Sileas. gets an enthusiastic thumbs up, and I encourage all readers of this col- Add in the releases I didn’t mention, and their great bluegrass umn to go immediately to www.compassrecords.com and check out releases as well, and my gratefulness that such a label as Compass their new releases, some of which I don’t even mention here. Their exists continues to grow. 2004 release schedule has so many quality releases that I don’t have That said, there are other labels also putting out great Irish CDs. the space in this column to mention all the good ones, so I’ll only The new one by Kila, Luna Park, (World Village Music) [2003] (!) is mention the best. (As such, all releases here are on Compass Records also interesting, loaded with original compositions that are a winning unless otherwise stated.) blend between traditional and improvisatory sounds. They’re often Probably the most exciting is the new one by Dervish, Spirit (!!) a compared to Afro Celt, but to my ears they sound more like an Irish very diverse release that mixes the usual jigs and reels and some great version of the Gypsy Kings, with a pronounced Spanish influence to songs (including Bob Dylan’s Boots of Spanish Leather), and some their Irish-language songs. rather eccentric tune sets, like one jig set that ends on a rather psy- And finally, even though it’s mentioned elsewhere in this issue, I chedelic jam session. Singer Cathy Jordan is as wonderful as ever, feel that it’s important to mention that the new one by Téada, Give the seven piece band is full and rich, and it’s a tribute to both the great Us a Penny and Let Us Be Gone [Green Linnet] (!!) is excellent, even Sligo tunes they’ve always specialized in and their adventurous spir- better than their excellent first release. Green Linnet has also re- it. released their debut (!!) as well as the solo album by Oisin Mac Lúnasa’s bassist Trevor Hutchinson is the producer of the new Diarmada, an bhfidil (!), reviewed in these pages before. I look for- one by Gráda, The Landing Step (!!). While Lúnasa is exclusively ward to many more from them. instrumental, Gráda is primarily a song band, though they can play a So that’s it for this issue, next time I’ll hopefully cover fewer CDs in more depth, including new ones by English legends Brass Monkey and Waterson/Carthy. Rating scale: [!!!]—Classic, sure to be looked back on as such for generations to come. [!!]—Great, one of the year’s finest. If you have even a vague interest in the artist, consider this my whole-hearted recommendation that you go out and purchase it immediately. [!]—Very good, with considerable appeal for a fan of the artist(s). If you purchase it, you likely won’t be disappointed. [—]—Good/solid, what you would expect. [X]—Avoid. Either ill-conceived, or artistically inept in some way.

On-going Storytelling Events GREATER LOS ANGELES SUNLAND-TUJUNGA STORYSWAP LOS ANGELES COMMUNITY 2nd Saturdays • 8:00 pm STORYTELLERS Sunland-Tujunga Library Storytelling Group 2nd Thursdays • 7:30 pm 7771 Foothill Blvd. • 818-541-9449 Temple Beth Torah STORYTELLING & PERFOMING ARTS 11827 Venice Blvd., Mar Vista TOASTMASTERS Audrey Kopp • 310-823 7482 • [email protected] A Toastmasters Storytelling Group FAMILY STORYTELLING 2nd Mondays, 7:00pm Saturdays/Sundays CoCo’s Restaurant 11:00 am, noon, 1:00 am • Free 15701 Roscoe Blvd., North Hills Storytelling in Spanish on alternating Saturdays. 818-541-0950 • [email protected] Getty Center Family Room ORANGE COUNTY 1200 Getty Center Drive, L.A. COSTA MESA SOUTH COAST 310-440-7300 STORYTELLERS GUILD LEIMERT PARK 3rd Thursdays • 7:00 pm GRIOT WORKSHOP Piecemakers Village 3rd Wednesdays • 7:00 pm 2845 Mesa Verde E. • 909-496-1960 3335 43rd Place, across from Leimert Park SOUTH COAST STORYTELLERS 310-677-8099 Saturdays & Sundays • 2:00-3:00 pm SAN GABRIEL VALLEY STORYTELLERS Bowers Kidseum 3rd Tuesdays • 7:30 pm 1802 North Main St., Santa Ana Hill Ave. Branch Library 714-480-1520 • www.bowers.org/link3c.htm 55 S. Hill Ave., Pasadena MISSION VIEJO STORYTELLING 626-792-8512 Wednesdays • 7:00 to 8:00pm LONG BEACH STORYTELLERS Borders Books and Music 1st Wednesdays • 7:00 pm 25222 El Paseo • 949-496-1960 Los Altos United Methodist Church COSTA MESA STORYTELLING 5950 East Willow, Long Beach BY LAURA BEASLEY 562-961-9366 Wednesdays • 10:00 am South Coast Plaza • 949-496-1960

July-August 2004 FolkWorks Page 9

Thai WORLD ENCOUNTERS Folk Fiddle BY VIOLA GALLOWAY

Scottish Artist: ROKIA TRAORE Bagpipe Artist: VARIOUS Title: BOWMBOI Title: NUEVO LATINO Rokia Traore’s website correctly describes her style Label: PUTUMAYO as “Malian contemporary music,” and it is truly the future of If you’re wondering about new music from all of Latin America, this African music. There are no faux pas, no overwhelming computerized could be a perfect introduction, and a party surprise. It features all new arrangement but rather a guest appearance by the Kronos Quartet. The tracks by the new Cuban heartthrob from France, Raul Paz, electronica arrangements are stunning, her voice as always (she has two previous tango by Federico Aubele from Argentina, and a variety of other styles (but albums to her credit) beautiful, an entirely different atmosphere as to be no salsa!) that have not exactly made it here but have in Europe. expected by this singer who grew up in both the western and African world. We have to thank her for showing other artists the way. As of now, there is Artist: VARIOUS no confirmed label/date for a domestic release, however, there are a 1few Title: CAFÉ MUNDO import copies available, and this release is not to be missed. Label: SUNNYSIDE Listening to this CD comes closest to being in Paris and checking out Artist: ANGELIQUE KIDJO Radio Nova, discovering an array of world artists in remixes. There’s an Title: OYAYA! Tamburitza almost unchanged Soul Makossa by Manu Dibango’s, an often recycled hit, Label: SONY the Tuvan group Huun Huur Tu’s track has been made into a descarga (a Whereas Rokia Traore is introverted, Angelique Kidjo from Benin and sort of Latin jam), Femi Kuti’s track sounds Nuyorican, and finally there based in France, shows us some great party grooves. Thanks to Steve Berlin are the Master Musicians Of Jajouka from the mountains of Morocco, an and Alberto Salas, this album is well produced, and she’s gone Latin – a log- obvious choice for a remix, thanks to their already eerie music. Do any of ical choice for her. This CD sounds very L.A., and if you read the credits the artists need remixes? Not really - but this CD may find them new lis- you’ll find a host of local popular musicians. teners – it is part of the Sunnyside Café series. For good measure there’s a beautiful lullaby and a Caribbean track. It all works, it’s a fun album, and she should find plenty of new fans as well. Artist: VARIOUS Title: ACCORDION CONJUNTO CHAMPS Artist: YOUSSOU N’DOUR Label: ARHOOLIE Title: EGYPT Another amazing compilation from the Arhoolie folks, who Djembe Label: NONESUCH have succeeded in explaining the background and basics of the This is a total surprise for most African music listeners and current conjunto (for Americans) or norteño (for Mexicans) the CD Youssou fans have been waiting for: Here the Zulu Drum scene. They introduce not only the champions such as Steve Jordan or Senegalese superstar recorded with an Egyptian orchestra, Flaco Jimenez but also many accordionists who are mostly unknown today. strings and all. Egypt always was the center for Arabic music and culture in The musical styles are completely varied but generally upbeat: Cumbias, general (think movies, soap operas…pop stars). Apparently this recording polkas, waltzes, etc., music for working people in areas that had not been was a project dear to his heart because it gave him the opportunity to intro- swamped by R&B and Rock and Roll. duce another facet of Senegalese life to a western audience: the importance of the Sufi brotherhoods, or religious life in general in Senegal. Trying to Artist: FRIGG introduce another side of Islam at this time is, in fact, quite a serious proj- Title: SELF-TITLED Vietnamese Banjo ect. However, you might just enjoy this entirely different and powerful side Label: NORTHSIDE of Youssou N’Dour – in a Sudanese, Nubian or Zanzibar style - just hear Named after one of the foremost goddesses of Nordic mythology, the the song about Touba, the holy city in Senegal. patron of marriage and motherhood, and the goddess of love and fertility, Frigg is energetic new folk from Scandinavia…the new generation at work Artist: PAPA WEMA on fiddles, mandolins, guitars, drums, accordions, etc., which sounds ulti- Title: 1977-1997 mately very related to American roots music. Label: STERN’S This CD is called “the first 20 years,” and those were the best, so if you UPCOMING RELEASE: have not collected all of the most famous Congolese singer’s old releases, Local kora musician, Prince Diabate, originally from Guinea has a new this is a must. There are 18 tracks in all, lovingly annotated, with hidden demo out which is more traditional than his previous effort, both groovy and gems, many previously unavailable, also featuring Pepe Kalle, Koffi breathtakingly beautiful. Olomide and others. These recordings from the early days of soukous still sound absolutely great, and there are popular dance floor killers from the Viola Galloway has been working in world music for many years and 1980’s, such as Malimba. is currently the world music buyer for Amoeba Music in Hollywood Artist: VARIOUS Title: WOMEN OF AFRICA Sitar Label: PUTUMAYO This CD is also recommended. It is full of beautiful tracks by Angelique Kidjo from Benin, who has many releases available domestically but there are mostly rather unknown artists – at least on this continent - such as Kaissa from Cameroon, Nawal from the Comoros, or Dobet Gnahore from the Ivory Coast. Lots of soulful, mostly acoustic music to enjoy with full liner notes and well sequenced. Artist: OJOS DE BRUJO VIOLA’S RESOURCE LIST Title: BARI Label: WORLD VILLAGE Book: World Music, a Very Short Introduction by Philip V. The CD by this new group from Spain was the most anticipated debut in Bohlman world music circles, and it’s easy to see why. The flamenco genre was Magazines: The Beat (American) immediately energized by this group as it incorporates elements from hip Songlines (from the UK) hop, as well as scratching and plenty of shouting and political lyrics, all in fRoots (formerly Folkroots) all a logical development. Plenty of unusual instruments (sitar, tabla, berim- Websites: www.sternsmusic.com (mostly African music) bau, bata drums, cajon etc.) make listening to this group a good for both par- tying listening.,. This is not unlike other artists in this vein: remember the www.mondomix.org (all aspects and types of world arrival of Ozomatli and Manu Chao? music) www.bbc.co.uk (serious musicology plus world music Artist: WIMME SAARI links) Title: INSTINCT Thai Zilophone www.afropop.org (NY-based radio show with links, informa- Label NORTHSIDE tion on concerts etc.) This CD is part diary, part hymns and psalms of the Sami people. www.maqam.com (Arab music) Wimme Saari is one of Finland’s most famous singers; he is called a “joik- www.greekmusic.com (Greek music) er.” Joikers sound a bit like shamans and have create a chanting style that originated in Lapland (or Samiland). It is a bit reminiscent of Native www.piranha.de (WOMEX, world music conference) American music, and which, at times, is somewhat eerie. The 34 tracks of www.canzone-online.de (labels and releases not avail- this CD ultimately had a strange meditation effect on me. able in U.S.)

Page 10 FolkWorks July-August 2004 CERRITOS CENTER FOR REED’S RAMBLINGS THE PERFORMING ARTS CD REVIEWS BY DENNIS ROGER REED espite a general misconception that performing arts centers are tive patrons that can simply snooty, overpriced and generally the domain of the blue haired set, not afford to see world- Dthe Cerritos Center for the Performing Arts has a reputation that is class performers anywhere anything but sedate. And for the lover of folk music, the Cerritos Center pro- in the area. So, we found a vides world class talent coupled with remarkable surroundings, and excellent way to use the Sierra Room sound and lighting. the Cerritos Center’s customer service level is remarkable, Theatre, which is less providing not only personalized ticketing, but a truly courteous staff dedicated expensive for us to run, as a to making your musical experience a perfect one. the Cerritos Center strives to first-class performance provide a varied menu of fine music, of which folk is but one ingredient. venue for first-class artists In the past several years, folk and roots artists such as Boys of the Lough; at a reasonable price point. The Clayfoot Strutters; Judy Collins; Guy Clark; Marshall Crenshaw; Second, the mere fact that Rodney Crowell; Greg Brown; John Gorka; Nanci Griffith; Arlo and the room was there and we Sarah Lee Guthrie; Eileen Ivers; the Nitty Gritty Dirt Band; Peter, Paul could use it meant that we and Mary; John Prine; Bonnie Rideout; Riders in the Sky; Suzanne could think seriously about Vega; Doc Watson with Vassar Clements and David Holt; Jessie Colin programming in new ways Young and many more have graced the stage at in that space. And finally, the Cerritos Center. Their upcoming 2004/05 there is a wealth of artistic Dennis Roger Reed is a musician based in San Clemente, CA. He’s performed and series plans to bring yet again another treasure talent out in the world that recorded bluegrass, blues, folk and rock; trove of talent to the venue. should be heard, but that writes songs; and plays guitar, bass and man- Part of the appeal of the Cerritos Center is isn’t yet capable of drawing dolin. He’s also written about music for five how the seating configuration can be altered to audiences large enough to years for the OC Weekly, and has been pub- best suit the event. Opened in 1993, the 154,000- make showcasing them in lished in a variety of publications including square-foot the Cerritos Center features a 6,000- our big hall a valuable InTune and MOJO. He is not humble. square-foot main auditorium, and is a remark- experience for the artists or ably sophisticated site, incorporating moveable for our audiences.” seats, floors, ceilings and stage areas. This the- But even with all this innovative ability to tailor the venue to the per- Ricky Skaggs ater can be altered into specific seating configu- former, the Cerritos Center would still falter if the talent chosen were not up rations to afford the idyllic setting, audience to the expectations of the concertgoer. And the Cerritos Center will not let that views and sound quality for each individual performance. Balcony seating happen. There is a commitment to provide a diverse amount of musical oppor- remains the only constant: floor seating is on adjustable wagons with air cast- tunities. Springer says “The decision to program a significant folk and roots ers, the stage can be configured to suit the event, and even the towers that music component is based on the audience’s interest in these musical styles house the distinctive box seats can be moved via their air casters. Ceiling pan- and their willingness to come to the Cerritos Center from wherever they live els can be moved to create just the right sound for each event. The majority of throughout Los Angeles and Orange counties. I think that it adds a unique and the new season folk events use the “Lyric” configuration, which seats 1,425 wonderful element of musical expression that is, in many ways, the historical music lovers. In the last several seasons, a special weeknight program has and artistic ground on which many of the other styles of music we present are been instigated called “Sierra Nights” that use the the Cerritos Center’s more built.” intimate Sierra Room. These reasonably priced events offer a more intimate If you haven’t enjoyed the experience of a musical event at the Cerritos feel that the main auditorium. The “Sierra Cabaret” seats 240, with 6 per table. Center, this upcoming season provides a variety of folk related acts to enjoy. The “Sierra Theatre” seats 330, and the “Sierra Cabaret with dance floor” Contact info: Cerritos Center for the Performing Arts, 12700 Center Court seats 192, with 6 seats per table and a dance floor. Craig M. Springer, Ph.D., Drive, Cerritos, CA 90703 Info: 562-916-8501 Ticket Office: 800-300-4345 Executive Director, states “There were three reasons we launched the Sierra or 562-916-8500 or e-mail: [email protected]. Nights series two years ago. First, we realize that there are many price sensi- www.cerritoscenter.com CD REVIEW

Artist: BRIAN KRAMER & THE COUCH LIZARDS Christer Lyssarides on electric, Title: NO REGRETS acoustic and resonator guitars, mandolin Label: ARMADILLO MUSIC LTD. #ARMD 00019 and backing vocals; Canadian Jim Release Date: SPRING 2004 O’Leary on drums and backing vocals; BY DENNIS ROGER REED Swede Mats Qwarfordt on harmonica, kalimba and backing vocals; Swede PA It’s impossible not to evoke the name of Eric Bibb when writing about Ulander on double bass and backing Sweden based Brian Kramer & The Couch Lizards new CD No Regrets. vocals; and Kramer on lead vocal and And there are some good reasons for that. Kramer has toured as Bibb’s resonator guitars. Together they are a accompanist, and contributed to Bibb’s Handy nominated Home to Me CD, tight, swinging unit. not only as a guitar player, but also as the co-writer of one of the cuts, New No Regrets features ten originals by Shoes. Kramer also added slide guitar to Bibb’s collaboration with his folk Kramer and two by Qwarfordt. Most are famed father Leon on A Family Affair. bright, upbeat blues, pulling in favorable Kramer talks about his relationship with Bibb: “Eric also lived in Sweden comparisons with Bibb’s best efforts. for many years. During the ‘lean years’ he played a regular weekly gig in Kramer’s lead vocals are a tad rawer that Bibb’s dulcet tones, but he conveys Stockholm and I was introduced to him through a mutual friend. We quickly a wealth of emotion with his pipes. The CD starts off with the title cut, and hit it off and shared a very strong commitment and philosophy toward using Kramer does an effective job putting a positive spin on his life choices. Old the music with a positive, uplifting focus. We always talked of the unlimited Photograph is a Kramer solo number coupling seductive slide guitar with possibilities involved if we could create an environment where this was dom- wistful lyrics inducing memories of a time past, and the present. Another high- inant.” light is Qwarfordt’s Come Home to Me, a paean to providing a safe haven for Kramer continues, “We then spent the next two years (1998-2000) at a a loved one that has roamed. Little Stone House is a soft number paralleling dizzying pace touring all over the globe! We were very much able to put into the stability of a structure on an island in the Baltic with a strong relationship, action this method of positive focus during this time and was an eye opening reveling in the now. experience for us both.” Why does Kramer’s work lean towards the positive, unlike many of So how did Brooklynite Kramer end up playing the blues in Sweden and today’s blues artists? “Well, the blues has always gotten a bad rap in this recording on a Brit record label named after a strange animal from the U.S. regard. That it should represent a sad life that implies failure...I’ve learned that Southwest? Kramer started out in New York frequenting blues venues, cop- blues music was mostly a tool of celebration and also a badge of courage ping licks and gaining encouragement from the likes of Buddy Guy and through tough times. Artists like Skip James and John Hurt have always Junior Wells, with Wells joining Kramer on Win or Lose, Kramer’s first included reflective, uplifting verses in their songs and that possibility was recording. Kramer spent the better part of the 1990’s as a mainstay of the New always there to be explored.” Kramer elaborates, “Our emotions are complex, York club scene, until moving to Sweden. “I was invited to tour around so that positive side should be equally reflected in this very adaptable form of Scandinavia around 15 years ago, at the very same time I met a young music called blues. It’s all a matter of intention. Why box it in? Let it grow Swedish girl in NYC before the tour,” explains Kramer. “After a few years, and evolve naturally! Plus, I have learned to appreciate my life for what it is we married, traveled back and forth regularly until deciding to re-locate there. on every level and because this is my own experience, it should be reflected Best career move I ever made, and I also got two lovely kids out of the deal!” in the music! I think folks appreciate the break from being reminded of how Kramer released Brian Kramer Trio and Friends, Live at the Folklore damn tough life can be and welcome a bit of encouragement.” Center in 2000. In 2001, Kramer and his band the Couch Lizards backed up The Couch Lizards provide a perfect match for Kramer’s solid instru- the legendary Larry Johnson on Two Gun Green and then in 2002 they mental chops, effective vocals, thoughtful lyrics and catchy melodies. released Everybody’s Story. Lyssarides’ electric guitar is particularly inspiring. No Regrets is a solid piece Now comes No Regrets. The Couch Lizards feature Swede/Greek of relaxed modern acoustic blues, painting positive images.

July-August 2004 FolkWorks Page 11

Fourth Annual long beach celtic music festival by the sea “Festival Tickets Include Admission to the Queen Mary”! Children 15 & under free with an adult Saturday August 14, 10am-8pm At the queen mary events park

● Sheep Herding Ticket Information ● Celtic Dance Purchase early & Save $$$ Before July 15, 2004 Exhibitions General Admission, $17.00 ● Work Shops Seniors (62 and Over), Students (16-22), Military, $12.00 ● Children’s Dance & After July 15, 2004 (If Available) Music Workshops General Admission, $20.00 ● Ancient Celtic Seniors (62 and Over), Students (16-22), Military, $15.00 Re-Enactment Children 15 & Under Free With Adult ● Celtic Market Place ● Free Dance Lessons ● Celtic & Bluegrass Music Jam Festival Tickets Include, Admission To “The Queen Mary” Session Area & Open Mike ● Great Food & Ale ● George the Giant ● Games & Rides Name: A Tremendously Talented & Diversified Lineup Of Celtic Music Entertainers... Address: ● Gaelic Storm City: State: Zip: Phone: E-Mail: ● wicked tinkers ● Wolfstone #of General Admission #of Senior/Student/Military Admission : ● ● Ken O’Malley celtic spring Total Amount Enclosed: ● banshee in the kitchen Mail To: PJM Productions, P.O. Box 1584, Long Beach, CA 90801 ● Everything Celtic With Self Addressed Stamped Envelope For more information go to: www.LongBeachCelticFestival.com CD REVIEW BY PAT MACSWYNEY

Title: REFLECTIONS OF EASTERN EUROPE Artist: NEVENKA Label: SELF-RELEASE Reflections of Eastern Europe marks the third recording by Nevenka, the L.A. based vocal group who have championed Balkan and assorted East European women’s music in L.A. for nearly three decades. For fans of the genre, this latest recording includes multiple examples of full eastern European women’s choirs in the style of the old socialist-era state choirs made famous in the west by the recordings of Le Mystere des Voix Bulgares and various East European choirs marketed under similarly odd names. However, for those of you familiar with the aforementioned recordings who might be thinking to yourselves, “Been there, done that,” this recording is as varied as it is beautifully arranged, sung and recorded. Peppered or more appropriately, “chubritzed” between the Bulgarian (#1, 2, 19 & 20) & Georgian (#8, 13 & 14) choir pieces you will find smaller group settings more typical of the Sedyanke (women’s working bee) vocal tradition (#7 & 10). Additionally, there are solo Greek songs from the Rebetica (urban Greek “blues” from the first half of the 20th century) tradition accompanied by bouzouki, baglama and guitar (#2, 4, & 17). Additionally, there are songs from Albania, Croatia, Armenia, and Russia arranged from simple melody and drone to very complex 3 and 4 part harmony. A few personal favorites include Rusan na Ruska Dumashe, an achingly beautiful Bulgarian song of heartbreak with progressive layers of crystalline voices beginning with a single voice and ending with the full choir; the wist- ful Greek Ela pare me and playful Pos tha perasi I vradhia; Deda mgik’vde- sa, a Georgian mother’s lament for her dead son; the dreamy Sephardic El Sueno de la Hija del Rey, the Albanian Vete me the te dua sung as a duet of melody and drone reminiscent of the local Gajda (bagpipe), a singing style typical of the western Balkans; and the lush Bulgarian Zakusnjala e Lalitsa which finishes off the CD. With Reflections of Eastern Europe, Nevenka runs the gamut from melancholic to uplifting and nearly every human emo- tion in between. For fans of Balkan music, women’s music, choir music or just great music, this is an engaging, soulful, brilliantly executed and very highly recommended recording which has scarcely left my stereo since it’s release last month! Reflections of Eastern Europe as well as Nevenka’s two prior recordings are available from: [email protected] (or) c/o T. Israel 4207 Matilija Ave., Sherman Oaks, CA 91423

Pat MacSwyney is author of The Complete Gobshite’s Guide to BALKAN FOLK DANCE MUSIC and performs in the Los Angeles based Balkan dance band, The Baksheesh Boys as well as the Irish/Pan-Euro folk band StinkEye. He can be contacted at [email protected]

Page 12 FolkWorks July-August 2004 CAMPS & WORKSHOPS IDYLLWILD ARTS SUMMER PROGRAM MARIMBA AND DRUMMING CLASSES Idyllwild Arts is located in the San Jacinto Mountains of July 8 7 Thursdays 4:00pm - $5/class Southern California, just 2 hours east of Los Angeles, or one hour Topanga Community House from Palm Springs or Riverside. Advance registration is necessary. 1440 N. Topanga Blvd. WORKSHOPS IN TRADITIONAL AND FOLK ARTS (partial list) Information: Call Ric 310-455-3575 July 5-6 Two day workshop: Printmaking on with Woodblocks, taught SPECIAL ADDITIONAL EVENT! by Chetna Mehta (traditional methods of India, using fabric). August 6 7:30pm Redwood Dulcimer Day Faculty Concert July 7-8 Two day workshop: Papel Picado, taught by Margaret Sosa $12 advance/$15 door. Tickets 831-338-9642 (Mexican paper cutting usåing). Ananda Sangha Yoga Center July 12-17 One week workshop: Oaxacan Woodcarving/Painting taught by 13150 Highway 9, Boulder Creek Jacobo Angeles Ojeda. REDWOOD DULCIMER DAY July 16-18 Three day session: A Taste of Folk Music with Sandii Castleberry and Ron Daigh. August 710am-5pm The Boomeria, Bonny Doon, CA Fretted dulcimer workshops followed by dinner & performance July 19-23 One week workshop: Vietnamese Watercolor on Silk taught by Minh Quang Phan. showcase/jam www.idyllwildarts.org/root/summer/prog/aac/s_prog_aac_cat.html Admission (includes three workshops, BBQ chicken dinner, and • 909-659-2171, ext. 365 • [email protected]. showcase): $40 advance (check received by July 31) $45 at the door OOOLATION! OUTDOOR SINGING CAMP Registration: www.folkplanet.com (click on “dulcimer day”) Janet [email protected] or 831-429-1691 Ooolation! is where two of the most fun things in the world happen: being outdoors and singing. If you like to move when you sing and enjoy musical traditions from all over the world, come join us in the aspens east of Yosemite or the redwoods down by the coast. Ooolation! is a place where you can live, eat and breathe song and the food is great! SUPPORT Registration: 1111 E. Wylie St., Bloomington, IN 47401 812-333-0838 [email protected] www.oooliticmusic.com FolkWorks CAMP STAFF: Malcolm Dalglish (hammered dulcimer, voice, movement) Become A Member Moira Smiley (traditional vocal styles, movement) Annegret Baier (West African percussion, voice) (see Page 21) Naomi Dalglish (voice, movement) Daniel Steinberg (South American choral) [email protected] or call 818-785-3839 Joshua Kartes (voice, language) • CALIFORNIA SESSIONS: www.FolkWorks.org August 6-15 Eastern Sierras • East of Yosemite overlooking Mono Lake with Malcolm Dalglish, Moira Smiley, Naomi Dalglish, Joshua Kartes - Ages 14 - 20 (with flexibility). August 19-22 Redwoods Retreat • Near Big Basin State Park with Annegret Baier, Daniel Steinberg, Malcolm Dalglish, Moira Smiley, Naomi Dalglish, Joshua Kartes - For Adults (17 and older) 1st Annual FAR-West Region Conference o, are you a folk music artist? A folk music presenter? In the record industry? Are you an agent or a manager? In either the print or Sbroadcast media? Arts administrator? Member of a folk music society or a folk club? Folklorist, educator, butcher, baker or candlestick maker? Well, unless you’re one of the last three, you need to attend the First Annual FAR-West Regional Conference held October 29-31, 2004 at the Warner Center Marriot in Woodland Hills, CA. FAR-West is a regional branch of Folk Alliance, and hopes to bring the various folk shareholders in the west together in order to build a communication network, support regional activities of member organizations, and promote an annual region- al conference where all can get together to learn, exchange ideas and music, and most important of all, meet and make valuable connections and friend- ships. The ultimate goal is to raise the awareness of folk music and dance in the west and make the West a better place for enthusiasts, presenters and performers. The 1st Annual Conference will feature workshops, panels and seminars; an exhibition hall; private & official talent showcases; and of course, great volunteer opportunities. This is a chance to make invaluable contacts among the movers and shakers of folk music in the West! The pre-registration cost is super reasonable: $130 for the weekend or $150 at the door. Single day costs, full info on the various showcases and a tentative schedule of events is available at www.far-west.org. The Warner Center Marriot is offering special discount rates for the event. Plan on attending for a fun and rewarding event!

“All the ills of mankind, all the tragic misfortunes that fill the history books, all the political blunders, all the failures of the great leaders have arisen merely from a lack of skill at dancing.” -- Moliere www.artkitchen.com

July-August 2004 FolkWorks Page 13

on-going music happenings MUSIC, MUSIC and more MUSIC HOUSE CONCERTS, etc. BLUE RIDGE PICKIN’ PARLOR BARCLAY’S COFFEE NOVEL CAFE 17828 Chatsworth St., Granada Hills 8976 Tampa Ave., Northridge • 818-885-7744 212 Pier Ave., Santa Monica • 310-396-8566 These are informal, intimate special events that people www.pickinparlor.com • 818-282-9001 hold in their homes. BEANTOWN PORTFOLIO CAFE Some are listed under SPECIAL EVENTS (Page 28). CALTECH FOLK MUSIC SOCIETY 45 N. Baldwin Ave., Sierra Madre 626-355-1596 2300 E 4th St., Long Beach • 562-434-2486 Call your local hosts for scheduled artists! California Institute of Technology, Pasadena BUSTER’S COFFEE AND ICE CREAM PRISCILLA’S GOURMET COFFEE www.folkmusic.caltech.edu • 888-222-5832 1006 Mission St., South Pasadena 626-441-0744 4150 Riverside Dr., Burbank • 818-843-5707 CONCERTS AT THE BODIE HOUSE [email protected] Agoura Hills [email protected] COFFEE CARTEL SACRED GROUNDS COFFEE HOUSE CELTIC ARTS CENTER www.BodieHouse.com 1820 Catalina Ave., Redondo Beach 310-316-6554 399 W 6th St., San Pedro • 310-514-0800 4843 Laurel Canyon Blvd., Valley Village NOBLE HOUSE CONCERTS 818-760-8322 • www.celticartscenter.com COFFEE GALLERY BACKSTAGE SPONDA MUSIC & ESPRESSO BAR 5705 Noble Ave., Van Nuys • 818-780-5979 2029 N. Lake, Altadena 49 Pier Ave., Hermosa Beach •310-798-9204 CERRITOS CENTER 626-398-7917 • www.coffeegallery.com MARIE AND KEN’S Beverlywood • 310-836-0779 FOR THE PERFORMING ARTS UN-URBAN COFFEHOUSE COFFEE KLATCH 3301 Pico Blvd., Santa Monica • 310-315-0056 RUSS & JULIE’S HOUSE CONCERTS 12700 Center Court Drive, Cerritos 8916 Foothill Blvd., Rancho Cucamonga Agoura Hills / Westlake Village 562-916-8501 • www.cerritoscenter.com VIRTUAL WORLD CAFÉ 909- 944-JAVA www.jrp-graphics.com/houseconcerts.html [email protected] 5653 Kanaan Rd., Agoura Hills • 818-865-8602 [email protected] CTMS CENTER FOR FOLK MUSIC COFFEE KLATCH ZOEYS CAFÉ UPSTAIRS 806 W. Arrow Hwy., San Dimas 909-599-0452 RYAN GUITAR’S • Westminster • 714-894-0590 16953 Ventura Blvd., Encino 451 East Main St., Ventura 818-817-7756 • www.ctms-folkmusic.org HALLENBECKS 805-652-1137 • 805-652-0091 THE TEDROW’S • Glendora • 626-963-2159 FIRESIDE CONCERTS 5510 Cahuenga Blvd., North Hollywood www.zoeyscafe.com/music.html KRIS & TERRY VREELAND’S Corner of Borchard & Reino, Newbury Park 818-985-5916 • www.hallenbecks.com CLUBS/RESTAURANTS South Pasadena • 323-255-1501 Bob Kroll 805-499-3511 [email protected] HIGHLAND GROUNDS CAFE LARGO BRIGHT MOMENTS IN A COMMON PLACE FOLK MUSIC CENTER 742 N. Highland Ave., Hollywood hosted by David Zink, Altadena • 626-794-8588 432 N. Fairfax Ave., Los Angeles 323-852-1073 220 Yale Ave., Claremont 323-466-1507 • www.highlandgrounds.com CONCERT VENUES 909-624-2928 • www.folkmusiccenter.com IT’S A GRIND GENGHIS COHEN 4245 Atlantic Ave., • 562-981-0028 740 N. Fairfax Ave., Los Angeles 323-653-0653 ACOUSTIC MUSIC SERIES FOLKWORKS CONCERTS Long Beach CONGA ROOM [email protected] • 626-791-0411 818-785-3839 • www.FolkWorks.org IT’S A GRIND 5364 Wilshire Blvd., Los Angeles 323-930-1696 www.acousticmusicseries.com [email protected] 5933 E. Spring St., Long Beach • 562-497-9848 THE BARCLAY THE FRET HOUSE KULAK'S WOODSHED BEFORE ATTENDING ANY EVENT 4255 Campus Drive, 309 N. Citrus, Covina 5230-1/2 Laurel Canyon Blvd., North Hollywood Contact the event producer to verify information Irvine before attending any event. (Things change!!!) www.thebarclay.org • 949-854-4646 818-339-7020 • covina.com/frethouse 818-766-9913 • www.kulakswoodshed.com CORRECTIONS BOULEVARD MUSIC GRAND PERFORMANCES LU LU’S BEEHIVE FolkWorks attempts to provide current and accurate California Plaza, 350 S. Grand Ave., 13203 Ventura Blvd., • 818-986-2233 information on all events but this is not always possible. 4316 Sepulveda Blvd., Culver City Los Angeles Studio City LIST YOUR EVENT! 310-398-2583 • [email protected] 213-687-2159 • www.grandperformances.org MONROVIA COFFEE HOUSE To have your on-going dance event listed in www.boulevardmusic.com FolkWorks provide the following information: The Listening Room 425 S. Myrtle, Monrovia • 626-305-1377 • Indicate if it’s an on-going or one-time event The Historic Aztec Hotel, Mayan Room • Category/Type of Dance (i.e., Cajun, Folk) 311 W. Foothill Blvd., Monrovia, CA • Location Name • Event Day(s) and Time • Cost • Event Sponsor or Organization www.listeningroomconcerts.com • Location Address and City THE LIVING TRADITION • Contact Name, Phone and/or Email 250 E. Center St., Anaheim Send to: [email protected] or 818-785-3839 949-559-1419 • www.thelivingtradition.org McCABE’S GUITAR SHOP 3101 Pico Boulevard, Santa Monica 310-828-4497 • www.mccabesguitar.com Concert Hotline 310-828-4403 SAN JUAN CAPISTRANO COFFEE MULTICULTURALARTS SERIES San Juan Capistrano Public Library KPFK [North Hollywood] (90.7FM) (98.7FM 31495 El Camino Real, San Juan Capistrano Santa Barbara) www.kpfk.org 949-248-7469 • www.musicatthelibrary.com KCSN [Northridge] (88.5FM) www.kcsn.org KUCR [Riverside] (88.3FM) www.kucr.org SKIRBALL CULTURAL CENTER KPCC [Pasadena] (89.3FM) www.kpcc.org 2701 N. Sepulveda Blvd., L.A. KRLA [Hollywood] (870AM) 310-440-4500 • www.skirball.org KXMX [Los Angeles] (1190AM)THURSY UCLA PERFORMING ARTS CENTER THURSDAY Royce or Shoenberg Halls, Westwood 310-825-4401 • www.performingarts.ucla.edu 7:00-9:00pm Down Home (KCSN) Chuck Taggart (variety including Celtic, COFFEE HOUSES Cajun, Old-time, New Orleans, 14 BELOW Quebecois) 1348 14th St., Santa Monica • 310-451-5040 11:00pm-1:00am Blues Power (KPFK) Bobbee Zeno (blues) ANASTASIA’S ASYLUM 1028 Wilshire Blvd., Santa Monica • 310-394-7113 FRIDAY 9:00-11:00am Midnight Special (KUCR) 7:00-9:00pm Tex-Mex (KUCR) El Guapo Lapo SATURDAY JAM SESSIONS / OPEN MIKES / SINGS and more 6:00-7:00am Around the Campfire (KCSN) NOTE: NOT ALL SESSIONS ARE VINCENZO’S McCABE’S GUITAR STORE 2nd Saturdays - 4:00-6:00 Mike Mahaney (Cowboy and Western OPEN, PLEASE ASK SESSION Saturdays 7:30-10:30pm First Sundays - signup 5:45pm • Free Santa Monica The Learners Group Laura music) Grateful Dudes 3101 Pico Blvd., Santa Monica 310-450-3516 6:00-8:00am Wildwood Flower (KPFK) LEADER IF IT’S OK TO JOIN IN! Ben Elder (mostly Bluegrass) BLUEGRASS 24500 Lyons Ave., Newhall 310-828-4403 • www.mccabesguitar.com SIGNAL HILL HOUSE JAM 7:00-10:00am Bluegrass Express (KCSN) 661-259-6733 OLD TIME JAM SESSIONS 1st & 3rd Tuesday 6:00pm Mike Mahaney (Bluegrass) BLUE RIDGE PICKIN’ PARLOR DRUMMING 240 Industry Dr., Signal Hill 8:00-10:00am FolkScene (KPFK) Bluegrass Jam CAJUN WAY Don Rowan • 562- 961-0277 Roz and Howard Larman (all folk 7828 Chatsworth St., Granada Hills YORUBA HOUSE Wednesdays - 7:00pm including live interviews, singer-song- www.pickinparlor.com • 818-282-9001 Tuesdays 7:00pm 110 E. Colorado Blvd., Monrovia SONGMAKERS writers and Celtic music) call for schedule 310-475-4440 yorubahouse.net 626-574-0292 Wednesdays Simi Valley Hoot 10:00-11:00am Halfway Down the Stairs (KPFK) Simi Valley 7:30-11:30pm THE CINEMA BAR OPEN MIKES CTMS CENTER FOR FOLK MUSIC Uncle Ruthie Buell (Children’s show 805-583-5777 with folk music) 1st Wednesdays 9:00pm 1st Sundays 4:00-8:00pm 1st Mondays Musical 1st Monday 10:00am-1:00pm TWANG (KCSN) with Cliff Wagner and Old #7 BOULEVARD MUSIC 16953 Ventura Blvd., Encino 3rd Sundays - Variety Night Simi Valley 1:00-4:00pm Cowboy Nick(classic Country music 3967 Sepulveda Blvd., Culver City 818-817-7756 805-520-1098 3:00-5:00pm Prairie Home Companion® (KPCC) 310-390-1328 4316 Sepulveda Blvd., Culver City 310-398-2583 [email protected] IRISH MUSIC SESSIONS 1st Fridays North Country Hoot Garrison Keillor (Live - variety show) CURLEYS CAFÉ Bluegrass Jam Northridge 8:00pm-Midnight 5:00-8:00pm Classic Heartland (KCSN) Mondays 7:00-9:00pm CAFÉ BELLISSIMO CELTIC ARTS CENTER 818-993-8492 George Fair (vintage country) 1999 E. Willow (at Cherry), Signal Hill Main Street Songwriters Showcase Mondays - 9:00pm 1st Saturdays Orange County Hoot 6:00-8:00pm Prairie Home Companion® (KPCC) 562-424-0018 Tuesdays 7:30pm (1st Mondays @ 8:00pm) Anaheim Hills 8:00pm-Midnight Garrison Keillor (Rebroadcast - variety 22458 Ventura Blvd., Woodland Hills Beginners Session: Sundays 4:00-6:00pm show) EL CAMINO COLLEGE 714-282-8112 818-25-0026 4843 Laurel Canyon Blvd, Valley Village 2nd Saturdays Camarillo Hoot 7:00-8:00pm Canto Sin Frontera (KPFK) Bluegrass Jam www.garretswayne.com/msss.html 818-760-8322 • www.celticartscenter.com Tanya Torres (partly acoustic, Latin 1st Sundays 1:00-5:00pm Camarillo 8:00pm-Midnight political) (12:00-4:00pm DST) FENDI’S CAFÉ THE HARP INN 805-484-7596 8:00-10:00pm Canto Tropical (KPFK) 16007 Crenshaw Blvd., Torrance Fridays 6:00-8:00pm 2nd Sundays 3:00–7:00pm 3rd Thursdays Camarillo “Lite” Hoot Hector Resendez (partly acoustic, bilin- Bill Elliott 909-678-1180 • Ron Walters 539 East Bixby Rd. (nr. Atlantic), 130 E. 17th Street - Costa Mesa Camarillo 7:00-11:00pm gual Latin / Carribbean) 310-534-1439 Long Beach • 62-424-4774 www.harpinn.com 949-646-8855 805-482-0029 9:00pm-midnite Noche de Ronda (KCSN) 3rd Saturdays South Bay Hoot Betto Arcos (Latin and Latin roots ME-N-ED’S FOLK MUSIC CENTER LARRY BANE SEISUN 4th Sunday signup 7:00pm, 7:30pm $1 1st Sundays 4:00-6:00pm Redondo Beach 8:00pm-Midnight music) Saturdays 6:30-10:30pm 310-376-0222 4115 Paramount Blvd. (at Carson), 220 Yale Ave., Claremont • 909-624-2928 Set Dance workshop 2:00-3:00pm SUNDAY with Michael Breen of The Los Angeles 3rd Sundays East Valley Hoot Lakewood • 562-421-8908 THE FRET HOUSE 6:00-8:00am Gospel Classics (KPFK) Irish Set Dancers. Van Nuys 1:00-5:00pm 818-780-5979 STARGAZER 1st Saturdays - signup 7:30pm 4th Saturdays West Valley Hoot Edna Tatum 309 N. Citrus, Covina The Moose Lodge 6:00-10:00am Bluegrass, Etc. (KCSN) 3rd Tuesdays 1901 W. Burbank Blvd., Burbank Woodland Hills 8:00pm-Midnight 626-339-7020 818-887-0446 Frank Hoppe (Bluegrass, Old-time, 6501 Fallbrook (and Victory Blvd.) 818-898-2263 • [email protected] many historical recordings) West Hills 818-704-6633 www.covina.com/frethouse 4th Sundays West L.A. Hoot & Potluck FINN McCOOL 2:00-3:00pm The Irish Radio Hour (KXMX) Bluegrass Assoc. of Southern California HALLENBECKS West L.A. 5:00-9:00pm 310-203-0162 Tom McConville (some Irish music) Joy Felt 818-705-8870 Tuesdays - signup 7:30pm - Free Sundays - 4:00-7:00pm - come listen! 5th Saturdays Take The Fifth Hoot Tuesdays - 8:00pm - come play! 11:00am-1:00pm Prairie Home Companion® (KPCC) Harley Tarlitz 818-902-2121 5510 Cahuenga Blvd., North Hollywood Sherman Oaks 8:00pm-Midnight Garrison Keillor (Rebroadcast - variety 818-985-5916 • www.hallenbecks.com 2702 Main St., Santa Monica 818-761-2766 TORRANCE ELKS LOUNGE 310-452-1734 show) HIGHLAND GROUNDS WELSH CHOIR OF SO. 10:00-11:00pm Sunday Night Folk (KRLA) Bluegrass Jam GROUP SINGING 4th Sundays 1:00-5:00pm Wednesdays - 8:00-11:00pm CALIFORNIA Jimmy K. (Classic folk music) 1820 Abalone Ave., Torrance 742 N. Highland Ave., Hollywood SANTA MONICA TRADITIONAL Sundays 1:30pm • Rutthy 818-507-0337 MONDAY-FRIDAY Bill Elliott 909-678-1180 213-466-1507 • FOLK MUSIC CLUB YIDDISH SINGING (HULYANKE) 10:00am-noon The Global Village (KPFK) Bob/Lynn Cater 310-678-1180 www.highlandground.com 1st Saturdays 7:30-11:30pm 3rd Thursdays, Sherman Oaks “Music from around the world and THE UGLY MUG CAFE KULAK'S WOODSHED Sha'Arei Am (Santa Monica Synagogue) Sholem Community Org. around the block” Bluegrass Jam Mondays - 7:30pm • Free 1448 18th St., Santa Monica Lenny Potash 323-665-2908 ON THE INTERNET 3rd Sundays 7:00-9:00pm host Kiki Wow [email protected] WESTERN MUSIC 261 N. Glassell, Orange Sundays Songwriter showcase Santa Monica Folk Music Club Thistle & Shamrock Mostly singer-songwriters every night www.santamonicafolkmusicclub.org 3rd Sundays – 1:00–3:00pm Fiona Ritchie (Celtic Music) 714-997-5610 or 714-524-0597 www.npr.org/programs/thistle 5230 1/2 Laurel Canyon Blvd., 4700 Western Heritage Way, Griffith Park VIVA CANTINA SHAPE NOTE/SACRED HARP Driven Bow / Fiddlin’ Zone www.museumoftheamericanwest.org Classic country music throughout the North Hollywood 1st Sundays - 3:30pm-6:00pm Gus Garelick (Fiddle Music) 323-667-2000 week. 818-766-9913 • www.kulakswoodshed.com Eagle Rock Mary Rose Ogren O’Leary www.krcb.org/radio/ Western Music Assoc., So. Cal Chapter 900 Riverside Dr., Burbank 323-354-7707 • www.fasola.org Riders Radio Theatre Museum of the American West 818-845-2425 • www.vivacantina.com 3rd Sundays - 3:00-5:30pm Riders in the Sky West L.A. Pat Keating 310-557-1927 (formerly Autry Museum) (Cowboy variety show) www.wvxu.com/html/riders.html

Page 14 FolkWorks July-August 2004 FOLK HAPPENINGS AT A GLANCE JULY 2004

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 African (OGD) JANET KLEIN (SE) BIG SANDY & HIS FLY-RITE BOYS (SE) FOLK HAPPENINGS AT A GLANCE Belly Dancing (OGD) THE RAINWATER BLUEGRASS BAND (SE) LUNA LOKA (SE) English (OGD) THE DUO-TONES DAN CROW (SE) International (OGD) (Paul Johnson & Gil Orr) (SE) THE BLUES PIRATES (SE) Irish (OGD) RICHARD THOMPSON (SE) JANET KLEIN & HER PARLOR BOYS (SE) Check out details by Israeli (OGD) Contra (OGD) CLIFF WAGNER AND THE OLD #7 (SE) Scottish (OGD) Greek (OGD) FRAN BANISH, LEE FERRIS, following the page references: International (OGD) FOOL MOON (SE) Scottish (OGD) BLUEGRASS AT THE FORD (SE) OGM: On-going Music - page 13 Group Singing (OGM) Contra (OGD) Open Mike (OGM) Bluegrass (OGM) OGD: On-going Dance - page 16 Group Singing (OGM) Open Mike (OGM) SE: Special Events - page 28

4 5 6 7 8 9 10 JAMIE LAVAL TRIO (SE) CHRISTENE LEDOUX (SE) RIDERS OF THE PURPLE SAGE (SE) BANSHEE IN THE KITCHEN (SE) GIPSY KINGS (SE) RETURN TO SIN CITY: A TRIBUTE TO GREEK FESTIVAL (SE) International (OGD) Balkan (OGD) Armenian (OGD) Balkan (OGD) African (OGD) GRAM PARSONS (SE) THE GOOD OLD FASHIONED BLUE- Polish (OGD) International (OGD) International (OGD) International (OGD) Belly Dancing (OGD) GREEK FESTIVAL (SE) GRASS FESTIVAL (SE) RETURN TO SIN CITY: A TRIBUTE TO Scottish (OGD) Irish (OGD) Israeli (OGD) Irish (OGD) International (OGD) THE GOOD OLD FASHIONED BLUE- GRASS FESTIVAL (SE) GRAM PARSONS (SE) Israeli (OGD) Israeli (OGD) Scottish (OGD) Israeli (OGD) Irish (OGD) MARIA DE BARROS MASANGA MARIMBA ENSEMBLE (SE) Bluegrass (OGM) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) Israeli (OGD) and SOUAD MASSI (SE) DANCE AND MUSIC OF INDIA (SE) Old Time Jam (OGM) Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) Scottish (OGD) GIPSY KINGS (SE) STEVE WHITE (SE) I AM CUBA (SE) Group Singing (OGM) Scottish (OGD) Group Singing (OGM) Group Singing (OGM) JOHN STEWART (SE) JOHN STEWART (SE) Irish Session (OGM) Irish Session (OGM) Drumming (OGM) Open Mike (OGM) RIDERS OF THE PURPLE SAGE plus MERLIN SNIDER & HIS PRETTY GOOD Open Mike (OGM) Open Mike (OGM) Old Time Jam (OGM) ACQUAINTANCES PHIL VAN TEE (SE) plus CHAD WATSON (SE) Bluegrass (OGM) Bluegrass (OGM) Cajun (OGD) Contra (OGD) CHRIS HILLMAN & HERB PEDERSEN (SE) Group Singing (OGM) Greek (OGD) Hungarian (OGD) BOB JONES and MR. PETE (SE) International (OGD) LISA FINNIE & THE NICE GUYS (SE) Israeli (OGD) BANSHEE IN THE KITCHEN Scottish (OGD) and RICK SHEA (SE) Open Mike (OGM) Contra (OGD) Bluegrass (OGM) Group Singing (OGM) 11 12 13 14 15 16 17 GREEK FESTIVAL (SE) Balkan (OGD) Armenian (OGD) ASHLEY MAHER (SE) THE YOUNG DUBLINERS (SE) CALIFORNIA WORLDFEST (SE) CALIFORNIA WORLDFEST (SE) THE GOOD OLD FASHIONED BLUE- International (OGD) International (OGD) DAN CROW (SE) CALIFORNIA WORLDFEST (SE) SAN DIEGO NORTH COUNTY BLUE- SAN DIEGO NORTH COUNTY BLUEGRASS GRASS FESTIVAL (SE) Irish (OGD) Israeli (OGD) LILA DOWNS (SE) ALASDAIR FRASER & NATALIE HAAS (SE) GRASS & FOLK CLUB CAMPOUT & FOLK CLUB CAMPOUT (SE) (SE) JAPANESE SUMMER FESTIVAL (SE) Israeli (OGD) Scottish (OGD) YOUSSOU N’DOUR (SE) HAMZA EL DIN & COLORADO BRIDGE FAIR (SE) JUAN SANCHEZ (SE) THE KYOGEN 2004 (SE) Morris (OGD) Open Mike (OGM) Balkan (OGD) JOAN JEANRENAUD (SE) CALIFORNIA IRISH FESTIVAL & FEIS (SE) JOHN STEWART (SE) SLIGO RAGS (SE) Scandinavian (OGD) Irish Session (OGM) International (OGD) African (OGD) MASANGA MARIMBA ENSEMBLE (SE) BANSHEE IN THE KITCHEN (SE) BANSHEE IN THE KITCHEN (SE) Scottish (OGD) Drumming (OGM) Irish (OGD) Belly Dancing (OGD) PALM WINE BOYS (SE) PIERRE BENSUSAN (SE) BOOM-CHICKA-BOOM (SE) Irish Session (OGM) Israeli (OGD) English (OGD) BANSHEE IN THE KITCHEN (SE) Contra (OGD) BOBBY KIMMEL & 4 CORNERS plus Open Mike (OGM) Scandinavian (OGD) International (OGD) CLADDAGH (SE) FRED SOKOLOW (SE) Greek (OGD) Bluegrass (OGM) Scottish (OGD) Irish (OGD) QI MUSIC (SE) TRACY CHAPMAN, OUMOU SAN- International (OGD) Group Singing (OGM) Israeli (OGD) EVAN MARSHALL (SE) GARE, TANIA LIBERTAD (SE) Scottish (OGD) Open Mike (OGM) Scottish (OGD) JANET KLEIN & HER PARLOR BOYS (SE) GIPSY KINGS (SE) Open Mike (OGM) Old Time Jam (OGM) Group Singing (OGM) Contra (OGD) Contra (OGD) International (OGD) International (OGD) Israeli (OGD) Polish (OGD) Bluegrass (OGM) Scottish (OGD) Group Singing (OGM) Group Singing (OGM) Irish Session (OGM) Open Mike (OGM) 18 19 20 21 22 23 24 CALIFORNIA WORLDFEST (SE) Balkan (OGD) MUSIC AT THE ZOO – Balkan (OGD) LES YEUX NOIR and QUETZAL (SE) WOLF MOUNTAIN WORLD MUSIC NIGHT (SE) BLUEGRASS FESTIVAL (SE) WOLF MOUNTAIN BLUEGRASS FESTIVAL (SE) SAN DIEGO NORTH COUNTY BLUEGRASS International (OGD) International (OGD) MARTA SANTA MARIA and VIAJEM (SE) GREAT AMERICAN BLUEGRASS AND & FOLK CLUB CAMPOUT (SE) Irish (OGD) SUSIE GLAZE AND HILONESOME (SE) Irish (OGD) African (OGD) KHMER ARTS ACADEMY (SE) ACOUSTIC MUSIC FESTIVAL (SE) SUMMER STRAWBERRY BALLETTE (SE) Israeli (OGD) Armenian (OGD) Israeli (OGD) Belly Dancing (OGD) MICHAEL CHAPDELAINE (SE) SACRED HARP SINGING (SE) PIERRE BENSUSAN (SE) International (OGD) TOMMY EMMANUEL (SE) MALATHI IYENGAR & RANGOLI Morris (OGD) Scandinavian (OGD) International (OGD) DANCE COMPANY (SE) DENNIS GAINES plus THE REMNANTS (SE) Scandinavian (OGD) Israeli (OGD) Scottish (OGD) Irish (OGD) CHRIS FOSTER and BANSHEE IN THE KITCHEN (SE) BARA GRIMSDOTTIR (SE) YOUNG DUBLINERS (SE) Scottish (OGD) Scottish (OGD) Group Singing (OGM) Israeli (OGD) SAVE THE VERDUGOS Benefit (SE) Greek (OGD) International (OGD) Irish Session (OGM) Bluegrass (OGM) Open Mike (OGM) Scottish (OGD) HO’IKE 2004 (SE) Hungarian (OGD) Israeli (OGD) Open Mike (OGM) Open Mike (OGM) Old Time Jam (OGM) LA FIESTA MUNDIAL DEL MARIACHI (SE) International (OGD) HARRIET SCHOCK plus Polish (OGD) Bluegrass (OGM) Irish Session (OGM) ANDREA ROSS-GREENE (SE) Scottish (OGD) Group Singing (OGM) Israeli (OGD) MICHAEL DART AND Group Singing (OGM) Drumming (OGM) Scottish (OGD) THE FLATLANDERS (SE) Irish Session (OGM) Open Mike (OGM) RIZWAN-MUAZZAM QAWWALI (SE) MICHAEL CHAPDELAINE Western Music (OGM) and ROBBY LONGLEY (SE) Bluegrass (OGM) DOUG MACLEOD (SE) Open Mike (OGM) Contra (OGD) Bluegrass (OGM) Group Singing (OGM) 25 26 27 28 29 30 31 WOLF MOUNTAIN BLUEGRASS FESTIVAL (SE) Balkan (OGD) JACKSON BROWNE and SOL DE ALEGRIA (SE) THE ARAB-ISRAELI ORCHESTRA OF LARK CAMP - WORLD MUSIC & COSTUME COLLEGE (SE) GREAT AMERICAN BLUEGRASS AND International (OGD) SHAWN COLVIN (SE) Balkan (OGD) NAZARETH (SE) DANCE CELEBRATION 2004 (SE) JUDY COLLINS (SE) ACOUSTIC MUSIC FESTIVAL (SE) Irish (OGD) Armenian (OGD) International (OGD) African (OGD) COSTUME COLLEGE (SE) INTERNATIONS ACADEMY OF CULVER CITY MUSIC FESTIVAL (SE) Israeli (OGD) International (OGD) Irish (OGD) Belly Dancing (OGD) LOS DE ABAJO (SE) MIDDLE EASTERN DANCE (SE) International (OGD) Morris (OGD) Israeli (OGD) Israeli (OGD) International (OGD) BANSHEE IN THE KITCHEN (SE) REEL BLACK COWBOY FILM AND WESTERN FESTIVAL (SE) Israeli (OGD) Scandinavian (OGD) Scottish (OGD) Scandinavian (OGD) Irish (OGD) MALATHI IYENGAR & RANGOLI DANCERS OF INDIA (SE) BANSHEE IN THE KITCHEN (SE) Polish (OGD) Scottish (OGD) Open Mike (OGM) Scottish (OGD) Israeli (OGD) JEAN SUDBURY AND FRIENDS (SE) Scottish (OGD) Irish Session (OGM) Irish Session (OGM) Group Singing (OGM) Scottish (OGD) PLAZA DE LA RAZA ART AUCTION (SE) DENNIS ROGER REED (SE) Group Singing (OGM) Open Mike (OGM) Drumming (OGM) Open Mike (OGM) PORTERHOUSE BOB & ROBBY LONGLEY plus DOWN TO THE BONE (SE) Open Mike (OGM) Bluegrass (OGM) Old Time Jam (OGM) THE REMNANTS (SE) Irish Session (OGM) JANET KLEIN & HER PARLOR BOYS (SE) Greek (OGD) Bluegrass (OGM) LISA FINNIE AND THE BACKTALKERS (SE) International (OGD) Open Mike (OGM) BILL TAPIA (SE) Scottish (OGD) SALON MEXICO (SE) Open Mike (OGM) Contra (OGD) Bluegrass (OGM) Group Singing (OGM)

July-August 2004 FolkWorks Page 15 FOLK HAPPENINGS AT A GLANCE AUGUST 2004

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 5 6 7 COSTUME COLLEGE (SE) WE FIVE (SE) THE FLATLANDERS (SE) Balkan (OGD) JANIS IAN and RICHIE HAVENS (SE) RICHIE HAVENS (SE) So. Cal FILK FESTIVAL (SE) CAROLINE HERRING (SE) ERIC CLAPTON plus Armenian (OGD) International (OGD) THE FLATLANDERS (BUTCH So. Cal FILK FESTIVAL (SE) RICHIE HAVENS (SE) THE YUVAL RON ENSEMBLE (SE) ROBERT RANDOLPH & International (OGD) Irish (OGD) HANCOCK, JIMMIE DALE GILMORE ALOHA LIVE 2004 (SE) HIGH COTTON (SE) THE FAMILY BAND (SE) AND JOE ELY) (SE) International (OGD) Israeli (OGD) Israeli (OGD) SUSIE GLAZE (SE) HIGH HILLS (SE) Balkan (OGD) PERLA BATALLA (SE) Polish (OGD) Scottish (OGD) Scandinavian (OGD) DAVID GRIER (SE) Contra (OGD) International (OGD) LOS TEXMANIACS (SE) Scottish (OGD) Open Mike (OGM) Scottish (OGD) Contra (OGD) Bluegrass (OGM) Irish (OGD) African (OGD) Israeli (OGD) Irish Session (OGM) Group Singing (OGM) Greek (OGD) Group Singing (OGM) Israeli (OGD) Belly Dancing (OGD) Bluegrass (OGM) Group Singing (OGM) Open Mike (OGM) International (OGD) Open Mike (OGM) Morris (OGD) English (OGD) Old Time Jam (OGM) Drumming (OGM) Old Time Jam (OGM) Scottish (OGD) Scandinavian (OGD) International (OGD) Group Singing (OGM) Bluegrass (OGM) Group Singing (OGM) Scottish (OGD) Irish (OGD) Irish Session (OGM) Open Mike (OGM) Irish Session (OGM) Israeli (OGD) Open Mike (OGM) Open Mike (OGM) Scottish (OGD) Bluegrass (OGM) Group Singing (OGM)

8 9 10 11 12 13 14 So. Cal FILK FESTIVAL (SE) RANGOLI DANCERS OF INDIA (SE) Armenian (OGD) PORTERHOUSE BOB & OCTAVIO FIGUEROA & SUTTER CREEK RAGTIME FESTIVAL (SE) SUTTER CREEK RAGTIME FESTIVAL (SE) SUSIE GLAZE AND NATALIE MERCHANT (SE) International (OGD) DOWN TO THE BONE (SE) WILLIE CADENAS Y LA GOLD COAST FEIS (SE) GOLD COAST FEIS (SE) COMBINACIÓN (SE) THE HILONESOME BAND (SE) Balkan (OGD) Israeli (OGD) Balkan (OGD) Cajun (OGD) CELTIC MUSIC BY-THE-SEA (SE) HOT LIPS & FINGERTIPS (SE) Contra (OGD) International (OGD) Scottish (OGD) International (OGD) Contra (OGD) SHARON KATZ AND JAOJOBY (SE) International (OGD) Irish (OGD) Open Mike (OGM) Irish (OGD) Greek (OGD) THE PEACE TRAIN (SE) African (OGD) Israeli (OGD) Israeli (OGD) Irish Session (OGM) Israeli (OGD) Hungarian (OGD) THE EARL BROTHERS (SE) Belly Dancing (OGD) Polish (OGD) Morris (OGD) Drumming (OGM) Scandinavian (OGD) International (OGD) TIM TEDROW AND TERRY VREELAND (SE) International (OGD) Scottish (OGD) Scandinavian (OGD) Scottish (OGD) Israeli (OGD) JAMES LEE STANLEY (SE) Irish (OGD) Group Singing (OGM) Scottish (OGD) Group Singing (OGM) Scottish (OGD) THIS IS BELLY DANCE! (SE) Israeli (OGD) Irish Session (OGM) Irish Session (OGM) Open Mike (OGM) Open Mike (OGM) DOUG HAYWOOD and Scottish (OGD) MATT CARTSONIS (SE) Open Mike (OGM) Open Mike (OGM) Old Time Jam (OGM) Contra (OGD) Bluegrass (OGM) Bluegrass (OGM) Group Singing (OGM)

15 16 17 18 19 20 21 GOLD COAST FEIS (SE) Balkan (OGD) BANSHEE IN THE KITCHEN (SE) BANSHEE IN THE KITCHEN (SE) LE VENT DU NORD (SE) GREEK FESTIVAL (SE) GREEK FESTIVAL (SE) SUTTER CREEK RAGTIME FESTIVAL (SE) International (OGD) Armenian (OGD) THE NEVILLE BROTHERS, THE DIRTY JOSÉ CARIDAD “PERICO” SUMMERGRASS SAN DIEGO 2004 (SE) SUMMERGRASS SAN DIEGO 2004 (SE) SUNI PAZ AND COLIBRI (SE) Irish (OGD) International (OGD) DOZEN BRASS BAND, HERNANDEZ Y SON DE LA TIERRA (SE) INCA and CAMBALACHE NEGRO (SE) SCOTTISH LUAU (SE) TERENCE BLANCHARD (SE) SHARON KATZ AND THE PEACE TRAIN (SE) Israeli (OGD) Israeli (OGD) JOHN JORGENSON & RAUL REYNOSO (SE) “FIESTA PERU” (SE) KATY MOFFATT (SE) Balkan (OGD) International (OGD) Morris (OGD) Scottish (OGD) African (OGD) Contra (OGD) CARMEN (SE) International (OGD) Israeli (OGD) Scandinavian (OGD) Bluegrass (OGM) Belly Dancing (OGD) Greek (OGD) TRIOD AMOR Y PAZ (SE) Irish (OGD) Polish (OGD) Scottish (OGD) Open Mike (OGM) English (OGD) International (OGD) TROUT FISHING IN AMERICA (SE) Israeli (OGD) Scottish (OGD) Irish Session (OGM) Irish Session (OGM) International (OGD) Scottish (OGD) THE JOEL RAFAEL BAND (SE) Scandinavian (OGD) Group Singing (OGM) Open Mike (OGM) Group Singing (OGM) Irish (OGD) Open Mike (OGM) LOWEN & NAVARRO (SE) Scottish (OGD) Irish Session (OGM) Bluegrass (OGM) Drumming (OGM) Israeli (OGD) DENNIS ROGER REED (SE) Group Singing (OGM) Western Music (OGM) Scottish (OGD) PALM WINE BOYS (SE) Open Mike (OGM) Bluegrass (OGM) Group Singing (OGM) Contra (OGD) Old Time Jam (OGM) Open Mike (OGM) International (OGD) Bluegrass (OGM) Group Singing (OGM)

22 23 24 25 26 27 28 GREEK FESTIVAL (SE) Balkan (OGD) Armenian (OGD) ONE FOOT IN (SE) ATASH (SE) QUETZAL and Friends (SE) FOURTH ANNUAL OLD WEST FEST (SE) SUMMERGRASS SAN DIEGO 2004 (SE) International (OGD) International (OGD) Balkan (OGD) LOS TIGRES DEL NORTE (SE) MISS DEVON & GINNY MAE (SE) MASANGA MARIMBA ENSEMBLE (SE) TROUT FISHING IN AMERICA (SE) Irish (OGD) Israeli (OGD) International (OGD) JOHNNY POLANCO Y FRAGMENT (SE) INCENDIO & FRIENDS (SE) PORTERHOUSE BOB & Israeli (OGD) Scottish (OGD) Irish (OGD) SU CONJUNTO AMISTAD (SE) Greek (OGD) THE YOUNG DUBLINERS (SE) DOWN TO THE BONE (SE) Morris (OGD) Open Mike (OGM) Israeli (OGD) African (OGD) Hungarian (OGD) DON EDWARDS (SE) International (OGD) Scandinavian (OGD) Irish Session (OGM) Scandinavian (OGD) Belly Dancing (OGD) International (OGD) REO AOO’S DANCE PLANET and SATORI DAIKO (SE) Israeli (OGD) Scottish (OGD) Drumming (OGM) Scottish (OGD) International (OGD) Israeli (OGD) Contra (OGD) Polish (OGD) Irish Session (OGM) Group Singing (OGM) Irish (OGD) Scottish (OGD) Bluegrass (OGM) Scottish (OGD) Open Mike (OGM) Open Mike (OGM) Israeli (OGD) Open Mike (OGM) Group Singing (OGM) Group Singing (OGM) Bluegrass (OGM) Old Time Jam (OGM) Scottish (OGD) Open Mike (OGM) Irish Session (OGM) Bluegrass (OGM) Open Mike (OGM)

29 30 31 GLENN YARBROUGH and GLENN YARBROUGH and Armenian (OGD) the FOLK REUNION (SE) the FOLK REUNION (SE) International (OGD) FOLK HAPPENINGS AT A GLANCE MARCIA BERMAN (SE) Balkan (OGD) Israeli (OGD) ORCHESTRA LA MODERNA TRACION (SE) International (OGD) Scottish (OGD) International (OGD) Irish (OGD) Open Mike (OGM) Israeli (OGD) Israeli (OGD) Irish Session (OGM) Check out details by Polish (OGD) Morris (OGD) Drumming (OGM) Scottish (OGD) Scandinavian (OGD) following the page references: Group Singing (OGM) Scottish (OGD) Irish Session (OGM) Irish Session (OGM) OGM: On-going Music - page 13 Shape Note (OGM) Open Mike (OGM) Bluegrass (OGM) OGD: On-going Dance - page 16 SE: Special Events - page 28

Page 16 FolkWorks July-August 2004

ON-GOING DANCE HAPPENINGS DANCING, DANCING and more DANCING

AFRICAN DANCING GREEK DANCING WEST L.A. FOLK DANCERS SCOTTISH DANCING Mondays Lesson 7:45-10:45pm YORUBA HOUSE KYPSELI GREEK DANCE CENTER Fridays 7:45-10:45pm AMERICAN LEGION HALL 310-475-4440 Fridays 8:00-11:30pm $5.00 Brockton School • 1309 Armacost Ave., West L.A Sundays Highland - 5:00-7:00pm [email protected] • yorubahouse.net Skandia Hall 2031 E. Villa St., Pasadena Beverly Barr 310-202-6166 • [email protected] Advanced - 7:30 - 9:30pm ARMENIAN DANCING Dalia Miller 818-990-5542 • [email protected] 412 South Camino Real, Redondo Beach [email protected] WESTWOOD CO-OP FOLK DANCERS Fred DeMarse 310-791-7471 • [email protected] OUNJIAN’S ARMENIAN DANCE CLASS Joyce Helfand 626-446-1346 Louise Bilman 323-660-1030 Thursdays 7:30-10:45pm $4 Felicia Mahood Senior Club SAN GABRIEL BRANCH - RSCDS Tuesdays 7:45-10:00pm HUNGARIAN DANCING Wednesdays Beginner/Intermediate - 8:00-10:30pm 17231 Sherman Way, Van Nuys 11338 Santa Monica Blvd. (at Corinth), L.A. Tom Trilling 310-391-4062 St. Luke's Episcopal Church Susan Ounjian 818-845-7555 HUNGARIAN CLASS (BEGINNING) 122 S. California Ave., Monrovia BALKAN DANCING 2nd & 4th Fridays 8:30-10:30pm $7.00 WEST VALLEY FOLK DANCERS Doug MacDonald 909-624-9496 Gypsy Camp 3265 Motor Ave., Los Angeles Fridays 7:30-10:15pm $4 [email protected] CAFÉ AMAN Jon Rand 310-202-9024 • [email protected] Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park 2nd Saturdays 7:30pm-10:30 pm Jay Michtom 818-368-1957 • [email protected] COLUMBUS-TUSTIN GYM INTERNATIONAL FOLK DANCING Beginner - 7:00-8:30pm at Café Danssa IRISH DANCING Wednesdays 11533, Pico Blvd., West Los Angeles ALTADENA FOLK DANCERS Intermediate - 8:30-10:00pm Mady 310-820-3527 [email protected] Wednesdays 10:30-11:30am CLEARY SCHOOL OF IRISH DANCE 17522 Beneta Way, Tustin Ian 818-753-0740 [email protected] Thursdays 3:00-4:00pm www.irish-dance.net • 818-503-4577 Shirley Saturensky 949-851-5060 CAFE DANSSA Altadena Senior Center • 560 E Mariposa St., Altadena CELTIC ARTS CENTER DANCE STUDIO, VALLEY COLLEGE Wednesdays 7:30-10:30pm Karila 818-957-3383 Irish Ceili Mondays Beginner - 7:00-8:30pm 11533 W. Pico Blvd., Los Angeles ANAHEIM INTERNATIONAL Mondays 8:00-9:00pm (ex. 1st Mondays) Intermediate - 8:00-10:00pm Sherrie Cochran [email protected] FOLKDANCERS Wednesdays - 7:30-9:00pm Ethel at Hatteras St., Van Nuys 626-293-8523 Wednesdays 7:30-9:30pm • 511 S. Harbor, Anaheim 4843 Laurel Canyon Blvd., Valley Village Aase Hansen 818-845-5726 • [email protected] hometown.aol.com/worldance1/CafeDanssaHome CALTECH FOLK DANCERS 818-752-3488 • www.celticartscenter.com EDISON COMMUNITY CENTER Pagephoto.html Tuesdays 8:00-11:55pm LOS ANGELES IRISH SET DANCERS Thursdays Beginner - 7:30-9:00pm SAN PEDRO BALKAN FOLK DANCERS Throop Memorial Church 300 S. Los Robles, Pasadena Mondays 7:30 - 9:30pm Intermediate - 7:30-9:30pm Mondays 7:30-9:30pm Nancy Milligan 626-797-5157 • [email protected] The Burbank Moose Lodge Renee Boblette Bob Patterson 714-731-2363 Dalmatian American Club CONEJO VALLEY FOLK DANCERS 1901 W. Burbank Blvd., Burbank GOTTA DANCE II DANCE STUDIO 17th & Palos Verdes, San Pedro Wednesdays 7:30-9:30pm $1-2 Thursdays 7:30 - 9:30pm Thursdays - Intermediate/Advanced - 8:00-10:00pm Zaga Grgas 310-832-4317 • Pauline Klak 310-832-1074 Hillcrest Center (Small Rehearsal Room) The Columbian Fathers Sonia’s Dance Center BELLY DANCING 403 West Hillcrest Drive, Thousand Oaks 2600 North Vermont Ave., Los Angeles 8664 Lindley Ave., Northridge Jill Lundgren 805-497-1957 • [email protected] MARTIN MORRISEY SCHOOL Deanna St. Amand 818-761-4750 • [email protected] Call for schedule/locations OF IRISH DANCE Mésmera, 323-669-0333 • www.mesmera.com DUNAJ INT’L DANCE ENSEMBLE LINDBERG PARK RECREATION BUILDING Wednesdays 7:30-10:00pm 818-343-1151 Tuesdays 6:30-7:30pm children; 7:30-10:15pm adults CAJUN DANCING Wiseplace 1411 N. Broadway, Santa Ana O’CONNOR-KENNEDY SCHOOL 5041 Rhoda Way, Culver City • 310-820-1181 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm [email protected] OF IRISH DANCE LUTHERAN CHURCH OF THE MASTER South Pasadena War Memorial Hall Richard Duree 714-641-7450 818-773-3633 • [email protected] 1st & 3rd Fridays Beginner/Intermediate 7:00-9:00pm 435 S. Fair Oaks Ave., South Pasadena FOLK DANCE FUN THOMPSON SCHOOL OF IRISH DANCE 725 East Ave J Lancaster 2nd Sundays except April, May, October 3rd Saturdays 7:30-9:30 pm Cecily Thompson 562-867-5166 • [email protected] Aase Hansen 818-845-5726 3rd Sundays 5:00-9:00pm 8648 Woodman Ave., Van Nuys ISRAELI DANCING NEWPORT-MESA BALLET STUDIO VFW Hall Ruth Gore 818-349-0877 Fridays Beginner - 7:30-9:30pm 1822 W. 162nd St., Gardena INTERNATIONAL FOLK DANCE CLUB ARCADIA FOLK DANCERS Intermediate - 7:30-9:30pm 562-427-8834 AT UCLA Tuesdays 7:30-9:00pm Shirley Saturensky 714-557-4662 LALA LINE (626) 441-7333 Mondays 9:00-11:00 pm Free Shaarei Torah, 550 N 2 St., Arcadia David Edery 310-275-6847 RANCHO SANTA SUSANA COMM. CTR. For additional Cajun/Zydeco dancing: UCLA Ackerman Student Union Building Mondays users.aol.com/zydecobrad/zydeco.html Room 2414 • 2nd Floor Lounge Westwood COSTA MESA ISRAELI DANCERS Children - 6:30-7:30pm Kathy Higgins 805-581-7185 CONTRA DANCING 310-284-3636 • [email protected] Wednesdays 7:00-11:30pm Beginners - 7:30-9:00pm Mary Lund 818-996-5059 LA CANADA FOLKDANCERS JCC of Orange County • 250 Baker St., Costa Mesa 5005-C Los Angeles Ave., Simi Valley CALIFORNIA DANCE CO-OPERATIVE 7:30-9:30 pm Yoni Carr 760-631-0802 • [email protected] www.CalDanceCoop.org • Hotline 818-951-2003 Mondays ROYAL SCOTTISH COUNTRY DNC. SOC. La Canada Elementary School LA CRESCENTA DANCERS Knights of Columbus Hall 1st Fridays - Lesson 8:00 Dance 8:30-11:30pm 4540 De Nova St., La Canada Wednesdays 7:00-8:30pm Tuesdays Beginner - 7:00pm Intermediate - 8:15pm South Pasadena War Memorial Hall Lila Moore 818-790-5893 Church of Religious Science 224-1/2 S. Sepulveda Blvd., Manhattan Beach 435 S. Fair Oaks Ave., South Pasadena 4845 Dunsmore Ave., La Crescenta Wilma Fee 310-546-2005 310-378-0039 Dennis 626-282-5850 • [email protected] LAGUNA FOLK DANCERS Wednesdays 8:00-10:00pm Karila 818-957-3383 [email protected] 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm Sundays 8:00-10:00pm ISRAELI FOLK DANCING AT UCLA SCOTTISH COUNTRY DANCE Brentwood Youth House Laguna Community Center Mondays 9:00pm UCLA Ackerman Union 2414 Wednesdays 562-916-8470 731 So. Bundy, Brentwood 384 Legion Ave & Glenneyre, Laguna James Zimmer • [email protected] 310-284-3636 Jack Rennie 310-377-1675 • [email protected] Jeff 310-396-3322 • [email protected] Richard Duree 714-641-7450 • [email protected] ISRAELI DANCE WITH JAMES ZIMMER SOUTH PASADENA WAR MEMORIAL 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm LEISURE WORLD FOLK DANCERS Tuesdays 8:00-11:00pm Sundays Beginner - 7:00-9:00pm All Saints Epoiscopal Church Tuesdays 8:30-11:00am Saturdays 8:30-11:00am West Valley JCC, Ferne Milken Sports Center 435 Fair Oaks Ave., South Pasadena 3847 Terracina Drive, Riverside Club House 1, Leisure World, Laguna Hills 22622 Vanowen Street, West Hills Alfred McDonald 626-836-0902 • [email protected] Meg 909-359-6984 • [email protected] Florence Kanderer 949-425-8456 Thursdays 8:00-9:30pm Sundays 2:00-3:00pm ST. PAUL’S EPISCOPAL CHURCH 2nd Saturdays - Lesson 7:30 Dance 8:00-11:00pm MOUNTAIN DANCERS Thursdays Beginner - 7:30-9:30pm Sierra Madre Masonic Temple Tuesdays 7:00-9:30pm Encino Community Center, LA Recreation & Parks 4935 Balboa Blvd, Encino 818-995-1690 Intermediate - 7:30-9:30pm 33 E. Sierra Madre Blvd., Sierra Madre Oneyonta Congregational Church Don Karwelis 714-730-8124 Frank 818-951-4482 • [email protected] 1515 Garfield Ave., South Pasadena 2nd Fridays 9pm Free THE DANCE ACADEMY Rick Daenitz 626-797-16191 4th Fridays 9 pm Free 2nd Sundays Maltz Center, Temple Emanuel-Beverly Hills Mondays Intermed - 8:00-10:00pm Slow Jam 2:00pm Lesson 3:30 Dance 4:00-7:00pm NARODNI FOLKDANCERS 8844 Burton Way, Beverly Hills 24705 Narbonne at 247th St., Lomita La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne Thursdays 7:30-10:30pm $3 [email protected] 310-284-3638 Jack Rennie 310-377-1675 • [email protected] Gretchen 909-624-7511 • [email protected] Dance America, 12405 Woodruff Ave., Downey TORRANCE CULTURAL CENTER John Matthews 562-424-6377 • [email protected] UNIVERSITY OF JUDAISM 3rd Fridays - Lesson 8:00 Dance 7:30-11:30pm Wednesdays 7:30-10pm Fridays Beginner - 7:00-8:30pm South Pasadena War Memorial Hall PASADENA FOLKDANCE CO-OP 5600 Mulholland Dr., Los Angeles Intermediate - 8:00-10:00pm 435 S. Fair Oaks Ave., South Pasadena Fridays 7:45-11pm Teaching to 9pm $2 Natalie Stern 818-343-8009 Between Torrance & Madrona, Torrance Marie 626-284-2394 • [email protected] Throop Unitarian Church Jack Rennie 310-377-1675 • [email protected] 300 S. Los Robles, Pasadena VINTAGE ISRAELI 3rd Saturdays VENTURA COLLEGE DANCE STUDIO Marshall Cates 626-792-9118 • [email protected] Anisa’s School of Dance Throop Memorial Church 14252 Ventura Blvd., Sherman Oaks Fridays Beginner - 7:00-8:30pm 300 S. Los Robles Ave, Pasadena RESEDA INT’L FOLK DANCERS [email protected] Intermediate - 8:00-10:00pm Barbara 310-957-8255 • [email protected] 3:00-4:45pm Thursdays MORRIS DANCING 4667 Telegraph Road, Ventura 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Reseda Senior Center • 18255 Victory Blvd., Reseda Mary Brandon 818-222-4584 Brentwood Youth House JoAnne McColloch 818-340-6432 PENNYROYAL MORRIS 731 South Bundy Drive ROBERTSON FOLK DANCE Mondays 7:00pm Peter 562-428-6904 • [email protected] Mondays 10:00-11:30am Debi Shakti & Ed Vargo 818-892-4491 5th Saturday - Dance 7:00-11:00pm (Experienced) 1641 Preuss Rd., Los Angeles 310-278-5383 Sunset Morris • Santa Monica Jim Cochrane 310-533-8468 • [email protected] Throop Memorial Church SIERRA MADRE FOLK DANCE CLASS 300 S. Los Robles Ave, Pasadena Mondays 8:00-9:30pm SUNSET MORRIS Chuck 562-483-6925 • [email protected] Sierra Madre Recreation Building Clive Henrick 310-839-7827 • [email protected] 611 E. Sierra Madre Blvd., Sierra Madre WILD WOOD MORRIS THE LIVING TRADITION Ann Armstrong 626-358-5942 www.thelivingtradition.org 6270 E. Los Santos Drive, Long Beach SOUTH BAY FOLK DANCERS Julie James 562-493-7151 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm 2nd Fridays 7:45-9:45pm [email protected] • wildwoodmorris.com Rebekah Hall, 406 East Grand Ave., El Segundo Torrance Cultural Center PERSIAN DANCING Diane 310-322-0322 • [email protected] 3330 Civic Center Dr., Torrance 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Beth Steckler 310-372-8040 SHIDA PEGAHI Tuesdays 6:00pm • 310-287-1017 Downtown Community Center TUESDAY GYPSIES BEFORE ATTENDING 250 E. Center St.@Philadelphia, Anaheim Tuesdays 7:30-10:30pm $7.50 POLISH DANCING Bea 562-861-7049 •[email protected] Culver City Masonic Lodge GORALE POLISH FOLK DANCERS ANY EVENT ENGLISH COUNTRY DANCING 9635 Venice Blvd., Culver City Sundays 6:00-8:00pm Contact the event producer to verify information Gerda Ben-Zeev 310-474-1232 • [email protected] Pope John Paul Polish Center CALIFORNIA DANCE CO-OPERATIVE Millicent Stein 310-390-1069 before attending any event. (Things change!!!) www.CalDanceCoop.org 3999 Rose Dr., Yorba Linda TROUPE MOSAIC Rick Kobzi 714-774-3569 • [email protected] CORRECTIONS 1st & 3rd Thursdays 8:00-10:00pm Tuesdays 6:30-8:30pm First United Methodist Church SCANDINAVIAN DANCING FolkWorks attempts to provide current and accu- Gottlieb Dance Studio • 9743 Noble Ave., North Hills rate information on all events but this is not 1551 El Prado, Torrance Mara Johnson 818-831-1854 Giovanni 310-793-7499 • [email protected] SKANDIA DANCE CLUB always possible. VESELO SELO FOLK DANCERS Wednesdays 7:30-10:00pm $5 FLAMENCO DANCING Thursdays, Fridays 7:30-10:30pm (intermediate class) Lindberg Park • 5401 Rhoda Way, Culver City Please send corrections to: POINT BY POINT DANCE STUDIO Saturdays 8:00-11:00pm Sparky 310-827-3618 [email protected] or 818-785-3839 Saturdays & Thursdays Hillcrest Park Recreation Center Ted Martin [email protected] 1315 Fair Oaks, Suite #104, South Pasadena 1155 North Lemon & Valley View, Fullerton led by Cameron Flanders & John Chittum LIST YOUR EVENT! Katerina Tomás 626-403-7489 Lorraine Rothman 714-680-4356 SKANDIA SOUTH To have your on-going dance event listed in [email protected] WESTCHESTER LARIATS (Youth Group) Mondays 7:30-10:30pm FolkWorks provide the following information: LE STUDIO Mondays 3:30-9:30pm $30 or $40/10-wk session Downtown Community Center • Indicate if it’s an on-going or one-time event 100 W. Villa, Pasadena Westchester United Methodist Church 250 E. Center, Anaheim • Category/Type of Dance (i.e., Cajun, Folk) Tuesdays 6:30pm 8065 Emerson Ave., Los Angeles Ted Martin 714-533-8667 • [email protected] Diane Winthrop 310-376-8756 • [email protected] • Location Name • Event Day(s) and Time Marcellina de Luna 626-524-6363 [email protected] • Cost • Event Sponsor or Organization WEST HOLLYWOOD FOLK DANCERS Wednesday 10:15-11:45am • Location Address and City West Hollywood Park, San Vicente & Melrose • Contact Name, Phone and/or e-mail West Hollywood • Tikva Mason 310-652-8706 Send to: [email protected] or 818-785-3839

July-August 2004 FolkWorks Page 17 James Coberly Smith & Severin Browne BY PAUL ZOLLO

ames Coberly Smith and Severin Browne are superb solo musi- When Severin’s stint with Motown ended, he worked as a singing wait- cians. But when they team up, something magical happens. It’s er for a spell in L.A. and also played solo around town. He and James met Jbecause they passionately love the inspirational songs they write and up at a coffee house called the White House on Pico. “I remember hearing play. They’re both gifted songwriters, singers and guitarists, and when they Severin for the first time,” James recalled. “And he had such an easy, great unite, as they do almost every week, their jubilant music is phenomenal. groove, that I wanted to play with him right away. It was a pretty jazzy song Both of them play a multitude of instruments. James Coberly Smith, a he was playing.” This was 1978. native of Racine, Wisconsin, began his musical adventures playing the “I had been playing with Bossman,” James said, “and we made a single ukulele, which he still reveres. From there he graduated to banjo and guitar. in ’78, which actually made the charts. Severin and I kept seeing each other To this day, he loves all of these at various clubs, like the Ala instruments. “When you get a Carte on Highland in good banjo, and someone is Hollywood, and at Yesterdays in playing it well,” he said over Westwood.” Years went by, and lemonade during a recent joint they exchanged tapes as Severin interview on a sun-drenched moved to Louisiana. “And I Angeleno afternoon, “the loved that tape,” Severin said. sound is so loud and so great.” Severin eventually drifted Smith began writing songs back to L.A. He and James first on his uke in the 6th grade. The officially teamed up in 1990, first one was “Your Mama informally rehearsed a few Wears Combat Boots to times, and developed their style Church,” a funny lyric that set of backing each other up, and the stage for the kind of songs switching off songs. The first he writes now. When this was time they played was an hour- pointed out to him, he laughed long gig at an outdoor communi- and said, “Yeah, I found my ty festival in a Northridge park. niche early!” Now distin- They continued to do solo gigs guished by his great 12-string as well, but nothing was ever slide playing, he said he was quite as musically magical as inspired listening to Leo when they teamed up together, to Kottke records in college. add guitar and vocal harmonies “Only thing was that Leo to each other’s songs. They have Kottke finger-picked when he been playing together, and musi- played slide,” he said, “and I cally supporting each other, ever ended up flat-picking, which since. was different, but it was good, These days the best place to as it gave me my own style.” hear Severin and James perform He moved to L.A. in 1977, great originals is Kulak’s and brought his tape to Geffen Woodshed on Laurel Canyon in and other producers and record North Hollywood, where they companies. One producer was perform the first Friday of every impressed by his work and month. Kulak’s is an enjoyable, invited him to stay in L.A. He comfortable and amiable listen- ANE then invited his friend John ing room. They also play other

Bossman to move here from BOB ST venues and festivals around the

the Midwest. They formed the O BY L.A. area, such as Bean Town in

duo of Bossman & Smith, and PHOT Sierra Madre, Backstage at the played around town frequently. Coffee Gallery in Altadena, and Severin Browne was born in Frankfurt, Germany. He assorted house concerts. Smith says, “house concerts are moved back to L.A. at the age of two to live in a house great, I love them.” built by his grandfather, where his father was raised and But Kulak’s remains the favorite. Smith says, “Kulak’s is where Browne still lives. Browne’s brother Jackson is also “When you get a a special place for us to play. We play a set first, and then we a famous songwriter, and there are also two sisters, Gracie good banjo, and bring in guests to play. We get a good crowd there, and the and Roberta, both of whom play instruments. Every mem- someone is play- great thing about Kulak’s is people come there not to talk ber of the family was musical, especially his father, a jazz and socialize, but to listen to the music. And there’s an ongo- pianist who also played guitar and other instruments. “I ing it well the ing webcast there, so people around the world can watch us. used to take my dad’s guitar,” Severin recalled with a sound is so loud They even email us during the shows — we’ve gotten ones smile, “and I used to play it and jump around to Elvis and so great.” from as far afield as Australia.” Presley records.” That guitar was a nylon-string model A Smith-Browne gig usually includes their greatest hits, strung with steel strings, which severely bowed the neck, - James Coberly Smith such as Smith’s hilarious and spirited Flypaper Highway, forcing the youngster to develop a muscular left hand to Browne’s soulful My Love Mo’ Better, the very funny and form chords. rocking Angelyne, and the poignant ballad Leaving You. But His other musical influence at the time, surprisingly, they also throw in old and new songs that no one knows, so was Myron Florin, accordionist for the Lawrence Welk that each show they play is a new experience. “People who show. Severin initially chose the accordion as his primary instrument. His come to see us a lot want to hear our standards,” said Smith, “but they also father was less than thrilled with his son’s choice of the accordion, as he pre- like us to mix it up and play some new stuff. And so we do. No show we do ferred jazz instruments. But Severin was soon drawn to both guitar and is ever the same.” piano, and mastered sophisticated jazz chords (which figure powerfully into Smith & Browne are maintaining the tradition of performing duos, such his music to this day) learned from his father. At age 16, he lived in Japan as the Everly Brothers and Simon & Garfunkel. The difference is that Smith with his dad and began writing his own songs . “I was already into the jazz & Browne are both still solo artists, with their own solo CDs out, available chords then,” he said. “I was very influenced by the jazz that my father at their gigs and at CDBaby.com. You can contact the duo at always played.” www.SeverinBrowne.com, where you can be added to the list of those lucky He returned to L.A. from Japan and continued writing songs. At the age folks who get notified of every gig they play. of 21, Browne went to Motown, and was hired as a staff writer. His good If you’ve never seen them and are hungering for some good music, check fortune flabbergasted him, as he recalled: “I said, `What? You’re going to them out at Kulak’s on a first Friday, or at one of the other venues around pay me money just to write songs?’And they said `yes’!” He teamed up with town where they appear. You’ll be glad you did. many Motown songwriters and wrote a ballad that was cut by Thelma Houston. He stayed at Motown for four years and recorded two albums in Paul Zollo is a singer-songwriter, and the author of Songwriters On 1973 and 1974. To promote them, he went on the road, opening solo for Songwriting, 4th Expanded Edition. His CD, Orange Avenue, features a such luminaries as Kenny Rankin and John Hartford. duet with Art Garfunkel, and is available at CDBaby.Com.

Page 18 FolkWorks July-August 2004 FOLKY COSTUMES

olkies don’t dress like other people, in “bland,” “drab,” or “plumb wore out”, but case you hadn’t noticed. I first noticed it that’s hasty and incomplete. Folkies are loyal. while cruising a Portland suburb with a We cherish well-designed, well-crafted prod- friend,F searching for the local contradance. ucts that come in strong, honest colors, func- After our third unsuccessful pass, I said, tion well, and last forever. “Forever” is the key “Slow down and I’ll ask a pedestrian.” word. We’ll buy a durable cotton shirt, say, in “Who’ll know what contra dancing is?” an intense berry-red and wear it for ten years, he asked. always thinking of it proudly as our berry-red I scanned the sidewalk, spied a cotton shirt and never noticing that it has faded to pale skirt, and said, “Stop! She’ll know!” She not pink with frayed edges of pure white. only knew, she led us to the lodge, and intro- Folky clothing is typically comfortable. duced us around. Contradancers epitomize comfort. We may buy our cotton dresses and “Of all the people on that sidewalk,” asked my friend, “how did you twirly skirts at garage sales but will pay a hundred dollars for shoes that stay know to ask her?” comfortable all weekend. “She looked like a contradancer,” was all I could say. At my first contradance, I didn’t notice anybody else’s clothes because I Another Saturday night, it happened again. I was going to a storytelling was too busy tucking my blouse in after every swing. I cinched my belt so event at the Church in Ocean Park and had just parked in a lot off Main tight I couldn’t raise my arms any more. My feet hurt in my flat Chinese Street. A woman got out of a car near me and I suggested that we walk to peasant shoes and my panty hose had slid halfway down my thighs. Could the church together. She fell in step with a friendly but puzzled smile and I be any more miserable? I wondered, and took a two-year break. asked, “How did you know where I was going?” By that time we were at the By the time I returned with good shoes and a tee shirt, I was more obser- corner, surrounded by people heading for the popular pick-up bars. I said, vant. I saw that the men looked like they always did (handsome, clean, “Women don’t go on the prowl around here in Birkenstocks.” strong… ) but the women — oh my! My head was so full of words of She looked thoughtfully at her feet, at my feet, at our cotton dresses, and diversity – idiosyncratic, eccentric, heterogeneous, eclectic – I could hard- then at the Spandex crop-topped women around us. Slowly, she nodded and ly focus on the guiding principle I was seeking. The skirts and dresses were said, “I get it. We look as though we came to town to sell eggs, don’t we?” of every style I’d ever seen and ranged in length from ankle to upper thigh. We dodged our way across the intersection through beautiful people and Beneath the shortest ones I saw bike shorts. How odd, I thought. On the a plethora of designer jackets, tight pants, cleavages, good tans, and teeny other hand, that would mean no panty hose . . . but then wouldn’t my feet little bags, then headed up the hill. be sticky in my shoes? I looked up and down the line and saw SOCKS! Inside the church, we blended into a crowd of people who, like us, could Socks with tennies, socks with character shoes, socks with jazz shoes, socks have been selling fresh eggs. Only the storytellers stood out, even those who with old lady shoes, and socks with TEVAsandals. I hadn’t bought anything hadn’t come to perform. Storytellers snag your attention with nary a word, but hiking socks since I was a child. Could I do it? I felt as though I had just by wearing whatever appeals to their vast and varied imaginations. gone to an old-time revival meeting, asked for guidance and received a hard They are walking conversation pieces. Even if their day jobs require solid answer – socks. I struggled briefly, renounced forever the evils of panty gray polyester, there will be a necklace, scarf, or handbag that begs inquiry. hose, and gratefully accepted the concept of comfort. Hallelujah! And praise “Oh, this belonged to my grandmother who was stolen by gypsies when she be for contradancers and all other folkies! was nine,” you’ll hear. Or “my sister knitted hundreds of these the year she lived on a platform in a redwood tree.” Or “I bought this from a headhunter Valerie Cooley lives in West Los Angeles and loves folk music, dancing, and in Borneo. I think some of the beads are teeth.” crafts. She co-chairs the Banner Committee for the CTMS Summer Solstice In a well-mixed group of folkies (i.e., not too many storytellers), there’s Festival where she is able to indulge her love of pretty colors, fabrics, and the a subtle uniformity that’s hard to define. An outsider might dismiss it as enthusiasm of the people who put them together

DOWNS continued from page 1 soon found that they could make a living from performing. Her current man- Monteiro is on guitar. Yayo Serka from Chile plays percussion and cajon. ager, Betto Arcos, first heard her in 1996 in a club called El Sol y La Luna He played in traditional Andean and jazz bands, then went to school in Cuba in Oaxaca, where she was performing with Azulao, her trio featuring where he worked with renowned artists from the jazz and Afro-Cuban music vocals, saxophone and piano. He was struck by her original and intriguing scene. Cuban Yunior Terry plays the acoustic bass on the CD, but is not on interpretations of Mexican standard repertoire as well as the jazz numbers. the current tour. At the time, Lila Live with Azulao was recorded, she was not yet perform- The album’s concept reminds us that there is something that unites us all, ing original material. and the songs Lila has written and included here reinforce that ideal. The In 1998 Lila recorded La Sandunga which included her own original track One Blood covers that ground in a reggae-jazz fusion. Dignificada is songs along with Oaxacan traditional songs, boleros, and rancheros. When about the as-yet-uninvestigated murder of Digna Ochoa, a human rights she came to Los Angeles in 1999, she sold out two shows at Luna Park, and lawyer in Mexico. Mother Jones is a blues-infused song about the well- her CD was the most requested premium offered in the KPFK fund drive known American advocate for women’s rights. In La Malinche, Lila rein- that season. terprets the character of the woman known as the mother of post-contact A few key performances brought Lila wider recognition. The first was Mexicans — the wife and lover of Cortez. She creates for her a persona as when she was invited to perform at the Hollywood Bowl during the 1999 “the new voice.” World Festival of Sacred Music on the strength of her CD Yutu Tata — Tree Well-known standards of Mexican song are anything but run-of-the-mill of Life. This album was inspired by the imagery of the Mixtec Codex here. Harpist Celso Duarte’s deft fingers and guitarist Guilherme Vindobonensis, a type of Aztec art, which tells of the first Mixtec people Monteiro’s range of styles contribute to the group’s shape-shifting ability. who were born from trees and used wooden and ceramic instruments played Lila’s rendition of Cielo Rojo conjures up a Spanish Gypsy atmosphere, in the pre-Columbian age (and are still played today rural Mexico.) Her set while she performs the popular La Bamba to a Nigerian high-life guitar was so well received that she was soon signed by the record label Narada. sound. She has some new lyrics for La Cucaracha, as well as a rapping In 2001 she released Border — La Linea, in which she expounds on the break, and has recorded Paloma Negra, which has long been a crowd plight of migrant workers, racism faced by indigenous peoples and other favorite for her. border-related issues, and performs a medley of Woody Guthrie’s This Two songs in indigenous languages are included on the CD. One is Land is Your Land and Pastures of Plenty. Yanahuari Nin in the language of the Trinqui indigenous people of Oaxaca. The second broad audience came when Lila sang her Academy Award- The other is Tiringue Tsitsiki in the Purepecha language from Michoacan. nominated song Burn It Blue from the movie Frida during the Oscar broad- This song is in the Pirecua style of female duet. Although she sings with her- cast. The Frida soundtrack has been selling consistently since the movie self, she has taken care to differentiate the two voices to the point that one was released and, for many audiences around the world, it was their first could believe they were two different women. exposure to her music. Lila Downs current tour brings her to The Echo in Echo Park July 14th, Lila Downs’ new CD, One Blood — Una Sangre shows off her breadth 7:30pm. Mexican video artist and photographer Elena Pardo will be pro- and depth as an artist. Her vocal control, and the ability to sculpt with tone jecting her images and video on a screen at the concerts of the tour. For tick- and timbre, is stunning. It takes a special type of creativity, sensitivity, and ets go to the website: attheecho.com. We expect this show to sell out quick- drama to do what she does so consistently well. When the first track comes ly. Don’t miss it! dancing out, you immediately notice the cohesive quality of the band, which [Editor’s note: The Echo does not have many tables/seating. Late breaking has been in its current arrangement for just over a year. th Lila’s husband, Paul Cohen, is the musical director and plays tenor sax, news – Lila Downs will be appearing on October 9 at UCLA. For best piano and clarinet. Celso Duarte, born in Paraguay and raised in Mexico, updated information, join FolkWorks Yahoo Group] plays harp, violin, and jarana (a small 5-coursed guitar from Mexico). He Brooke Alberts is a songwriter and has a Masters degree in Medieval Studies brings his deep knowledge of Latin American harp’s diverse styles, and has played with Lila since Yutu Tata. Jazz-trained Brazilian Guilherme

July-August 2004 FolkWorks Page 19 The HeartCD REVIEWS of the Music BY CÁIT REED © 2004

Artist: MOZAIK Artist: TÉADA Title: LIVE FROM THE POWERHOUSE - (YYYY1/2) Title: GIVE US A PENNY AND LET US BE GONE - (YYY1/2) Label: COMPASS RECORDS -www.andyirvine.com/mozaik/power- www.ceolproductions.com/cds2/html house.html Oisín Mac Diarmada on fiddle and vocals - John Blake on flute and gui- Andy Irvine on vocals, mandolin, bouzouki, and harmonica - Dónal Lunny tar - Paul Finn on accordion and concertina - Seán McElwain on banjo and on backing vocals, bouzouki, guitar, and bodhran - Bruce Molsky on bouzouki - Tristan Rosenstock on Bodhran, backing vocals and recitation vocals, fiddle, and 5-string banjo - Nikola Parov on gadulka, gaida, kaval, - Guest lilter is Séamus Mac Mathúna clarinet, guitar, kalimba and tin whistle - Rens van der Zalm on backing Here is a great Irish Traditional band with an almost ideal line-up of vocals, fiddle, mandolin, and guitar instruments. The vocals sung in Irish contribute to the feeling that this is an This delightful album is brought to you by the best of the best folk musi- album full of “the Pure Drop” that makes no apologies because it is at once cians from 2 continents (and 5 countries). All of these lads are fantastic both contemporary and authentic. The flute, fiddle, accordion, concertina musicians, but together they have effortlessly created a fresh sound, one that and banjo play the tunes with mastery of the tradition. The bouzouki, gui- they are obviously digging as much as their enthusiastic audience. It is a live tar and bodhran provide a driving rhythm section for the tunes and sweet concert album and as such, captures the excitement of the stage and the joy accompaniment to the songs reminiscent at times of the best of Planxty and that these guys share as they rollick and ramble through music from Ireland, early De Dannan. These guys can kick ass when they feel like it but can America, Macedonia, Bulgaria, Romania, and Hungary and beyond. There also lay back on slower-paced reels, jigs and set dances when the mood is a playful weaving of intricate melodies and verse into a counterpuntal fab- takes them. The arranging, pacing and dynamics of each set don’t feel ric that doesn’t call attention to the fact that the instruments and the music forced and are interesting and musical without being “clever” or “cute.” blended are often from different countries and cultures. This is global cul- They have also taken great pains to provide us with sources for the materi- ture at its finest because the music is safe in the hands of such master musi- al in their liner notes. The 4th track, a well-known uilleann pipe set dance cians. called The Ace and Deuce of Pipering, is interpreted on the fiddle by Oisín It is important to realize that both Dónal Lunny and Andy Irvine are MacDiarmada to sound like the pipes. Other instruments join in with veteran Irish musicians who, along with a handful of other folks such as counter melodies. My favorite song is Thíos I dTeach an Tórraimh, with its Seán Ó Riada and The Chieftains, virtually invented the modern Irish crooked melody, uplifting vocal harmonies and intricate Mediterranean band sound. Dónal and Andy’s respective discographies read like a list of all string accompaniment. Guest artist Séamus Mac Mathuna lilts out a nice the best projects to come out of the generation that was coming of age in the jig in the 9th track, also one of my favorites. On track 11, there is some great 1970’s in Ireland. They are both innovators who introduced the open-tuned, banjo work by Seán McElwain. John Blake’s flute and guitar work and droney Greek bouzouki, the Mediterranean mandolin to the world of Irish Paul Finn’s box and concertina playing are great throughout the album. music. Andy Irvine was probably the first, and certainly not the last, trad Tristan Rosenstock’s bodhrán provides a steady rhythm so essential for a musician to get the idea of playing Eastern European-inspired dance band like this. Téada is a group of younger players steeped in the tradition melodies with their complex rhythms in 7/16, 9/16 and 11/16, etc., but using and I hope that they will keep bringing us albums like this. Irish ensemble instruments instead. This trend has lately been taken to such extremes in such projects as Riverdance that it has been dubbed the ______“Balkanization” of Irish music. Here the band demonstrates unusual respect and depth of knowledge of these traditions and offers up some selections of About the rating system: The ratings represent my opinion only and Eastern European tunes on mostly Balkan folk instruments with all of their since I’m pretty opinionated, I thought I’d come up with a scale. I realize nuance, inflection, and ornamentation. it’s a bit ludicrous to judge music, but the scale may help people who per- Dónal Lunny has not only been playing with the best touring musicians haps are new to the acoustic folk music genre and who want to get some in Ireland since the 1970’s, but has proven to be an innovative and inspired really good albums and skip the mediocre ones. My personal taste is for producer and arranger. Andy and/or Dónal were involved in some way in albums that have a dynamic, “live” presence or where the excitement of the almost all of the Irish super groups during the last 30 years. Here is a par- music is captured in the studio. Albums with five hearts are classics, which tial list: (Many of these projects are classics, so do a Google search and means they will sound better with each playing. These are albums that just check them out!) Sweeney’s Men, Planxty, The Bothy Band, Christy stand out as setting the standard for everything that comes after (or before). Moore (and friends), Paul Brady, Dick Gaughan, Midnight Well, De They are albums of great heart, which is why I use the heart icon. They Dannan, Clannad, Altan, Paul Brady and Andy Irvine, Sharon become old friends and you find yourself humming the tunes and memoriz- Shannon, Kevin Burke and Míchéal Ó Domhnaill, Patrick Street, and ing every note, arrangement, nuance and word. On the other end of the Moving Hearts. scale, there are albums that are pretty good but with some excellent tracks. Bruce Molsky is an American fiddler, banjo player and singer, who is Just like the Wine Spectator, I only rate stuff I like… steeped in the tradition of the Appalachian Mountains. With many albums to YYYYY A classic. Take this with you to a desert island. his credit, he learned his music from one of the most wonderful and archa- YYYY Exceptional album. Must have. ic players of his era: Tommy Jarrell of Mount Airy, North Carolina. What YYY Give this a listen. Consistently great music. I love about Bruce’s playing is the sweet, open-tuned fiddle and banjo YY Consistently good music and production sounds that tear at your heart, making you long for the days when those Y Some excellent tracks. same tunes echoed through the mountains and valleys of an earlier, perhaps less jaded, America. Càit has been mad about Irish Traditional Music since she had the good for- These three are joined by Nikola Parov who is a brilliant multi-instru- tune to hear and play with Joe Cooley (of Peterswell, County Galway) and mentalist specializing in Bulgarian folk instruments (and other things). He’s Kevin Keegan (of Galway Town) when they and other distinguished guests a Bulgarian-Hungarian who met Andy years ago in Eastern Europe. Rens would come "up the country" to visit her and her friends and coconspirators van der Zalm rounds out the band. Yet another multi-instrumentalist, he for weekends at a ranch in Cloverdale called Preston. Those were rare also met Andy during his travels to Eastern Europe and has been doing gigs seisiúns; lasting entire weekends, played by firelight and kerosene lamp in the with him on and off ever since. Recently, he and Andy got together to do a old wooden church with the old clock beating out the hour and the half-hour. project called East Wind. Cáit has been playing and teaching since 1970. Her Web site Every cut on this album is a gem. My favorites include the first cut, My (www.caitreed.com) is under construction and her first solo album, The Heart’s in Ireland Tonight, a sentimental song about the good old days in Rolling Wave will be released any minute now. County Clare when Willy Clancy, the Clare piper and Minstrel was still alive. (If you want to learn more about Irish trad music, check out the Willy Clancy Summer School that happens every July in Miltown Malbay, Co. Clare.) The song is followed by a sweet American Tune called Robinson KEEP UP TO DATE! Countywhich is followed by an Irish tune called Trip to Durrow, both played expertly by Bruce Molsky. Over the years, Andy has also taken much inspi- JOIN THE FOLKWORKS YAHOO GROUP ration from the songs of the American minstrel and ballad singer/writer Woody Guthrie that he has introduced to audiences all over the world. Keep up with current folk / trad happenings. Get reminders of what Another one of my favorites is a Guthrie-inspired political song entitled is happening the upcoming weekend (the FolkWorks Calendar). Share Never Tire of the Road (“All You Fascists Bound to Lose…”) which is com- information. Are you looking for a music teacher-post it here. Is your bined with a crooked open-tuned melody played by Bruce Molsky called band playing-post it here. Do you want to know where you can pur- Pony. The traditional song, A Blacksmith Courted Me, and the Bulgarian chase a digereedoo? Yup-post it here. inspired instrumental piece, Blacksmithereens, is a medley originally Surf over to groups.yahoo.com. If you are a new Yahoo user, click recorded on the first Planxty album (1972 -CD Shanachie- 79009 - on “new users” (click here to register). Create a Yahoo ID. You will be YYYYY). I have many other favorites including the last cut, which is a asked to submit your email address, first and last name and zip code hot Eastern European clarinet piece called The Last Dance. Enjoy. along with your preferences. After you sign in, search for FolkWorks. Click on the FolkWorks hyperlink. That’s all there is to it.

Page 20 FolkWorks July-August 2004 FROM THE EAST UNCLE RUTHIE TO THE WEST here were about seven of us sitting in a spacious studio with a rather In addition to our classical gui- large woman named Gertrude Wheeler Beckman, and a very ordi- tar classes with Dick, we studied Tnary wooden chair. Burt Lasky was sitting in the chair and Gertrude composition with Miriam Gideon, Wheeler Beckman had instructed him to rise from the chair to a standing a well known modern composer position while remaining in a state of total relaxation. Burt’s attempts caused who taught us Bach harmonies, him to resemble a flaccid zombie suffering a grand mal seizure. When Burt and dance, with Melvene Dyer- had somehow attained a standing position Mrs.Beckman informed him that Bennett, (Dick’s wife, a former he was now ready to sing. dancer) who showed us new ways The year was 1947 and we were students at the Richard Dyer-Bennett of moving in space. (To this day I School of Minstrelsy in Aspen Colorado (population, 2,000). use much of what I learned from Richard Dyer-Bennett never referred to himself as a “folksinger,” nor Mel. Somewhere in North Carolina indeed was that a fitting description of this talented artist. He was a gifted there are Native American classical guitarist, and a thrilling Irish Tenor. He sang all sorts of songs in all Cherokee former students of mine sorts of styles and in many languages. who can show you at least ten This summer marked the first year of his dream, a school of minstrelsy. unusual ways of moving across a floor!) We were the first group of students and a motley crew we were indeed. There The focus of that first summer was The Aspen Summer Festival, and each was Burt from New York whose heart I broke for a whole week; there was week we Dyer-Bennett students were able to study with guest artists who Lannie, who both comforted him and eventually married him; there was also gave public concerts at the end of their visits. There was Sam Eskin, a Sabrina from somewhere whose soprano caused eagles to abandon their very earthy folk song collector whose collected recordings were so amazing eyries; and there was Rich Dehr, who went on to run a famous restaurant in that my friend Jeppy and I sneaked into the studio one night with my Webster Los Angeles; there was Jeppy from the Bronx who spent her free time read- Wire Recorder and stole many of Sam’s very naughty folk songs: The ing the People’s World to her cowboy lovers, in a dedicated but futile effort Tailor’s Boy, The Friar Song, The Gathering of the Clan and more, all of to convert them to Communism. And there were Willy Holt and myself, the which I still remember and sing, when properly inspired! only two who went on to careers in music and theater. Will, as he is now (Now, being a sly and a nimble lad, he quickly climbed the stairs, called went on to write many songs, including the lovely Lemon Tree. I saw And there he found the chandler’s boy between his mistress’ thighs!) Will about ten years ago and have, sadly, lost touch with him. (Can anyone It was in Aspen that I first met Marais and Miranda. Their concert was help?) I think at that last lunch together we sang Mrs. Beckman’s truly hor- a highlight of the summer, and it was from Miranda that I learned the true rible song, which she insisted we learn, and because she had been Dick Dyer- meaning of “prima donna.” (Years later, she was a guest many times on my Bennett’s beloved old voice teacher. We learned, performed, and (except for radio show and swore she had no memory of having ever met me in Aspen.) Uncle Ruthie who cannot forget any song or poem, good or bad), promptly Of course, both Dick and Melvene gave concerts, as part of the festival. forgot: Melvene included the Dyer-Bennett students in her recital. Shunning tradi- From the East, to the West, to a focal point, in the heart of the Rockies, tional accompaniment, she used drums and our voices, and I only remember To Aspen they come; the young men and the maidens, continually dashing across the stage in a crescendo of cacophony, at least Potential poets all, potential singers…..COMPOSERS!! eight times during the performance. Mrs. Beckman notwithstanding, we all learned a lot at the Dyer Bennett A Dyer-Bennet friend, the great composer Virgil Thompson, was a guest School. one week and attended Dick’s concert. While Dick was singing The Garden Where The Praties Grow: She was just the kind of creature, lads, that Nature did intend To walk right through the world, me boys, without the Grecian Bend the person next to Thompson asked him what a Grecian Bend was. And just as Thompson began his answer, there occurred one of those rare total silences in the audience, as his answer rang out; “…a kind of corset worn between the nipples and the crotch.” The Dyer-Bennetts had two little daughters, Bonnie, age five, and Brooke, age 2. Melvene was very insistent that they be taught the correct word for every part and function of the body, and one day when Mel, in an effort to better blend into the conservative Aspen community, had invited Mrs. Shaw, the Judge’s wife to a proper and tasty English tea, Bonnie came down the steps and into the parlor declaring, “Mother, Brooke has defecated, and there is defecate all over the stairs!” Horses were a big part of life in Aspen. I had one and Dick and Mel gave in to Bonnie’s begging and purchased Bessie, a very old, very slow horse, which Bonnie rode all over town, entreating as she rode, “Don’t die, Bessie. Please don’t die.” Horses, however, were not for Dick. He loved old cars and came back from Denver one day with a very old Rolls Royce, the same model used by the Queen Mother in 1947. The salesman told him, “This car will outlive you, sir.” We all loved the Rolls. It had vases for flowers in the windows and pull-down seats on the side. There was no garbage service in Aspen at that time, so people had to take their garbage to the town dump in their own vehi- cles. Somewhere, there is an 8 millimeter film of all of us, dressed in wild costumes, dragging our garbage from the Rolls Royce and tossing it into the town dump. I spent almost two years living with the Dyer-Bennetts, winter and sum- mer. I traveled with them to New York City, and lived with them all through a wonderful long winter where I never learned to ski, but learned to bake bread on a wood-burning stove. It was Mel Dyer-Bennett who decided I should go to Bennington College and learn to be an organic and creative whole human being. At Bennington, on scholarship, I learned to wait on tables. But it was Dick and Mel Dyer-Bennett who really helped me to become real. One of these days I’ll write more about those years, those the crazy, creative times with the Dyer- Bennetts. Perhaps in a future column. I can tell more about the school ‘s second summer, when the Goethe Festival took place and I res- cued Artur Rubenstein from a stalled chairlift in a rainstorm, and Dimitri Metropolis stole my boyfriend, Douglas the Drip Painter.

Uncle Ruthie is a singer, songwriter, storyteller, recording artist, Special Education music teacher for blind children and a poet. Her radio show can be heard every Saturday morning at 10:00 am on KPFK 90.7 FM. In her spare time she will be writing this column and sharing her thoughts on music and life with our readers.

July-August 2004 FolkWorks Page 21

ALTAN,ALTAN, ERIC ANDERSON, ARA G, FRANKIE ARMSTRONG, ASHA'S BABA, BABES WITH AXES, REX MAYREIS,is BAKSHEESH BOYS, JIM COPE, JOAN BAEZ, TONY BARRAND, BARTON AND SWEENEY, BARRA MACNEILS, BATTLEFIELD BAND, CATHY BARTON AND DAVE PARA, BATTLEFIELD BAND, LOU AND PETER BERRYMAN, FRANCES BLACK, TOM SAUBER, MARY BLACK, LUKA BLOOM, EVO BLUESTEIN, ERIC BOGLE, KARLA BONOFF, ROY BOOKBINDER, BOTHY BAND, BOB BOVEE AND GAIL HEIL, BOYS OF THE LOUGH, GREG BROWN, JACKSON BROWNE, DAVID ASCHER, BRYNDLE, KEVIN BURKE, CAPERCAILLIE, ROSS ALTMAN, LIZ CARROLL, TURLOUGH CAROLAN,CAROLAN, DAVE CARTER AND TRACY GRAMMER, PETER CASE, JOANNA CAZDEN, CHERISH THE LADIES, STEVE SHAPIRO, CHIEFTAINS, CHRISTY MOORE, CLANNAD, BRUCE COCKBURN, LEONARD COHEN, JUDY COLLINS, SHAWN COLVIN, CORDELIA'S DAD, JOE CRAVEN, BARBARA DANE, DE DANNAN, ERIK DARLING, KRIS DELMHORST, STAN SMITH, SANDY DENNY, JOHN DENVER, ANI DIFRANCO, STEVE EARLE, RAMBLIN' JACK ELLIOTT, NORMA NORDSTROM, FERRON, BELA FLECK, FLOOK, FOR OLD TIMES SAKE, FOUR MEN AND A DOG, KAY & CLIFF GILPATRIC, BOB FRANKE, FUGS, BEPPE GAMBETTA, DICK GAUGHAN, MATT REESE, VANCE GILBERT, STEVE GILLETTE & CINDY MANGSEN, JIMMIE DALE GILMORE, CHRIS HENDERSHOT, JOHN GORKA, GREEN MAN, GREAT BIG SEA, CHRIS COOPER, SARA GREY, NANCI GRIFFITH, ARLO GUTHRIE, TIM HARDIN, RICHIE HAVENS, SCOTT DUNCAN, MARTIN HAYES, BOB BOVEE AND GAIL HEIL, JOHN HERRMANN, MONIKA WHITE, CAROLYN HESTER, JOHN HIATT, DAN HICKS, DARRELL COZEN, HORSE FLIES, THE HOUSE BAND, MICHAEL HURLEY, JANIS IAN, LISA RICHARDSON, TOM SCHULTE, MARGIE ADAM, INDIGO GIRLS, SUE HUNTER, ANDY IRVINE, BERT JANSCH, LUCY KAPLANSKY, PATRICK MCSWYNEY, PAT KILBRIDE, LOUIS KILLEN, SCOT HICKEY, THE KINGSTON TRIO, SPIDER JOHN KOERNER, PATTY LARKIN, LAUREL CANYON RAMBLERS, CHRISTINE LAVIN, ROBIN & TOM AXWORTHY, LEADBELLY, LEFTOVER SALMON, LAURIE LEWIS, SUZIE RICHMOND, GORDON LIGHTFOOT, THE LIMELITERS, JOHN & JUDY GLASS, JEZ LOWE, DOUGIE MACLEAN, MANDO MAFIA, CINDY MANGSEN, DAVID MASSENGILL, GITTA MORRIS/GEE MARTIN, MARLEY'S GHOST, LENNY POTASH, MARY MCCASLIN, JOHN MCCUTCHEON, LEDA SHAPIRO, KATE & ANNA MCGARRIGLE, ROGER MCGUINN, DON MCLEAN, LOREENA MCKENNITT, MICHAEL MENDELSON, MILLADOIRO, JONI MITCHELL, KATY MOFFATT, BRUCE MOLSKY, VALERIE COOLEY, BILL MORRISSEY, MIKE TACKETT, ALAN MUNDE & JOE CARR, MUSTARD'S RETREAT, TRACY NELSON, HOLLY NEAR, BOB NORMAN, PHIL OCHS, ROBBIE O'CONNELL, RON YOUNG/LINDA DEWAR, ODETTA, OLD BLIND DOGS, JOY FELT, KRISTINA OOLSEN,LSEN, TOM PAXTON, THE POGUES, THE POOZIES, DAVE SOYARS, MADDY PRIOR, THE PRIVY TIPPERS, CHUCK PYLE, QUICKSILVER, STAN KOHLS, RANKIN FAMILY, TOSHI REAGON, HARVEY REID, JOHN RENBOURN, MALVINA REYNOLDS,REYNOLDS, JEAN RITCHIE, JOHN WYGONSKI/MARY CYNAR, JOHN ROBERTS AND TONY BARRAND, THE ROCHES, GARNET ROGERS, DODI & MARTY KENNERLY, SALLY ROGERS, STAN ROGERS, ROUND THE HOUSE, RUNRIG, KATE RUSBY, BRIAN MCKIBBIN, TOM RUSH, CLAUDIA RUSSELL, TOM RUSSELL, BUFFY SAINTE-MARIE, TRUDY & PETER ISRAEL, MARC & ANN SAVOY, PEGGY SEEGER, MARY DOLINSKIS, PETE SEEGER, SHARON SHANNON, SHANTALLA, RICHARD SHINDELL, SIMON AND GARFUNKEL, GRETCHEN & CHRIS NATICCHIA, FRED SMALL, JUDY SMALL, CHRIS SMITHER, ANN & JIM KOSINSKI, BILL STAINES, MIRIAM & JIM SIDANIUS, STEELEYE SPAN, SSTINKEYE,TINKEYE, ALAN STIVELL, LISA DAVIS, JUNE TABOR, TAJ MAHAL, DIANE SHERMAN, TAIKO CENTER OF L.A., TANNAHILL WEAVERS, UNCLE RUTHIE BUELL, RICHARD THOMPSON, THE TINKER'S OWN, TOUCHSTONE, BALFA TOUJOURS,TOUJOURS, TROUT FISHING IN AMERICA, JAY UNGAR AND MOLLY MASON, LARRY UNGER, MARY PAT COONEY, TOWNES VAN ZANDT, SUZANNE VEGA, DAVE VAN RONK, V«STKOPA FOLKLORISTI, PETER PARRISH, VIVA QUETZAL, LOUDON WAINWRIGHT III, FRANK WAKEFIELD, WENDY WALDMAN, JERRY JEFF WALKER, JUDY NAHMAN-STOUFFER, JEFF WARNER, WATERSONS, MARGE GAJICKI, DOC WATSON, BOB WEBB, CHERYL WHEELER, WHIRLIGIG, DARIA SIMOLKE, WICKED TINKERS, DAVID WILCOX, DAR WILLIAMS, ROBIN AND LINDA WILLIAMS, ROBIN WILLIAMSON, THE WITCHER BROTHERS, CHRISTA BURCH, KATE WOLF, WOLFSTONE, NEIL YOUNG, AAPPLESEEDPPLESEED RECORDS, FOLK-LEGACY RECORDS, GREEN LINNET RECORDS, PUTUMAYO WORLD MUSIC, RED HOUSE RECORDS, ROUNDER RECORDS, TARA MUSIC, LARK IN THE MORNING, ROOTSWORLD, STEVE ROSENWASSER/KELLIROSENWASSER/KELLI SAGER, SHANACHIE, THIRTY BELOW, SCOTT DUNCAN'S, NOBLE HOUSE CONCERTS, VALERIE BROWN/JERRY GRABEL, MARIE AND KEN'S, RUSS & JULIE'S, RYAN GUITAR'S, LARRY WINES, THE TEDROW'S, KRIS & TERRY VREELAND'S, BRIGHT MOMENTS IN A COMMON PLACE, ACOUSTIC MUSIC SERIES, ROGER GOODMAN, THE BARCLAY, BOULEVARD MUSIC, FRIEDA & BOB BROWN, BLUE RIDGE PICKIN' PARLOR, CALTECH FOLK MUSIC SOCIETY, CELTIC ARTS CENTER, CERRITOS CENTER FOR THE PERFORMING ARTS, GUS GARELICK, CTMS CENTER FOR FOLK MUSIC, FIRESIDE CONCERTS, FOLK MUSIC CENTER, SANDRA ARVELO, FFOLKWORKSOLKWORKS CONCERTS, THE FRET HOUSE, GRAND PERFORMANCES, LISTENING ROOM CONCERT SERIES, CHUCK GALT, THE LIVING TRADITION, MCCABE'S GUITAR SHOP, SAN JUAN CAPISTRANO MULTICULTURAL ARTS SERIES,SERIES, SHADE TREE STRINGED INSTRUMENTS, SKIRBALL CULTURAL CENTER, AUBYN & DOUG BIERY, UCLA PERFORMING ARTS CENTER, 14 BELOW, ANASTASIA'S ASYLUM, BARCLAY'S COFFEE, LYNN WORRILOW, BEANTOWN, BUSTER'S, VIOLA GALLOWAY, COFFEE AFFAIR CAFE, HENRIETTA BEMIS, COFFEE CARTEL, COFFEE GALLERY BACKSTAGE, COFFEE KLATCH, HALLENBECKS, BILL HOWARD, HIGHLAND GROUNDS, IT'S A GRIND, DON GREEN/BARBARA WEISMANN, KULAK'S WOODSHED, LU LU'S BEEHIVE, ALETA HANCOCK, MONROVIA COFFEE HOUSE, NOVEL CAFE, PORTFOLIO CAFE, PRISCILLA'S GOURMET COFFEE, SACRED GROUNDS, SPONDA MMUSICUSIC & ESPRESSO BAR, UN-URBAN COFFEHOUSE, CAFE LARGO, JOEL SHIMBERG, GENGHIS COHEN, CONGA ROOM, KPFK, KCSN, BROOKE ALBERTS, KPCC, DOWN HOME, MIDNIGHT SPECIAL, AROUND THE CAMPFIRE, JUDY & JAY MESSINGER, WILDWOOD FLOWER, BLUEGRASS EXPRESS, FOLKSCENE, HALFWAY DOWN THE STAIRS, PRAIRIE HOME COMPANION(R), CLASSIC HEARTLAND, CANTO SIN FRONTERAS, CANTO TROPICAL, BEA ROMANO, GOSPEL CLASSICS, DENNIS ROGER REED, BLUEGRASS,ETC., THE IRISH RADIO HOUR, SUNDAY NIGHT FOLK, THE GLOBAL VILLAGE, BONITA EDELBERG, THISTLE & SHAMROCK, BRITT NICOLE-PETERSON, DRIVEN BOW / FIDDLIN' ZONE, DAVE DEMPSEY, RIDERS RADIO THEATRE, BAKERS' SQUARE, CAMILLE DULL, CAJUN WAY, BARBARA BROOKS, LARRY BANE SEISUN, BARBARA RICHER, CURLEYS CAFE, CTMS CENTER FOR FOLK MUSIC, FFENDI'SENDI'S CAFE, FINN MCCOOL, DIANE GOULD, LAMPOST PIZZA, ME-N-ED'S, HOWARD & ROZ LARMAN, SONGMAKERS, COLIN QUIGLEY, SANTA MONICA TRADITIONAL FOLK MUSIC CLUB, ENRICO DEL ZOTTO, THE UGLY MUG CAFE,CAFE, DENNIS LOUIE, VIVA FRESH RESTAURANT, VINCENZO'S, WELSH CHOIR OF SO. CALIFORNIA, TIM STEINMEIER, YIDDISH SINGING (HULYANKE), JEFF SPERO/GIGI DEMARRAIS, L. A. COMMUNITY STORYTELLERS, FAMILY STORYTELLING, LEIMERT PARK GRIOT WORKSHOP, ALAN & SHIRLEY HANSEN, SAN GABRIEL VALLEY STORYTELLERS, JAMES MORGENSTERN/LINDA DOW, LONG BEACH STORYTELLERS, NANCY MACMILLAN, SUNLAND- TUJUNGA STORYSWAP, BARRY TAVLIN, COSTA MESA SOUTH COAST STORYTELLERS GUILD, RUTH C. GREENBERG, SOUTH COAST STORYTELLERS, MISSION VIEJO STORYTELLING, YORUBA HOUSE, DAVE STAMBAUGH, OOUNJIAN'SUNJIAN'S ARMENIAN DANCE CLASS, ALAN STONE, CAFE DANSSA, SAN PEDRO BALKAN FOLK DANCERS, CALIFORNIA DANCE CO-OPERATIVE, DORIAN KEYSER, THE LIVING TRADITION, KYPSELI GREEK DANCE CENTER, ALTADENAALTADENA FOLK DANCERS, GABRIELLE O'NEILL, ANAHEIM INTERNATIONAL FOLKDANCERS, CAL TECH FOLK DANCERS, CONEJO VALLEY FOLK DANCERS, MARY ANNE MCCARTHY, DUNAJ INT'L DANCE ENSEMBLE, FOLK DANCE FUN, HOLLYWOOD PEASANTS OF CULVER CITY, INTERNATIONAL FOLK DANCE CLUB AT UCLA, MARIE BRUNO, LA CANADA FOLKDANCERS, LAGUNA FOLK DANCERS, LEISURE WORLD FOLK DANCERS, MARK S. SIEGEL, MOUNTAIN DANCERS, NARODNI FOLKDANCERS, PASADENA FOLKDANCE CO-OP, RESEDA INT'L FOLK DANCERS, ROBERTSON FOLK DANCE, FRED STARNER, SIERRA MADRE FOLK DANCE CLASS, SOUTH BAY FOLK DANCERS, TTUESDAYUESDAY GYPSIES, JIM HAMILTON, TROUPE MOSAIC, VESELO SELO FOLK DANCERS, WESTCHESTER LARIATS, WEST HOLLYWOOD FOLK DANCERS, WEST L.A. FOLK DANCERS, WESTWOOD CO-OP FOLK DANCERS, WEST VALLEYVALLEY FOLK DANCERS, JIM WESTBROOK, CLEARY SCHOOL OF IRISH DANCE, LOS ANGELES IRISH SET DANCERS, SHEILA MANN, MARTIN MORRISEY SCHOOL OF IRISH DANCE, O'CONNOR-KENNEDY SCHOOL OF IRISH DANCE, THOMPSON SCHOOL OF IRISH DANCE, ARCADIA FOLK DANCERS, COSTA MESA ISRAELI DANCERS, NAN MCKINLEY, LA CRESCENTA DANCERS, ISRAELI FOLK DANCING AT UCLA, DONALD WOOD, ISRAELI DANCE WITH JAMES ZIMMER, VINTAGE ISRAELI, PENNYROYAL MORRIS, SUNSET MORRIS, WILD WOOD MORRIS, GORALE POLISH FOLK DANCERS, SHIDA PEGAHI, SKANDIA DANCE CLUB, SKANDIA SOUTH, ROYAL SCOTTISH COUNTRY DANCE SOCIETY THE FOLLOWING ARTISTS AND RECORD LABELS SUPPORT FOLKWORKS, HAVE DONATED CDS FOR MEMBER PREMIUMS. BECOME A MEMBER TODAY!! PLEASE JOIN THEM WITH YOUR SUPPORT. FolkWorks newspaper is free - but producing it isn’t. Production, printing, (SEE BELOW FOR MEMBER BENEFITS) insurance, postage, telephone, office and computer supplies, transcription, Caroline Aiken, Unshaken Richard Greene, Kristina Olsen, web design and support are just some of the ongoing expenses. Ara G, Let’s Party Hands Across the Pond The Truth of a Woman FolkWorks has been around now for almost 4 years. You have come to Baksheesh Boys, Kate and Katy, The Privy Tippers, rely on it being there as your primary source of information about new and The Baksheesh Boys Sleepless Nights Under the Crescent Moon exciting events that you would not hear about otherwise. Its extensive calen- Randal Bays, Jim Lauderdale Dolly Parton, dar, interviews, CD Reviews and articles about current happenings connects Out of the Woods & Ralph Stanley, Little Sparrow the diverse communities in the greater Los Angeles area. Blarney Rubble, I Feel Like Singing Today Dennis Roger Reed, There are a lot of reasons that you might value FolkWorks - we may not Little King of Dreams even know them all. But we do know that we print 11,000 copies and that Blarney Rubble Lunasa, NEW Claddagh The Irish Rover Kinnitty Sessions Round the House, fewer than 500 are returned. We know that a single issue of Folkworks is fre- quently read by more than one person. We also know that FolkWorks will not Kathy Buys, Michael Mendelson, Round the House Mapless Journey A Fiddler’s Notebook Round the House, be here in the future without your support. We’ve been lucky to have wonderful volunteers who make this possible; Liz Carroll, Lake Effect Katy Moffatt, ‘til the wee hours Greatest Show on Earth Chris Stuart, Angels of however, our luck is running out. 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Page 22 FolkWorks July-August 2004

QUEBECOIS continued from page 3 Neige (March dance camp) and the ongoing L’École des Arts de la Veillée made it symbolic of Québec music. As a backup instrument, the piano was which offers courses in traditional dance, song and music by a host of guest on the scene before guitar (many homes had a piano) and is more common artists. Groups in the Montréal region include Le Vent du Nord [Editor: to dance music, but in fact, most instrumental music (fiddle, accordion) was see. August 19th at the Skirball], Revéillons!, Genticorum, Gallant tu played without accompaniment to get people up and dancing in — where Perds ton Temps, Matapat, Perdu l’Nord, Revéillons!, Dam’déridé, else — the kitchen. Today, you’ll find mandolin, flute, banjo and many other Rapetipetam, Domino [Editor: Domino performed this year at CTMS instruments being incorporated as musicians experience new, multicultural Summer Solstice Festival] and countless musicians that include Michel influences. Faubert, Gilles Garand, Dorothée Hogan, Francine Labrie, Monique The range of interpretative styles on the traditional music scene is vast. Jutras, Luc Lavalée, Jean-Pierre Joyal, Michael Ayles… In the 1970’s, groups Le Rêve du Diable and La Bottine Souriante were Stepdancers/callers Jean-François Berthiaume, Gérald Morin and Pierre among the first in Québec to reacquaint the public with their own musical Chartrand also call Montréal home. heritage. Their take on the music of their forefathers (and mothers) was full Historic Québec City is where you’ll find groups Entourloupe, Le Rêve of youthful spirit, urgently played fiddle tunes, rough-hewn vocal « du Diable, Les Batinses and Les Chauffeurs à Pied, and musicians arrangements » — a dirty word in some circles— and most of the kitchen Daniel and Louis-Simon Lemieux, Liette Remon, Tess LeBlanc, essence left intact. Their music was born into an era that was just on the Gabrielle Bouthillier, Sebastien Dion, Martin Racine, as well as step- heels of the popularity of American folk music à la Dylan, Baez and the dancers/callers Norman Legault and Yvan Gagné. The Centre de likes, and it fit well into the new nationalistic feeling that was developing. Valorisation du Patrimoine Vivant (http://pages.infinet.net/cvpv) organises But the rebirth was not longlived. With the loss of the bid to separate, sen- the annual Festival International des Arts Traditionnels de Québec (FIAT) timents toward the “old” Québec changed and many people who had been early each October and also hosts concerts, called dances and other events proud of their musical heritage lost faith and self-confidence in the value of throughout the year. Online catalogue Thirty Below Zero, operated by trad their uniqueness. Many didn’t want to be symbolised by a type of music that guru/fiddler Guy Bouchard, specialises in traditional Québécois music, was becoming increasingly associated with uneducated ruralism. Sadly, offering what is probably the largest mail order selection on the web at there are still traces of this attitude today, encouraged by those who would http://www.qbc.clic.net/~thirtybe/. like to purge Québec of anything smacking of the “folklorique” (read: unso- Other regions also boast a plethora of musicians and singers: in the phisticated). This situation is not unique to Québec, though — it is typical Eastern Townships, fiddler Henry Landry, singers Gérald Côté and Jean- of the fight all over North America for preservation of anything artisanale, Paul Guimond, accordionist Clément Lambert, fiddler Mario Landry, the ongoing battle to recognise that “patrimoine” or heritage is important as multi-instrumentalists Michelle Campagne and Davy Gallant are but a are all traditional arts, like storytelling, weaving, cheesemaking, etc. few. From north of Montréal, La Corde de Bois sets traditions rocking with Traditional music, because it has begun to gain recognition as a valid per- their rowdy style. Just south of Québec, on the banks of the river, is St- forming art like theatre or dance, repeatedly falls through the cracks when Louis-de-Lotbinière, home to the late, beloved “violoneux” (fiddler) Aimé it comes to government or municipal support. The argument is often made Gagnon, whose music lives on with a whole new generation thanks to a that “they’ll keep doing it anyway.” The analogy in the U.S. might best be post-humous recording released by his family. The Gaspé region east of made with old-time music. Québec harbors fiddlers Yvon Mimeault and Édouard Richard, who both UN RAGOÛT SAVOUREUX (A SAVORY STEW) recently released albums at the urging of those eager to learn their unique “World beat” is how Québec super-group La Bottine Souriante is often repertoires, and accordion-maker/accordionist Raynald Ouellette can be described today, a six-piece brass section having been added to the original found in Montmagny, where he also organises Le Carrefour Mondial de accordion, guitar, fiddle, feet and vocals. Regularly playing concert halls l’Accordéon (http://accordeon.montmagny.com), Québec’s largest and most and festivals on several continents, their Latin, Irish and other worldly influ- popular annual accordion festival on the first weekend of September. ences have melded into a one-of-a-kind sound that excites all sorts of audi- LA SONORITÉ TRADITIONNELLE D’AUJOURD’HUI ences — but their roots are still definitely showing! 2004 Juno nominated (TRADITIONAL SOUNDS OF TODAY) Le Vent du Nord (Benoît Bourque, Nicolas Boulerice, Olivier Demers, Instrumentally, Québec traditional music usually includes some or all of Bernard Simard) is one of the best-known groups on Anglo-Canadian and the following: fiddle, accordion, guitar, piano and feet. While accordion was American soil, having introduced countless audiences to traditional introduced after the fiddle, its popularity was quickly established and has Québécois stepdancing, song and music with a show that does a masterful job of bringing the kitchen to the stage with contemporary flair. Young group La Volée d’Castors is hot on the trail of La Bottine with a lively show and fast-moving tunes. Groups like Entourloupe and Ni Sarpe Ni Branche stick to mostly “authentic” fare, with traditional instrumentation (fiddle, accordion, guitar, feet), call-and-response songs and a repertoire that recalls the relation between instrumental music and the dance tradition of Québec. The difference between the kitchen and the stage is for them a sense of refinement and careful but not overdone arrangements. Hômmage aux Aînés from St-Côme are considered by many to be kings of the “chan- son à répondre,” featuring some of Québec’s best singers, Gaston Lepage, Serge Thériault and Martin Bordeleau. Part of the younger generation, or “la relève,” Norouet (northwest) is the intense trio of Éric Beaudry, Stéphanie Lépine and Patrick Graham, all former members of La Galvaude, playing both family and newly composed tunes and songs. They play fast, they play beautifully and you can clearly hear Scandinavian and Eastern European influences, but undeniably filtered through Québécois ears. Perdu l’Nord mixes Celtic and folk influences with their own trad and classical training to create an original sound that verges on world beat. Composer-guitarist-banjo-player Jean-Paul Loyer of Joliette concocts tunes so beautiful that they can’t help but stick in your head. His music has been thoroughly exported via the oral tradition, Free Trade be damned. I’ve already heard it played in the halls at far-from- Québec conferences and festivals. Stepdancer/caller Pierre Chartrand’s group Rapetipetam (give your tongue a workout) shows off the artistic pos- sibilities in traditional stepdance, which in Québec has close ties to its jazzy tap cousin from the southern States; in the same vein, dancer/caller Jean- François Berthiaume is not to be missed with his group Revéillons! Or onstage with other groups like Entourloupe. This year’s biggest hit has been Les Charbonniers de l’Enfer (coalminers from Hell) treat us to the rich repertoire of Lanaudière… a capella. They won a 2004 Félix for their latest album « Wô » Les Chauffeurs à pied (roughly translating to “car-less drivers”) are a young group with a delightfully old-fashioned sound. Les Batinses (curses, but not serious ones) have melded together all sorts of influences to give us a highly danceable, “trashditional,” “funkloric” sound. Michel Faubert has created a whole new way of enjoying storytelling or “conte,” with a show that includes instrumental accompaniment and a cap- tivating style that attracts audiences from the folk to the punk… I hope I’ll be forgiven for the many folks I’ve either forgotten or could- n’t fit here, as like a certain brand of batteries, the list goes on and on and on and on… À DÉCOUVRIR…(DISCOVERING MORE…) A good way to begin discovering traditional music from Québec is to surf the web, visit the websites mentioned in the first part of this article and

QUÉBECOIS page 26

July-August 2004 FolkWorks Page 23 Bowers and Beads f you have never been to the Bowers Museum of BY BROOKE ALBERTS Cultural Arts in Santa Ana before, now is a good time to familiarize yourself with what it has to offer. There are two shows at the Bowers I Brooke Alberts is a that will be running through this fall - Bridges To Understanding and Tibet: songwriter and has a Treasures From the Roof of the World, and they are well worth the trek down Masters degree in the 5 to attend. Aside from those, there are also a variety of permanent Medieval Studies. installations that are quite intriguing. I particularly enjoyed the room dedi- cated to “First Californians,” with baskets from Mission and Yokut people, Hupa woven hats, delicate feathered Pomo gift baskets, Gabrieleno “cog- stones” (whose function is unknown), stone carvings and flutes people who live in other cultures, from the Channel Islands culture the children are taught to examine group, among other items on dis- and explain their own cultures to their play. They also have a series of gal- urban and rural contemporaries. There are computers leries containing objects from pre- at the exhibit displaying the website where children contact Mexico, Central America, can interact with each other, and a film showing how the Caribbean and South America the program has effected individuals. The main attrac- linked thematically to shamanism, a tion, though, is the images. They are huge (some larg- video showing how the er than life, and some panoramic), glowing, subtly Mesoamerican ballgame (wherein a tinted, and accompanied by text explaining who they large, solid rubber ball is hit with are, where they’re from, and what issues had bearing the hips to move it and score points) for them at the time of the portrait. is played, and a full-sized replica of The Kidseum is two blocks down, and features the Maya sarcophagus lid of Pacal’s storytelling, art projects, mini-exhibitions and face- Tomb (the original of which lies painting. There are family cultural festivals weekly, within the Temple of the Dimicia, 7, Chahuatire, Peru: Dimicia’s mother was instrumental in establish- and during the summer they offer thematic art camps. Inscriptions at Palenque in Chiapas, ing a school in their small village. About the time Dimicia started first grade, The Bead Society of Orange County holds their Mexico). her nine-year-old brother began working as a porter on the Inca Trail. For less meetings at the Bowers once a month (for information than three dollars a day, he carries some 40 pounds of camping equipment for The major exhibit currently run- tourists making the popular four-day hike to Machu Picchu, Quechua go to their site at www.beadsocietyoc.org, although ning is Tibet: Treasures From the not in July or December. They are holding a meeting Roof of the World. It’s the first stop (August 28 from 10:00am to noon at the Conference on a national tour for some 200 objects never before seen in the Western Center, and a workshop following that at 1:00pm at the Kidseum featuring world that come from the Potala palace (the Dalai Lama’s residence) and the Tom and Cathy Wegman, who encrust found objects (such as waffle irons Tibet Museum of Lhasa. Docents are available to lead you through the and roller skates) with beads. show, which is divided into four sections (History and Culture, Ritual EVENTS AT THE BOWERS JULY AND AUGUST: Objects, Paintings, Sculptures and Textiles, and Daily life of the Tibetan Sunday July 11, 2:00-3:30pm - Tibet’s Nobility), but the accompanying text is sufficiently informative. Wild West: Mount Kailash and the The first gallery contains ritual objects- prayer wheels, ritual three-edged Magic Guge Kingdom (Slide show and daggers with figure-decorated hilts known as “purbas“ (with which to dis- lecture of photographer Craig Lovell’s patch one’s greed, hatred and ignorance), portable shrines, a “kapala”- a cup and Himalayan expert Christine made from a human skull (used in Tantric rituals), and sutras painted on Koliscs’s visit to a place some call the palm leaves. I found the assortment of ritual musical instruments particu- Cosmic Center of the Universe.) larly intriguing. The long horns are Saturday July 17, 2:00-3:30pm - Living said to be heard in this world as Goddesses of India (Tim Ward discusses well as the next, with the sounds his book, “Arousing the Goddess: Sex emulating the voice of a supernatu- and Love in the Buddhist Ruins of India” ral 6-tusked white elephant. The with slide show depicting ancient god- “Gyaling Horns” are only played dess rituals and sacred sites.) ritually in the presence of the king and Lama. Also known as the Saturday July 24, 1:30-3:00pm - “royal oboe,” they are played in Recent acquisitions of African art duet, with the second musician Sunday July 25, 2:00-4:00pm - An Buzayan, 6, Jinka, Ethiopia: Buzayan watching the first and copying his Afternoon of Native American Flute lives with her mother and three older sis- ters in a small Ethiopian village. Her playing so that there is a slight Music with Scott August father took a job as a policeman in a delay or echo-effect. Saturday August 7, 2:00-3:00pm - neighboring town and later abandoned The sculptures and textiles the family for another woman. Even Mexican Silversmithing Techniques of though it is very expensive for her, include “Thangkas,” devotional Taxco (repoussage, flat-chasing, metales Buzayan’s mother is committed to keep- paintings and educational tools (the casados, enameling) Christie Romero ing all the children in school. When I creating of which is a religious act), asked Buzayan about kindergarten, she Saturday August 21, 1:30-3:00pm - squealed with delight and started jumping dating from the 13th century, and New acquisitions of Oceanic art up and down. an array of gilded sculptures of var- Abi Gul, 7, Rumbur Valley, Pakistan: Abi Gul’s ious deities. A film in that gallery FAMILY CULTURAL FESTIVALS AT THE KIDSEUM: father spent eleven years fighting in the Pakistan takes the viewer through the interi- Wednesday afternoons 2:00pm Music and Dance: courts to keep the Kalash valleys from being th logged. For the Kalash, who have an animist cos- or of temples in the Potola palace. July 7 - Dance and Music of the Middle East th mology, trees are very sacred. Three years ago In the section on the “Daily Life July 14 - Aloha! Music and Dance of the Pacific Islands st Abi Gul’s father was killed by a bomb that was of the Nobility” there is one of the July 21 - Come Celebrate American Musical Tradition thrown into their little two room home. Her uncle th continued the court case and finally won the Dalai Lama’s saddles, ceramic and July 28 - A Presentation of Native American Music th judgment. Abi Gul was very serious and quiet. metalwork vessels, costumes August 4 - Beat Out the Rhythms of Many Cultures in Our Drumming Very diligent, she stayed by my side and assisted (including one made to transform Circle me as I photographed her friends and relatives in th her small village. the wearer into one of the Dakini, August 11 - Musical Traditions of the Aztec and Maya th female deities of Enlightenment), August 18 - African Musical Safari turquoise-, coral- and pearl-encrusted “Y”-shaped headgear, and jewelry. Sunday August 8, 11am-4pm Family Arts Festival For those who prefer the practical, there’s also a set of metal surgical tools BOWERS MUSEUM from the 17th century. 2002 No. Main Street, Santa Ana, CA 92706 714-567-3600 The Bridges To Understanding program was begun three years ago by www.bowers.org Phil Borges, who has been photographing people in remote regions of the Tuesday – Sunday 11:00am-5:00 pm world for the past 25 years. The project was set up to connect children from around the world with each other through the Internet, in order to preserve KIDSEUM 1802 No. Main Street, Santa Ana, CA 92706 714-480-1520 cultural diversity and promote international understanding and compassion. Saturday and Sunday 11:00am-4:00pm, Thursday 3:00-5:00pm That they might gain insight into their own way of life as well as those of

Page 24 FolkWorks July-August 2004

CD REVIEWS BY LINDA DEWAR Artist: GREAT BIG SEA your hands and enjoy! Title: SOMETHING BEAUTIFUL I had very high expectations for the liner notes on this CD, and I was not Label: ZOE (ROUNDER RECORDS GROUP) disappointed. The booklet opens with a seven-page introduction that gives Back in 1993 when Great Big Sea first got together, they had a clear an overview of the music, performers and instruments heard on the record- vision of what they wanted to accomplish. “We started with a simple idea ings, including some fascinating quotes from the Lomaxes regarding the cir- — Newfoundland music was exciting and unique, and if we combined it cumstances under which they were recorded. This is followed by perform- with pop music, we could make something special,” explains lead singer ance notes on each individual track, along with lyrics and transcripts of the Alan Doyle in an interview on the band’s web site. “We’ve added instru- spoken word interviews that are heard. ments, and voices, and rhythms, and many, many different sounds, but our ideals have never changed.” Artist: PETER LANG Over the years, Great Big Sea has held true to that original idea, and long Title: GUITAR time fans have seen them progress from a traditional band with a pop “feel” Label: HORUS RECORDS to a pop band with unmistakable tradi- Peter Lang was a protégée and friend of the legendary guitar genius tional roots. With Something Beautiful, John Fahey, who “discovered” him in 1972. For the decade of the 1970’s, their seventh album, that transition is finger-style guitar playing was defined by players such as Fahey and the almost complete, and in fact when I innovative Leo Kottke, and in 1974 Fahey, Kottke and Lang recorded an popped the CD into my computer for a album together. Then in 1978, Lang decided it was time for a career change first listen, I noticed that the genre on the and left the music business to become a film animator. Now he’s back after screen now appears as “adult alterna- 20 years, and Guitar is his second album since tive” instead of “folk.” his return. There are a few tracks that are still When his “comeback” album, Dharma reminiscent of GBS’s folk roots, notably Blues was released in 2002, Dirty Linen com- John Barbour, a Newfoundland version mented “Lang is still firmly rooted in the 60s of the Child ballad Willie O’ Winsbury, / 70s John Fahey / Leo Kottke / blues / folk / and Chafe’s Ceilidh, an “I-dare-you-to- Americana styling that he helped pioneer, and sit-still” instrumental tune. But by and it’s certainly refreshing to hear it being played large this is a pop album that is already appearing on the Canadian charts in this well by one of the old masters.” That was the company of such pop icons as Norah Jones. two years ago, and the same could be said for Plenty of bands have tried to blend tradition with pop or rock, usually Guitar. with mediocre results. What is offered up as “Celtic rock” is often nothing This is a pleasant album. I could easily pic- more than “Irish loud” in the end. But Great Big Sea is the rare exception, ture myself playing it during a long drive, or as I work at my computer. But and it is apparent in Something Beautiful that these guys have succeeded there’s nothing here that makes me say “Wow.” Maybe it’s because it is so where so many others have failed. Listen to the instrumentals and the rooted in the 1970’s that there’s a sort of “been there, done that” feel to the cadences in the title song, or in McCann and Doyle’s ode to the season, whole thing. You almost get the feeling that Lang didn’t pick up a guitar at Summer, and you’re listening to a great pop song but with roots firmly all during those 20 years, then emerged from his retirement and simply planted in the Newfoundland folk tradition. Or try Lucky Me, with both tune picked up where he left off. and lyrics as traditional as any folk song that could easily show up on the Taken in that context, though, the album is a good one. Lang is one of pop charts. the masters of 1960’s and 1970’s style 12-string finger picking, and if you The bottom line here is that GBS is definitely a pop band, although tra- loved it then, you’re still going to enjoy it now. He seems to be comfortably ditionally grounded, and Something Beautiful is definitely a pop album. It aware of where his musical feet are planted, even choosing an opening tune won’t appeal to those who object to the blending of the two genres, or to that can best be described as retro Kottke-esque in its 12-string slide style. those who simply don’t care for pop music. But if your musical spectrum is In the past couple of years we have seen quite a few albums released by fairly broad and you like traditional-pop sounds like the Corrs or Runrig, virtuoso guitar players who seem bent on displaying their technique at all then definitely give this one a listen. cost, often losing track of the music’s “feel.” I was pleased to find that Lang has avoided this temptation; there’s a degree of emotional depth here, as in Artist: VARIOUS, COLLECTED BY JOHN A. AND ALAN LOMAX the tune Witness to a Messenger which he wrote as a memorial to John Title: LOUISIANA – CATCH THAT TRAIN AND TESTIFY! Fahey. Label: ROUNDER RECORDS There’s a section of my shelves at home where I keep the CD’s that I real- I can’t write a better preface to this review than the one printed in the CD ly enjoy listening to while I’m doing something else. Guitar is just the sort insert, so here’s a direct quote: “John A. and Alan Lomax began collecting of album that belongs there; comfortable and pleasant to listen to, but not folk music using a cylinder machine, the earliest audio recording technolo- distracting enough to disturb my concentration. gy employed by field researchers. They set out in 1933, traveling through Texas, Louisiana, Tennessee and Virginia… The 1933 Louisiana sessions Linda Dewar is a singer and a player of various instruments with strings and date from a visit to the Louisiana State Penitentiary at Angola… and con- keys. She can be heard playing mostly Celtic music at small gatherings and stitute a simple snapshot of Louisiana’s black music repertoire… It was not large festivals here and there in California. Her first solo CD is currently in until father and son returned to Louisiana in 1934 that they made a com- development, which means she’s thinking about it a lot and will start doing prehensive attempt to document the different styles of folk music in the something about it real soon. state.” So much for the factual data. This CD, part of Rounder’s Deep River of Song series, is a treasure. These are the sounds that gave birth to much of what we play and listen to today, from Zydeco to gospel, to “pop” folk and beyond. We call this “roots” music, and so it is, but in it you can also hear the BULLETIN BOARD roots that came before, almost as if the Send us your community news, musical instruments for sale, non profit Lomaxes have given us a genealogy of organization announcements, weddings, births, etc. May be edited for our musical heritage. An English Child space available. ballad evolves into an African-influ- enced folk drama. A blues lament is ROOM WANTED - 2 folk musicians seek a room in the Valley (between made even more poignant by the addi- Sherman Oaks and the West Valley) to lighten the commute. We would need a place where we could stay over 2 or 3 nights a week, but will pay monthly. tion of Creole-style instruments and Please contact Cáit Reed at 310-543-1219 phrasing. A call-and-response working TEACHER WANTED - Are you a fully credentialed teacher who has passed song recalls the flavor of field-recorded the CBEST and the CSET and is also a folk-type musician? Are you interested waulking songs from the Scottish in a mostly half-time position teaching music in an LAUSD school for blind Hebrides. Here is the so-called kids. Your partner would be Uncle Ruthie and you would have the time of your American melting pot in its purest life! For information, call 310-838-8133 form. MANDOLIN PLAYER WANTED - Need a traditional Bluegrass mandolin This is a CD that invites active listening and thoughtful reflection on the picker that can play every weekend in the Los Angeles area, plus occasionally music. Leadbelly’s Goodnight Irene reminds us of the legacy behind all during the week. Lead vocals and harmonies a plus. Call 760-835-5423 those songs we learned from the Weavers and their musical progeny. IT’S AFRICAN MARKETPLACE TIME – VOLUNTEERS WANTED! Wilson “Stavin’ Chain” Jones’ version of Liza Jane makes me ponder the Volunteers are needed for the 2004 19th Annual Los Angeles African ethnicity-free version I learned in elementary school from a teacher who Marketplace & Cultural Faire (AMP) to assist in celebrating African’s Global never felt the need to explain its origin. Legacy, August 21, 22, 27, 28 & 29 and September 4, 5 & 6, 10am – 9pm in But there’s also just plain great entertainment here, something I really Exposition Park. For volunteer information, please email inquires to volun- wasn’t expecting. Je Veux Me Marier (Chere Ami), performed by Jimmy [email protected] or call Karen Brabham (323) 734-1164 or (213) Peters and ring dance singers, sent me, and my two left feet, spinning 847-1540 You may also download a printable Volunteer Application from www.africanmarketplace.org. around the house in an exuberant dance, as did both of the tracks by Jelly Roll Morton. No need to study or interpret—just get on your feet or clap

July-August 2004 FolkWorks Page 25 Woody Guthrie... HOW CAN I KEEP Was He or Wasn’t He? FROM TALKING is hometown thought he was—they refused to honor him even after of his column. he died; the FBI thought he was—they pursued him for ten years, Even more signifi- Huntil he was admitted to the Brooklyn State Hospital with cantly, prior to Pearl Huntington’s Chorea; his audience thought he was—they read his columns in Harbor, Woody, along the Daily Worker and the People’s World; Marxist Minstrels, a handbook for with most of the entertainment blacklisting, thought he was—he was their star example of duped American left, only sup- folk singers. And Woody Guthrie thought he was, though he clearly preferred ported the U.S. involve- his own word, “commonist.” ment in World War II But Ed Cray, his latest biographer, is at great pains to call into question after Hitler broke his whether Woody was, as McCarthy used to say, “a card-carrying member of the non-aggression pact with Communist Party.” The answer to that question seems ambiguous at best, with Stalin. Until then, the some persuasive evidence on both sides. Cray seems to prefer the evidence Almanac Singers against it, and especially in his post-publication interviews, has made much of (Woody’s performing the fact that Woody was a patriot, albeit, as the L.A. Times described him in group at the time) were their very positive review of Ramblin’ Man, a “restless” one. [I reviewed the staunchly pacifist. To the book in the May/June issue of Folk Works.] left’s everlasting shame it A patriot he certainly was, as evidenced both by his classic songs, This Land wasn’t enough that Is Your Land, Pastures of Plenty, Grand Coulee Dam, Roll On, Columbia, and Germany was bombing by his volunteer service as a Merchant Marine during World War II. England to justify By Ross Altman But that doesn’t mean he wasn’t also a communist. Woody himself was America’s entrance in the sometimes coy about it, saying most memorably, “Well, I ain’t necessarily a war. While Ed Murrow communist, but I have been in the red my whole life.” was filing his famous Ed Cray quotes Woody as saying (this is from memory, so I can’t cite a page reports from London, pleading with Americans to rally to the mother country’s reference), “The most intelligent thing I ever did in 1936 was to join the defense, risking his life day in and day out to warn us of Nazism’s threat to Communist Party.” That would seem pretty convincing to me, but Cray under- Western civilization, the Almanac Singers (including Woody) were writing and mines the quote by noting that Woody was in a different part of the country than recording their album Songs for John Doe, attacking Roosevelt and satirizing he said he was at the time and place he was supposed to have joined, and thus every gesture he made of support for Churchill in the battle to save his country. could not have joined. He also quotes a number of Woody’s friends who Only when Germany invaded Russia did the left change its tune, and Woody claimed that he was never “invited to join” because he was too independent and remark to Pete Seeger, “I guess we won’t be singing those peace songs any- would or could not have followed party discipline. (I didn’t know one had to be more.” Suddenly, when Communism was attacked, America’s war became their invited to join—I thought it was like the church, welcoming all comers. I also war. So was Woody a Communist or a fellow traveler? wonder if all the FBI agents who infiltrated it over the years had been “invited” I’d hate to have to live on the difference. to join. If so, one must stand in awe of the Communist Party leaders who had Now it’s time for full disclosure: I have no problem, as apparently Ed Cray an unerring eye for undercover agents.) does, with Woody having been a Communist. I grew up in the Old Left, my Be that as it may, I am prepared to take Woody at his word. The problem here father was a Communist, an unfriendly witness before HUAC in 1952, the same is that Woody was inconsistent even in his own claims. For he also said at one year Woody was named by its California cousin, the subcommittee on Un- time that he was “a member of no earthly organization.” So who to believe— American Activities in California. If Woody was a Communist in 1936, more the Woody who said he joined in 1936, or the Woody who was a member of no power to him. If he got thrown out of the Party for lack of discipline—hurrah! earthly organization. Perhaps he did join, at the same time all the other liberal He certainly was no slave to the “party line,” even writing a song poking fun at intellectuals in the country were joining (not coincidentally the year the Spanish how quickly it changed. Civil War began) and then perhaps he simply let his membership lapse. Or per- So let’s just say that if Woody was a Communist, he wasn’t a very good haps, like Whitman, Woody could have said, “I contradict myself, very well I Communist. contradict myself—I am large—I contain multitudes.” He might have also con- He certainly was a good American, creating a body of work that stands curred with Emerson: “Foolish consistency is the hobgoblin of little minds.” alongside the great artistic achievements of the 20th century for its contribution If, then, the evidence is inconclusive, and Woody’s own statements contra- to our defining sense of who we are as a people. dictory, how else may one sort this out? Absent a “smoking gun,” Woody’s actu- al membership card, or cancelled check for membership dues, or a letter for- [Editor note: Ross will be doing a workshop entitled Woody Guthrie’s America mally renouncing prior membership, one is left with the theory “if it quacks like at 3:00pm on Saturday, June 26 for the CTMS Folk Festival] a duck.” One important California communist leader, Dorothy Healey, is quoted by Ross Altman has a Ph.D. in English. Before becoming a full-time folk singer he Cray as saying, “If Woody wasn’t a Communist, he was the closest thing to it.” taught college English and Speech. He now sings around California for libraries, That would put him in the well-known category that the FBI called “fellow trav- unions, schools, political groups and folk festivals elers.” So was he a Communist or a fellow traveler? As John Wayne replied to his pal (played by Dean Martin) who asked him whether he or the new kid in town (played by Ricky Nelson) was faster on the CORRECTION draw, “I’d hate to have to live on the difference.” Folk Works wishes to correct an oversight in last issue’s Part 4 of our Let’s be at least as forthright as the Duke: Woody wrote for The People’s Conversation With Bess Lomax Hawes. We did not mention that is was World, the West Coast newspaper described by red baiters as “Joe Stalin’s Ross Altman was still carrying on the conversation in our name. Part 4 California mouthpiece.” Woody also wrote for The Daily Worker, which he dubbed “The Sabbath Employee.” His columns for these two official party was the last part of the Conversation with Bess Lomax Hawes, an inter- organs have been collected into a delightful collection called Woody Sez, the title view from July 10, 2003. —Editor

Page 26 FolkWorks July-August 2004

PASSINGS Elizabeth Charles Chase’s Partridge Magic Kingdom BY ROSS ALTMAN Early Friday morning, June 11, 2004, Elizabeth Partridge passed away in Note: This is a personal That’s why Charles Providence, Rhode Island essay on Charles Chase, was a great man—he co-founder, with his wife knew what he had and after a long battle with Dorothy, of the Claremont passed up the opportunity cancer. A nurse, psycholo- Folk Music Center. He to make money from it. gist, weaver, and con- died last May 21, at the Any one of these instru- tradancer extraordinaire she age of 89. I encourage ments could have been had a great love for all you to read more about sold on the vintage guitar things folk. Elizabeth lived him in the excellent obitu- market for a small fortune. in Los Angeles for many ary that appeared in the To Charles they never rep- years becoming part of the L.A. Times on Saturday, resented money—they contradance world in 1995. May 29. were not an investment— She returned to the East In August, 1914, two they were his reason for Coast to be closer to her signal events occurred. living. He wanted them in family where she introduced One produced death and one place for those who her siblings to the dance destruction on an unprece- could appreciate them. dented scale, changed the That was my particular community. Elizabeth will world for the worse, and Holy Grail—but others of be missed by all who knew despite its claims, made vastly different musical her for her compassion, the world extremely unsafe for democracy at tastes and educations would have found theirs as intellect and integrity. home and abroad. The other created a life devot- well, for he had wonderfully eclectic tastes and a ed to peace and justice, as expressed through a genuine feel for “World Music” long before it love of world folk music that built a safe haven ever acquired that name. for artists, poets and musicians of all stripes and There were other things I treasured about colors. World War I began and Charles Chase Charles Chase. His brother Homer was a veteran was born. of the Spanish Civil War, a member of the sto- Charles passed away this past May 21, as ried Abraham Lincoln Brigade who went to QUÉBECOIS continued from page 22 gently as he lived, in a home for Alzheimer’s Spain in 1937 to help defend the Spanish plan to attend some of the wonder- patients near his home in Claremont, California, Republic against the fascists—the first war ful events that take place here (La where he and his beautiful wife Dorothy estab- against fascism. Luckily, Homer came home. Of Grande Rencontre, Festival lished the Claremont Folk Music Center in 1958, the roughly 3,000 Americans who volunteered Mémoire et Racines, le Festival just a year after moving here. For those who for service, 1,500 died in Spain. Many of those International des arts traditionnels never had the privilege of visiting this unique who survived turned right around a few years du Québec, Danse Neige, le cultural institution let me take you for a brief later and went off to fight Hitler and Mussolini Carrefour Mondial de l’Accordéon, les Veillées du visit, the way that I will always remember it. again, in World War II. Every time I performed Charles gave me a guided tour one day about at the Claremont Spring Folk Festival, which Plateau in Montréal, th www.danse.qc.ca, etc.). Another ten years ago—in the back of the store to the true just celebrated its 25 anniversary and which excellent resource for locating and collection of instruments that justified it being was sponsored by the Claremont Folk Music directly contacting trad musicians designated a local museum by the City of Center, I sang one song for Charles and is on the Folquébec website Claremont. In the front of the store hung all the Dorothy—Viva La Quince Brigada, (“Long Live (www.folquebec.com). Folquébec guitars and banjos and fiddles, not to mention the 15th Brigade”). That was the International is a non-profit organization dedicat- African drums, Latin American marimbas, Brigade, which included the Abraham Lincoln ed to promoting all kinds of folk German made harmonicas, Hawaiian lap steel battalion from America. It was their favorite music made in Québec (world, guitars, songbooks from around the world and song because it expressed so much about their singer-songwriter, etc.), and that the atmosphere, not of a store but of a cultural lives and their family values. includes a large dose of traditional gathering place—to refresh one’s inspiration I sang it again for Dorothy last month at the Québecois music. To help spread the word, Folquébec has a booth with like-minded seekers after beauty in musical memorial for Charles. She too is in precarious, and often a showcase at most of the instruments. But those instruments had for sale fragile health. She has a neurological disease major international trade shows like signs on them—they had price tags. that makes it impossible to move the muscles in Folk Alliance, Womex, Strictly The real stuff was in back, where I first her face, thus severely limiting her expressive- Mundial and other key events. encountered the abbreviation “NFS.” Dear read- ness. But nothing stopped the twinkle in her eyes And you should be marking er, those three little letters may seem innocuous, at hearing the old anti-fascist anthem. She and your calendars now for both but they can break your heart, as they did mine Charles created a wonderful family together, RendezVous Folk! 2004 I Halifax that day. They stand for “Not for sale.” These four children, ten grandchildren and one great (www.folkalliancecanada.org) and were the instruments that were beyond value, grandchild. the 2005 North American Folk that were museum quality, that were in short, But their family extends far beyond their own Alliance annual conference in priceless. I couldn’t buy them, but Charles gra- warm house in Claremont. Every lover of folk Montréal (www.folk.org), which ciously let me play them to my heart’s content. music found a home there. That is Charles promises to be a hotbed of tradi- tional Québécois music — ça va That is where I encountered my true love, for an Chase’s legacy, and thanks to his grandson, his swinger en maudit! all too brief two-hour rendezvous with destiny. daughter Ellen’s son, the musician Ben Harper, It wasn’t a rare Martin, though God knows he who now owns the Claremont Folk Music Dana Whittle is a musician, visual had plenty of those, including their first Center, his legacy and his gift to the community artist and marketer, founder and pres- “Orchestra Model” from the 1940’s. It wasn’t a will survive for another generation. If you ident of l’Association Folquébec, an rare Gibson, though he had plenty of those, haven’t been out there, you owe it to yourself to organization dedicated to promoting including an old “Southern Jumbo” of the kind see it. It is a monument to the spirit of this won- folk talent from Québec (www.folque- that Woody Guthrie put his famous sign “This derful man. bec.com) She lives on a small farm in Machine Kills Fascists” on. No, ladies and gen- Ste-Béatrix, Québec with her fiddler tlemen, the object of my affection was a genuine Ross Altman has a Ph.D. in English. Before husband and three musical kids. She 1930’s Stella 12-string guitar, the kind that becoming a full-time folk singer he taught col- can be contacted at www.vizou.com. Leadbelly played, made with Brazilian rose- lege English and Speech. He now sings around This article has appeared in the bul- wood and top grade spruce. It wasn’t California for libraries, unions, schools, politi- letin of the North American Folk cal groups and folk festivals Music & Dance Alliance and in the Leadbelly’s guitar, but it could have been, and Country Music & Bluegrass it’s the only one I have ever seen or played. Association of Italy magazine.

July-August 2004 FolkWorks Page 27

SPECIAL EVENTS continued from page 28

TUESDAY AUGUST 3 WEDNESDAY AUGUST 11 WEDNESDAY AUGUST 18 * SUMMERGRASS SAN DIEGO 2004 see August 20 8:00pm THE FLATLANDERS $29.50 * PORTERHOUSE BOB & DOWN TO THE BONE 5:00pm BANSHEE IN THE KITCHEN featuring JIMMIE DALE GIMORE, JOE ELY & [www.porterhousebob.com] [bansheeinthekitchen.com] 4:00pm TROUT FISHING IN AMERICA Free BUTCH HANCOCK New Orleans Barrelhouse Blues & Zydeco Band Northridge Fashion Center Farmers Market see August 21 with Kelly Bowlin Band / Kevin Banford & The Bakersfield Concerts in the Park 9301 Tampa Avenue, Northridge 5:00pm PORTERHOUSE BOB & DOWN TO THE BONE Boys Fullterson Sports Complex 8:00pm THE NEVILLE BROTHERS, THE DIRTY DOZEN BRASS [www.porterhousebob.com] Coach House THURSDAY AUGUST 12 BAND, TERENCE BLANCHARD New Orleans Barrelhouse Blues & Zydeco Band 33157 Camino Capistrano, San Juan Capistrano [www.nevilles.com] City of Newport Beach (Benita Canyon Sports Park) 6:00pm OCTAVIO FIGUEROA & 949-496-8930 • www.thecoachhouse.com Hollywood Bowl WEDNESDAY AUGUST 25 WILLIE CADENAS Y LA COMBINACIÓN 2301 N. Highland Ave., Hollywood • 323-850-2000 THURSDAY AUGUST 5 Autry Center, Griffith Park 5:30pm ONE FOOT IN [www.one-foot-in.com] * JANIS IAN and RICHIE HAVENS www.southwestmuseum.org/calendar.html THURSDAY AUGUST 19 Sawdust Art Festival [www.janisian.com][www.richiehavens.com] 7:00pm HOT LIPS & FINGERTIPS Free 8:00pm LE VENT DU NORD [www.leventdunord.com] Free 935 Laguna Canyon Rd., Laguna Beach Santa Monica Pier, Santa Monica • www.twilightdance.org Culver City Summer Sunset Concerts Quebecois music www.sawdustartfestival.org • 949-494-3030 7:00pm THE FLATLANDERS (BUTCH HANCOCK, JIMMIE 8:00pm JAOJOBY Free Skirball Cultural Center (Sunset Series) THURSDAY AUGUST 26 DALE GILMORE AND JOE ELY) Madagascar dance salegy 6:00pm JOSÉ CARIDAD “PERICO” HERNANDEZ Y 8:00pm ATASH Free [www.theflatlanders.com] Skirball Cultural Center (Sunset Series) SON DE LA TIERRA House of Blues Indian and Middle Eastern music FRIDAY AUGUST 13 Autry Center, Griffith Park Skirball Cultural Center (Sunset Series) 8430 Sunset Blvd.,West Hollywood • 323-848-5100 www.southwestmuseum.org/calendar.html 7:00pm PERLA BATALLA[www.perla.com] * SUTTER CREEK RAGTIME FESTIVAL * LOS TIGRES DEL NORTE 7:00pm JOHN JORGENSON & RAUL REYNOSO Free! Cerritos Center Performing Arts Center Latin Folk [www.suttercreekragtime.com] City Hall Courtyard Culver City City Hall Sutter Creek near Sacramento 9770 Culver Blvd., Culver City • 310-398-2583 6:00pm JOHNNY POLANCO YSU CONJUNTO AMISTAD 9770 Culver Blvd., Culver City • 310-253-6643 Ragtime music and dancing in Gold Rush town in Sierra foothills Summer Sunset Concert Series Autry Center, Griffith Park Richard Duree and Ruth Levin teachers Southwest Museum 8:00pm LOS TEXMANIACS Free FRIDAY AUGUST 20 Conjunto and Tejano music * GOLD COAST FEIS FRIDAY AUGUST 27 Skirball Cultural Center (Sunset Series) Claddagh School of Irish Dance * GREEK FESTIVAL [www.claddaghdance.com/feis] Music, dancing, food, crafts 8:00pm QUETZAL and Friends Free FRIDAY AUGUST 6 Hyatt Westlake Plaza St. Nectarios Church, Covina • 626-967-5524 Tribute to Los Lobos Grand Performances * RICHIE HAVENS [www.richiehavens.com] 800 South Westlake Blvd.,Westlake Village * SUMMERGRASS SAN DIEGO 2004 Countrywide Performing Arts Center 805-644-3927 Chris Hillman with Bluegrass Etc., Tim Flannery & Friends, 8:00pm MISS DEVON & GINNY MAE $12.50 * So. Cal FILK FESTIVAL SATURDAY AUGUST 14 Fragment, Bluegrass Etc., Silverado, Ron Spears & Within Coffee Gallery Backstage Folk songs of science fiction, fantasy and high tech Tradition, Bearfoot, Laurel Canyon Ramblers, Witcher Brothers, 8:00pm FRAGMENT Woodland Hills Marriot * SUTTER CREEK RAGTIME FESTIVAL Lighthouse, 7th Day Buskers, Gone Tomorrow and more! [www.hoperiverentertainment.com/fragment.htm] 21850 Oxnard St, Woodland Hills see August 13 Vista Antique Gas & Steam Engine Museum Bluegrass band from Czechoslavakia www.conchord.org • [email protected] * GOLD COAST FEIS 2040 North Santa Fe Ave., Vista Boulevard Music 8:00pm ALOHA LIVE 2004 see August 13 858-679-4854 [email protected] summergrass.net SATURDAY AUGUST 28 Hawaiian Music featuring Amy Hanaiali’i Gilliom 10:00am- CELTIC MUSIC BY-THE-SEA 8:00pm INCA and CAMBALACHE NEGRO $24-30 & Willie K. and others Wolfstone, Gaelic Storm,Wicked Tinkers, Celtic Spring, “FIESTA PERU” 11:00am Fourth Annual Old West Fest $40/$60 ($10-$15 indiv perf) The Grove of Anaheim Banshee in the Kitchen, Ken O’Malley John Anson Ford Amphitheatre Cowgirl Culture, Music, and Poetry Queen Mary Events Park, Long Beach Katy Moffatt, Joni Harms, Belinda Gail, Liz Masterson, 8:00pm SUSIE GLAZE $15 SATURDAY AUGUST 21 Judy Coder, and Janet McBride Coffee Gallery Backstage Music and dance performances 562-804-5639 • www.longbeachcelticfestival.com * GREEK FESTIVAL 866-666-8932 8:00pm DAVID GRIER [www.davidgrier.com] (call to verify date) see August 20 Museum of the American West Boulevard Music 4:00pm SHARON KATZ AND THE PEACE TRAIN Free 4700 Western Heritage Way, L.A. [www.sharonkatz.com] * SUMMERGRASS SAN DIEGO 2004 323-667-2000 • www.autry-museum.org SATURDAY AUGUST 7 Getty Center see August 20 12:00pm MASANGA MARIMBA ENSEMBLE Free * So. Cal FILK FESTIVAL 7:00pm THE EARL BROTHERS $12.50 * SCOTTISH LUAU Music from Shona people of Zimbabwe see August 6 [www.panhandlecountry.com/Level%201/ Scottish dance party Skirball Cultural Center (Café Z) * RICHIE HAVENS [richiehavens.com] The_Earl_Bros.html] San Gabriel Valley RSCDS• 909-624-9496 Coffee Gallery Backstage 7:30pm INCENDIO & FRIENDS $33 In-store performance * KATY MOFFATT [www.incendiomusic.com] Amoeba Music 8:00pm TIM TEDROW AND TERRY VREELAND Caltech Beckman Institute Auditorium Countrywide Performing Arts Center 6400 Sunset Blvd., Hollywood [www.trough.com/Tedrow-Vreeland] 400 S. Wilson, Pasadena (Janet and Ray Scherr Forum Theatre) 323-245-6400 • www.amoebamusic.com Bean Town 626-395-4652 • www.its.caltech.edu/~folkmusi/ Caltech Folk Music Society * THE YOUNG DUBLINERS 6:30pm HIGH COTTON 8:00pm JAMES LEE STANLEY[www.jamesleestanley.com] $15 Central Park, Santa Clarita Me ‘n’ Ed’s Pizza Parlor The Fret House 2:30pm CARMEN Free 4115 Paramount Blvd., Lakewood Film with Flamenco music and dance * DON EDWARDS 8:00pm DOUG HAYWOOD and MATT CARTSONIS Autry Museum, L.A. 562-421-8908 [www.doughaywood.com] [www.mattcartsonis.com] Skirball Cultural Center 8:00pm HIGH HILLS[www.highhills.com] Boulevard Music 12:00pm TRIOD AMOR Y PAZ Free 8:00pm REO AOO’S DANCE PLANET $20-25 / $12 Children and SATORI DAIKO Bluegrass 8:30pm THIS IS BELLY DANCE![www.bellydance.org] $15-29 Mariachi music of Veraruz, Mexico Bean Town Skirball Cultural Center (Café Z) Traditional Japanese dance and Taiko drumming John Anson Ford Amphitheatre John Anson Ford Amphitheatre SUNDAY AUGUST 8 SUNDAY AUGUST 15 4:00pm TROUT FISHING IN AMERICA Free [www.troutmusic.com] SUNDAY AUGUST 29 * So. Cal FILK FESTIVAL * GOLD COAST FEIS Getty Museum see August 6 6:00pm GLENN YARBROUGH and the FOLK REUNION see August 13 7:30pm THE JOEL RAFAEL BAND $12/$10 TLT member Concerts in the Park 2:00pm SUSIE GLAZE AND THE HILONESOME BAND Free * SUTTER CREEK RAGTIME FESTIVAL [www.joelrafael.com] Bredlow Pavilion in Warner Park, near Warner Center Peter Strauss Ranch Concert (Santa Monica Mountains) see August 13 The Living Tradition www.valleycultural.org Topanga Banjo Fiddle Contest and National Park Service www.topangabanjofiddle.org 3:00pm SUNI PAZ AND COLIBRI[www.sunipaz.com] Free 8:00pm LOWEN & NAVARRO [www.lownav.com] 3:00pm MARCIA BERMAN Free Sing-a-long Children’s music Russ and Julie’s House Concerts Family Sing-A-Long MONDAY AUGUST 9 Grand Performances Grand Performances 8:00pm DENNIS ROGER REED 10:00am RANGOLI DANCERS OF INDIA 4:00pm SHARON KATZ AND THE PEACE TRAIN Free Bean Town 7:00pm ORCHESTRA LA MODERNA TRACION $20-35 [www.rangoli.org] see August 14 Classic music of Cuba Madrid Theatre 8:00pm PALM WINE BOYS [www.palmwineboys.com] $15 John Anson Ford Amphitheatre TUESDAY AUGUST 17 Fret House 8:00pm NATALIE MERCHANT[www.nataliemerchant.com] $42-57 MONDAY AUGUST 30 Countrywide Performing Arts Center (Fred Kavli Theatre) 6:00pm BANSHEE IN THE KITCHEN [bansheeinthekitchen.com] SUNDAY AUGUST 22 City of Hope, main lobby. 10:00am GLENN YARBROUGH and the FOLK REUNION * GREEK FESTIVAL Madrid Theatre 1500 E. Duarte Road, Duarte see August 20

FOLKWORKS FOLK AS OF MAY, 2004 ANGEL Anonymous BENEFACTOR Ruth C. Greenberg • Tom & Melinda Peters • Kathy Qualey • Dave Stambaugh PATRON Frieda & Bob Brown • Christa Burch • David & Jennifer Dempsey • Ron Young-Linda Dewar Steve Dulson • Bonita Edelberg • Kay & Cliff Gilpatric • Lisa Gwin • Don & Holly Kiger Don Green/Barbara Weismann • Chris Gruber • Aleta Hancock • Dorian Keyser • Sheila Mann Mary Anne McCarthy • Santa Monica Folk Music Club • Jim Westbrook • Elaine & Clark Weissman FRIENDS Anonymous Alan & Shirley Hansen Gabrielle O’Neill Brooke Alberts Jim Hamilton Stephen/Susan Parker Robin & Tom Axworthy Chris Hendershot Peter Parrish Carvel Bass Fron Heller/Bill Mason Lenny Potash Aubyn & Doug Biery Sue Hunter Mattias F. Reese Henrietta Bemis Trudy & Peter Israel Suzie Richmond AD Doug Brown Bob Jacobs Steve Rosenwasser/Kelli Sager Valerie Brown/Jerry Grabel Bryon Johnson Tom Schulte Bob & Melody Burns Dodi & Marty Kennerly Diane Sherman VER Chris Cooper Linda Kodaira Miriam & Jim Sidanius Jim Cope Peter Kolstad/Suzanne Benoit Anne Silver Janet Cornwell Brian McKibbin Jeff Spero TISE Alan & Margaret Davis Nancy MacMillan /Gigi DeMarrais Lisa Davis James Morgenstern/Linda Dow Fred Starner IN Winifred Davis Gitta Morris/Gee Martin Mimi Tanaka Enrico Del Zotto Rex Mayreis Barry Tavlin Mary Dolinskis Judy & Jay Messinger Doug Thomas FOLK Lawrence Dunn Gretchen & Chris Naticchia Vivian Vinberg Marcia & Brian Edwards Molly Nealson Ken Waldman WORKS Joy Felt Sue Nelson Michael McKenna/Debbie Webb Joel Garfield Melanie Nolley Donald Wood It’s Good John & Judy Glass Norma Nordstrom John Wygonski/Mary Cynar Business. Roger Goodman/Monika White Dave Ogden

Page 28 FolkWorks July-August 2004

SPECIAL EVENTS

FRIDAY JULY 2 noon THE KYOGEN 2004 $50/$40/$30 TUESDAY JULY 20 11:00am- REEL BLACK COWBOY FILM AND Motoya Izumi explores 500-year-old WESTERN FESTIVAL 8:00pm JANET KLEIN [www.janetklein.com] Japanese comedic art form of Kyogen 6:00pm MUSIC AT THE ZOO – WORLD MUSIC NIGHT $15/$9 Films Free/ Performance $15/$10 Autry members The Silent Movie Theatre Torrance Cultural Arts Center (James Armstrong Theatre) Children/Free under 5 (Zoo members discounted) Honor African American cowboys of the big screen plus 8:00pm THE RAINWATER BLUEGRASS BAND Bridge U.S.A. with Wicked Tinkers, Tropical Punch, Incendio, Lula and Ladies of the West Bean Town Afro-Brasil, Masanga Marimba Ensemble Griffith Park 2:00pm SLIGO RAGS L.A. Zoo • www.lazoo.org 8:00pm THE DUO-TONES (Paul Johnson & Gil Orr) $15 Peter Strauss Ranch Concert (Santa Monica Mountains) 323-252-3967 or 323-737-3292. [www.zptdudamusic.com/duo-tones] Topanga Banjo Fiddle Contest and National Park Service 8:00pm SUSIE GLAZE AND HILONESOME [www.susieglaze.com] 4:00pm- BANSHEE IN THE KITCHEN Coffee Gallery Backstage www.topangabanjofiddle.org Stargazer [bansheeinthekitchen.com] 6501 Fallbrook, West Hills 9:00pm RICHARD THOMPSON $25 2:00pm BANSHEE IN THE KITCHEN [bansheeinthekitchen.com] Plaza Art Walk Joy Felt 818-705-8870 Harley Tarlitz 818-902-2121 Behind 400 block of Myrtle Ave., Monrovia [www.richardthompson-music.com] Descanso Gardens Under The Oaks Theater Bluegrass Association of Southern California House of BluesWest Hollywood 1418 Descanso Dr., La Canada • 818-949-4200 6:00pm PLAZA DE LA RAZA ART AUCTION THURSDAY JULY 22 SATURDAY JULY 3 6:00pm BOOM-CHICKA-BOOM 3540 N. Mission Rd., L.A. with Justin Curtis, Sally~Jo, Bill Bateman and Danny Harvey * LES YEUX NOIR and QUETZAL 323-223-2475 • www.plazadelaraza.org 3:00pm BIG SANDY & HIS FLY-RITE BOYS Homage to Johnny Cash Santa Monica Pier, Santa Monica • www.twilightdance.org 7:30pm PORTERHOUSE BOB & DOWN TO THE BONE [www.bigsandy.net] plus CHRIS BURGIN[www.chrisburgan.com] [www.porterhousebob.com] Hootenanny Festival 8:00pm MARTA SANTA MARIA and VIAJEM Free Coffee Gallery Backstage Flamenco, selillanas boleros, Spanish songs, Brazilian bossa New Orleans Barrelhouse Blues & Zydeco Band Oak Ranch Park, Irvine Ventura Summer Concert Under the Stars www.thehootenanny.com 7:00pm BOBBY KIMMEL & 4 CORNERS $12.50 nova and samba plus FRED SOKOLOW Skirball Cultural Center (Sunset Series) City of Ventura 7:00pm & 9:00pm LUNA LOKA $10/ $3 for children under 12 McCabe’s Guitar Shop 7:00pm & 9:30pm JANET KLEIN & HER PARLOR BOYS $15 [www.lunaloka.com] Flamenco guitaristså FRIDAY JULY 23 7:00pm TRACY CHAPMAN, OUMOU SANGARE, $5-$40 [www.janetklein.com] Daniello De Laurentiis and Karl “Carlos” Grossman, Al Salas * WOLF MOUNTAIN BLUEGRASS FESTIVAL Coffee Gallery Backstage San Juan Capistrano Library TANIA LIBERTAD [www.tracychapman.com] Nevada County Fairgrounds 31495 El Camino Real, San Juan Capistrano Hollywood Bowl Grass Valley, California 8:00pm LISA FINNIE AND THE BACKTALKERS 949-248-7469 • www.musicatthelibrary.com 2301 N. Highland Ave., Hollywood 831-425-2270 [email protected] • www.wolfmt.com [www.home.earthlink.net/~finnie66/id1.html] 323- 850-2000 www.hollywoodbowl.com Bean Town 6:00pm DAN CROW [www.dancrow.com] 8:00pm KHMER ARTS ACADEMY Free Santa Monica College 7:00pm GIPSY KINGS [www.gypsykings.com] Traditional Cambodian music and dance 8:00pm BILL TAPIA $20 1900 Pico Blvd., Santa Monica • www.smc.edu 1122 N. Milpas St., Santa Barbara • 805-962-7411 Grand Performances Legendary Hawaiian Ukulele Fret House 7:00pm THE BLUES PIRATES[www.bluespirates.org] $12.50 WEDNESDAY JULY 14 8:00pm CHRIS FOSTER and BARA GRIMSDOTTIR 8:30pm SALON MEXICO Coffee Gallery Backstage 11:45am ASHLEY MAHER Free [www.folkmusic.net/chrisfoster English and Icelandic folksingers Pacifico Dance Company 8:00pm JANET KLEIN & HER PARLOR BOYS [www.hrmusic.com/ashley/ashley.html] John Anson Ford Amphitheatre The Silent Movie Theatre Torrance Cultural Arts Center Boulevard Music 8:00pm CLIFF WAGNER AND THE OLD #7[www.oldnumber7.net] 6:30pm DAN CROW $10 non-member/$8 member 8:00pm MICHAEL CHAPDELAINE SUNDAY AUGUST 1 Bean Town [www.dancrow.com] [www.michaelchapdelaine.com] * COSTUME COLLEGE 8:00pm FRAN BANISH, LEE FERRIS, FOOL MOON $8 Descanso Gardens Under The Oaks Theater Guitarist see July 30 Coffee Gallery Backstage [www.franbanish.com] 1418 Descanso Dr., La Canada 7:00pm CAROLINE HERRING $16.00 McCabe’s Guitar Shop 818-949-7980 818-949-4200 8:00pm & 10:00pm TOMMY EMMANUEL $20 [www.carolineherring.com] 8:00pm BLUEGRASS AT THE FORD $25/$12 children 7:00pm LILA DOWNS[www.liladowns.com] [www.tommyemmanuel.com/tommy.htm] Altadena house concert with LAURIE LEWIS & TOM ROZUM The Echo McCabe’s Guitar Shop Acoustic Music Series and THE GUEST HOUSE BAND plus DAN CRARY 1822 Sunset Blvd., L.A. 213-413-8200 • www.attheecho.com SATURDAY JULY 24 626-791-0411 • www.acousticmusicseries.com [www.laurielewis.com][www.dancrary.com] 8:00pm YOUSSOU N’DOUR[www.youssou.com] $30adv/$35door * WOLF MOUNTAIN BLUEGRASS FESTIVAL 7:30pm THE YUVAL RON ENSEMBLE $25, $15 children John Anson Ford Amphitheater with Senegalese dance and drum troupe see July 23 featuring Najwa Gibran Bluegrass Association of Southern California Aziz Faye with Khaley Nguewel (Concert is outdoors. Please dress for cool evenings) [www.members.aol.com/intunenews] Henry Fonda Theatre * GREAT AMERICAN BLUEGRASS AND ACOUSTIC The Brandeis-Bardin Institute MUSIC FESTIVAL SUNDAY JULY 4 6126 Hollywood Blvd., Hollywood • 323-464-0808 1101 Peppertree Lane, Brandeis The Andy Rau Band, Cliff Wagner and the Old #7, Suzie Linda 805-582-4450 • www.thebbi.org 7:00pm JAMIE LAVAL TRIO (with stepdancers!) THURSDAY JULY 15 Glaze and The Eight Hand String Band, The Walden Dahl National Scottish Fiddle Champion [www.jamielaval.com] * THE YOUNG DUBLINERS[www.youngdubs.com] Band, The Silverado Bluegrass Band, The Kin Folk, MONDAY AUGUST 2 Coffee Gallery Backstage with Venice Timberline, Witcher Brothers, Peter Feldman and the Very 10:00am WE FIVE Santa Monica Pier, Santa Monica • www.twilightdance.org Lonesome Boys and more Folk Rock Revival MONDAY JULY 5 Hesperia Lake, CA * CALIFORNIA WORLDFEST Madrid Theatre * CHRISTENE LEDOUX 7500 Arrowhead Lake Road Fairgrounds 909-678-0831• www.tricopolisrecords.com 7:30pm ERIC CLAPTON [www.christeneledoux.com] Hwy 49 & Hwy 120, Grass Valley plus ROBERT RANDOLPH & THE FAMILY BAND SF based Singer-songwriter Youssou N’Dour, Lucinda Williams, Tommy Emmanuel, 10:00am- SACRED HARP SINGING Hollywood Bowl [email protected] Stars of the Peking Acrobats, Les Yeux Noirs, Alasdair Porter House 2301 N. Highland Ave., Hollywood • 323-850-2000 TUESDAY JULY 6 Fraser, Badi Assad, Tiempo Libre, Samite of Uganda, Joe Old Poway Park, Poway Craven, Samba Ngo, Mary Youngblood, Radim Zenkl, Laurie 619-544-0432 www.sdfolkheritage.org 6:00pm RIDERS OF THE PURPLE SAGE San Diego Folk Heritage [www.ridersofthepurplesage.com] Lewis & Tom Rozum, Habib Khan & Emam, Led SPECIAL EVENTS Continued on page 27 Music In the L.A. Zoo Kaapana,Wild Magnolias , Webster Sisters with Scott 10:00am MALATHI IYENGAR & RANGOLI DANCE COMPANY www.lazoo.org Nygaard and mroe John Anson Ford Amphitheater 530-891-4098 or [email protected] www.worldfest.net WEDNESDAY JULY 7 2:00pm & 6:00pm BANSHEE IN THE KITCHEN VENUE LOCATIONS 7:00pm ALASDAIR FRASER & NATALIE HAAS Free [bansheeinthekitchen.com] 5:00pm BANSHEE IN THE KITCHEN City Hall Courtyard SAVE THE VERDUGOS Benefit, Tujunga BEAN TOWN [bansheeinthekitchen.com] 9770 Culver Blvd., Culver City Northridge Fashion Center Farmers Market 310-398-2583 3:00pm & 7:00pm HO’IKE 2004 $15 45 N. Baldwin Ave., Sierra Madre 9301 Tampa Avenue, Northridge Summer Sunset Concert Series Halau Hula a Kawka Laua ‘o Leinani and the Kalika Band 626-355-1596 Dances of the South Pacific THURSDAY JULY 8 8:00pm HAMZA EL DIN & JOAN JEANRENAUD 8th Annual Fundraiser Concert BODIE HOUSE CONCERTS [www.hamzaeldin.com]$25/$20 Skirball mems/$15 students 8:00pm GIPSY KINGS $65.60-$95.50 George & Sakaye Aratani/Japan America Theatre Agoura Hills • www.bodiehouse.com Nubian music 909-396-4775 213-680-3700 [www.gipsykings.com] Skirball Cultural Center BOULEVARD MUSIC The Grove Of AnaheimFRIDAY JULY 9 6:00pm LA FIESTA MUNDIAL DEL MARIACHI 4316 Sepulveda Blvd., Culver City * RETURN TO SIN CITY: [www.gramparsonstribute.com] FRIDAY JULY 16 featuring Mariachi Vargas de Tecalitan and Mariachi 310-398-2583 • www.boulevardmusic.com A TRIBUTE TO GRAM PARSONS featuring * CALIFORNIA WORLDFEST Tlaquepaque STEVE EARLE, NORAH JONES, LUCINDA WILLIAMS, see July 15 Pacific Amphitheater CERRITOS PERFORMING ARTS CENTER 12700 Center Court Dr., Cerritos DWIGHT YOAKAM, JIM LAUDERDALE, more * SAN DIEGO NORTH COUNTY BLUEGRASS & FOLK 7:00pm HARRIET SCHOCK [www.harrietschock.com] $15 Santa Barbara Bowl, Santa Barbara CLUB CAMPOUT plus ANDREA ROSS-GREENE 562 916-8501 or 800- 300-4345 * GREEK FESTIVAL Idyllwilld Thousand Trails Coffee Gallery Backstage www.cerritoscenter.com Music, dancing, food, crafts 24400 Canyon Trail, Idyllwild 8:00pm MICHAEL DART AND THE FLATLANDERS COFFEE GALLERY BACKSTAGE St. Katherine Church, Redondo Beach Jerry Hass [email protected] Bean Town 310-540-2434 Phil Levy 619-440-7028 •northcountybluegrass.org 2029 N. Lake Ave., Altadena 8:00pm RIZWAN-MUAZZAM QAWWALI Free 626-398-7917 • [email protected] * THE GOOD OLD FASHIONED BLUEGRASS FESTIVAL noon JUAN SANCHEZ [www.juanlsanchez.com] Free Qawwail singing Bolado Park - San Benito County Fairground Gypsy rumbas and Cuban guajiras Grand Performances www.coffeegallery.com Highway 25, Hollister, Northern California Grand Performances 8:00pm MICHAEL CHAPDELAINE and ROBBY LONGLEY COUNTRYWIDE PERFORMING ARTS CENTER 831-479-4634 [email protected] 7:00pm & 9:30pm JOHN STEWART $20 [www.michaelchapdelaine.com][www.robbylongley.com] 2100 Thousand Oaks Blvd. www.bluegrasssociety.org [www.fleetwoodmac.net/penguin/stewart.htm] Guitarists 805-449-2787 • www.toaks.org/theatre noon MARIA DE BARROS[www.mariadebarros.com] Coffee Gallery Backstage Russ and Julie’s House Concerts Queen of Coladeiras – African influence songs CULVER CITY SUMMER SUNSET CONCERTS 7:30pm BANSHEE IN THE KITCHEN [bansheeinthekitchen.com] 8:00pm DOUG MACLEOD [www.doug-macleod.com] $15 City Hall Courtyard Grand Performances Borders Books The Fret House 9770 Culver Blvd., Culver City 8:00pm MARIA DE BARROS and SOUAD MASSI Free 125 W. Thousand Oaks Blvd., Thousand Oaks SUNDAY JULY 25 Queen of Coladeiras – African influence songs 805-497-8159 310-398-2583 [www.mariadebarros.com] 8:00pm PIERRE BENSUSAN [www.pierrebensusan.com] $20 * WOLF MOUNTAIN BLUEGRASS FESTIVAL FRET HOUSE [souadmassi.artistes.universalmusic.fr] McCabe’s Guitar Shop see July 23 Grand Performances 309 N. Citrus, Covina * GREAT AMERICAN BLUEGRASS AND ACOUSTIC 626-339-7020 • www.frethouse.com 8:00pm GIPSY KINGS[www.gipsykings.com] $31-$115 LISTING UPGRADE NOW AVAILABLE MUSIC FESTIVAL Greek Theatre Have your Special Event listed in larger font see July 24 FULLERTON SPORTS COMPLEX 2700 North Vermont Canyon (Griffith Park), L.A. and highlighted in BOLD FACE. 11am- CULVER CITY MUSIC FESTIVAL Free 560 E. Silver Pine, Fullerton www.greektheatrela.com with Robby Longley, Cerves McNeil, Bruce White, Bob 714-738-6545 8:00pm JOHN STEWART $20 ONLY $20 per event. Jones and Mr. Pete, Border Radio, Evan Marshall, Matt www.ci.fullerton.ca.us/museum/calendar.html [www.fleetwoodmac.net/penguin/stewart.htm] Cartsonis, Bernie Pearl, Ed Munter, Suzie Glaze and the 8 Kingston trio member Call 818-785-3839 Hand String Band, Harris Levey, Trailmix, Dawn Hummer, GETTY CENTER McCabe’s Guitar Shop or email - [email protected] for details. Doug Whitney, and more 1200 Getty Center Dr., L.A. 8:00pm RIDERS OF THE PURPLE SAGE plus PHIL VAN TEE$20 Veteran’s Park 310-440-7300 • www.getty.edu 4117 Overland Ave., Culver City [www.ridersofthepurplesage.com] GRAND PERFORMANCES Coffee Gallery Backstage SATURDAY JULY 17 TUESDAY JULY 27 California Plaza SATURDAY JULY 10 * CALIFORNIA WORLDFEST 7:30pm JACKSON BROWNE and SHAWN COLVIN 350 South Grand, L.A. * GREEK FESTIVAL see July 15 [www.jacksonbrowne.com][www.shawncolvin.com] www.grandperformances.org Pacific Amphitheater see July 9 * SAN DIEGO NORTH COUNTY BLUEGRASS & WEDNESDAY JULY 28 GROVE OF ANAHEIM * THE GOOD OLD FASHIONED BLUEGRASS FESTIVAL FOLK CLUB CAMPOUT 2200 East Katella Ave., Anaheim see July 16 see July 9 * SOL DE ALEGRIA [www.alegriamusic.com] www.thegroveofanaheim.com • 714-712-2700 * RETURN TO SIN CITY: [www.gramparsonstribute.com] * CALIFORNIA IRISH FESTIVAL & FEIS Concerts in the Park A TRIBUTE TO GRAM PARSONS featuring Brothers of St. Patrick Fullterton Sports ComplexTHURSDAY JULY 29 HOUSE OF BLUES STEVE EARLE, NORAH JONES, LUCINDA WILLIAMS, 7820 Bolsa Ave., Midway City 8:00pm THE ARAB-ISRAELI ORCHESTRA OF NAZARETH Free 8430 Sunset Blvd.,West Hollywood DWIGHT YOAKAM, JIM LAUDERDALE, more www.celticgold.com Classical, traditional and folk Arabic music www.hob.com/venues/clubvenues/sunsetstrip Universal Amphitheater 6:00pm- COLORADO BRIDGE FAIR Skirball Cultural Center (Sunset Series) 323-848-5100 100 Universal Citywalk, Universal City • 818-622-4440 with Susie Glaze and The Eight Hand String Band and FRIDAY JULY 30 JOHN ANSON FORD AMPHITHEATRE 10:00am MASANGA MARIMBA ENSEMBLE $5/Free children Border Radio Music of Shona people of Zimbabwe Colorado Street Bridge, Pasadena * LARK CAMP - 2580 Cahuenga Blvd., East, Hollywood John Anson Ford Amphitheatre www.pasadenaheritage.org/bridgeparty.html WORLD MUSIC & DANCE CELEBRATION 2004 323-461-3673 • www.fordamphitheater.org Mendocino Woodlands State Park, Mendocino 6:00pm DANCE AND MUSIC OF INDIA $15-$25 noon MASANGA MARIMBA ENSEMBLE Free www.larkcamp.com THE LIVING TRADITION Torrance Cultural Arts Center (James Armstrong Theatre) music from Shona people of Zimbabwe Downtown Community Center Shakti Foundation Skirball Cultural Center (Café Z) * COSTUME COLLEGE Airtel Plaza Hotel, 7727 Valjean Ave., Van Nuys 250 E. Center St., Anaheim 8:00pm STEVE WHITE [www.stevewhiteblues.com] 7:30pm PALM WINE BOYS $12/$10 TLT mem Classes in historical costume design and construction 949-646-1964 • www.thelivingtradition.org Acoustic blues [www.pinewineboys.com] www.costumecollege.org Bean Town The Living Tradition MADRID THEATRE noon & 8:00pm LOS DE ABAJO Free 8:00pm I AM CUBA $20/$25 8:00pm BANSHEE IN THE KITCHEN [bansheeinthekitchen.com] 21622 Sherman Way, Canoga Park Mexican salsa, reggae and cumbia 818-347-9419 • www.valleycultural.org Cuban music and dance Borders Books Grand Performances John Anson Ford Amphitheatre 24445 Town Center Dr., Valencia • 661-286-1131 noon- BANSHEE IN THE KITCHEN McCABE’S GUITAR SHOP 8:00pm JOHN STEWART $20 8:00pm CLADDAGH [bansheeinthekitchen.com] 3101 Pico Blvd., Santa Monica see July 9 Bean Town Main deck stage, Laguna Sawdust Festival 310-828-4497 • www.mccabesguitar.com 8:00pm MERLIN SNIDER & HIS PRETTY GOOD $12.50 8:00pm QI MUSIC Free 949-494-3030 • www.sawdustartfestival.org ACQUAINTANCES plus CHAD WATSON Traditional Chinese music PACIFIC AMPHITHEATER 7:00pm MALATHI IYENGAR & RANGOLI DANCERS OF INDIA 88 Fair Drive, Costa Mesa [www.merlinsnider.com] Grand performances [www.rangoli.org] [www.studioclub.com/chadwatson.htm] 8:00pm EVAN MARSHALL $15 Norton Simon Museum www.ocfair.com/pacificamphitheatre Coffee Gallery Backstage Solo mandolin 411 West Colorado Blvd., Pasadena RUSS AND JULIE’S HOUSE CONCERTS 8:00pm CHRIS HILLMAN & HERB PEDERSEN $15 Fret House www.nortonsimon.org Oak Park (Agoura Hills/Westlake Village area) [www.chrishillman.com] [www.herbpedersen.com] 8:00pm JANET KLEIN & HER PARLOR BOYS 8:00pm JEAN SUDBURY AND FRIENDS 818-707-2179 Bodie House, Agoura Hills [www.janetklein.com] Bean Town www.jrp-graphics.com/houseconcerts.html 8:00pm BOB JONES and MR. PETE $15 Boulevard Music 8:30pm DENNIS ROGER REED Blues (traditional guitar and harmonica duo) SUNDAY JULY 18 Alta Coffee THE SILENT MOVIE THEATRE Fret House 611 North Fairfax, Hollywood • 232-655-2520 * CALIFORNIA WORLDFEST 506 31st. St., Newport Beach • 949-675-0233 8:00pm LISA FINNIE & THE NICE GUYS see July 15 8:00pm ROBBY LONGLEY plus THE REMNANTS $12.50 SKIRBALL CULTURAL CENTER [www.home.earthlink.net/~finnie66/id1.html] Coffee Gallery Backstage 2701 North Sepulveda Blvd., Los Angeles Viva Cantina * SAN DIEGO NORTH COUNTY BLUEGRASS & FOLK 900 Riverside Dr., Burbank • 818-845-2425 CLUB CAMPOUT SATURDAY JULY 31 310-440-4578 • www.skirball.org see July 16 8:00pm BANSHEE IN THE KITCHEN and RICK SHEA * COSTUME COLLEGE TORRANCE CULTURAL ARTS CENTER [bansheeinthekitchen.com] [www.rickshea.net] * SUMMER STRAWBERRY BALLETTE see July 30 3330 Civic Center Dr., Torrance Boulevard Music Scottish dance party * JUDY COLLINS 310-781-7171 • www.tcac.torrnet.com San Gabriel Valley RSCDS• 909-624-9496 SUNDAY JULY 11 [www.judycollins.com] * PIERRE BENSUSAN Burton Chase Park, Marina Del Rey FOR UP-TO-DATE INFORMATION * GREEK FESTIVAL House Concert in Westminster 714-379-0944 see July 9 10:00am INTERNATIONS ACADEMY OF 6:00pm DENNIS GAINES plus THE REMNANTS $12.50 MIDDLE EASTERN DANCE Mary Katherine Aldin - Alive and Picking Calendar * THE GOOD OLD FASHIONED BLUEGRASS FESTIVAL Coffee Gallery Backstage Belly dance www.aliveandpicking.com/calendar.html see July 9 6:00pm YOUNG DUBLINERS[www.youngdubs.com] Free John Anson Ford Amphitheatre Jay and Judy Michtom - Folk Dance Scene Calendar 10am– JAPANESE SUMMER FESTIVAL Concerts in the Park 818-368-1957 • [email protected] $3,$1 children under 12, free for seniors over 65 Bredlow Pavilion FolkWorks thanks these folks for providing information. Food, kimonos, dancers, live music, traditional Mikoshi parade Warner Park (Califa & Topanga) in Woodland Hills Torrance Cultural Arts Center (Bridge U.S.A.) www.valleycultural.org Indicates Editor’s Picks