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CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS

FREE BI-MONTHLY Volume 4 Number 6 Nov-Dec 2004

THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Music and Poetry Quench the Thirst of Our Soul FESTIVAL IN THE DESERT

BY ENRICO DEL ZOTTO

usic and poetry rarely cross paths with . For desert dwellers, poetry has long been another way of making war, just as their sword dances are a choreographic represen- M tation of real conflict. Just as the mastery of insideinside thisthis issue:issue: space and territory has always depended on the control of wells and water resources, words have been constantly fed and nourished with metaphors SomeThe Thoughts Cradle onof and elegies. It’s as if life in this desolate immensity forces you to quench two thirsts rather than one; that of the body and that KoreanCante Folk Music of the soul. The Annual Festival in the Desert quenches our thirst of the spirit…Francis Dordor The Los Angeles The annual Festival in the Desert has been held on the edge Put On Your of the Sahara in Mali since January 2001. Based on the tradi- tional gatherings of the Touareg (or Tuareg) people of Mali, KlezmerDancing SceneShoes this 3-day event brings together participants from not only the Tuareg tradition, but from throughout Africa and the world. Past performers have included Habib Koité, Manu Chao, Robert Plant, Ali Farka Toure, and Blackfire, a Navajo band PLUS:PLUS: from Arizona. The 2005 festival will be held in isolated Essakane, 65km KeysKeys toto thethe HighwayHighway from Timbuktu. No paved road exists, so after a couple of days drive to Timbuktu from the Mali capital of Bamako you face TiedReed’s To The Ramblings Tracks several hours of four wheel driving across the desert. It may sound daunting, but hundreds attend the festival each year to Dave’sUncle Corner Ruthie enjoy the music, local arts and crafts and view traditional Touareg games, ritual sword fighting and camel races. CDCD ReviewsReviews Accommodations are in large communal tents in the regional fashion (you can bring your own tent if you like, but why trav- HowLookAround Can I Keep el all the way to Mali just to find out you forgot your tent &From much Talking more... DESERT page 7 & much more...

Page 2 FolkWorks November-December 2004

EDITORIAL

cannot believe that another bution locations, since if you PUBLISHERS & EDITORS Leda & Steve Shapiro year is coming to a close. have it in your hand, you got it LAYOUT & PRODUCTION I2004 has seen many somewhere and you probably Alan Stone Creative Services changes for FolkWorks. We know where that is. On the other FEATURE WRITERS have expanded our Board and hand, we will continue to list dis- Brooke Alberts, Lookaround gotten many new volunteers. tribution on the web site. If we Ross Altman The year has also been a year of are wrong and you really want How Can I Keep From Talking firsts – our first Grant, our first the locations listed in the paper, Uncle Ruthie Buell Benefit and our first Writer’s let us know we made a mistake. Halfway Down the Stairs Meeting. This issue marks the 4th Joanna Cazden The Voices in my Head The Grant is a small one that anniversary for FolkWorks. In Valerie Cooley, That Reminds Me... has allowed us to put together the past our “holiday” issue listed Richard Gee

the survey in the last issue, and SONES the year’s TEN BEST CDs. This Law Talk A to do the formatting so that you year we have listened to our read- Roger Goodman can fill it out online. We hope SONY ers and several knowledgeable Keys to the Highway

you will go to the website and O BY musicians (some of whom write Dennis Roger Reed

take a few moments to fill it out. PHOT for us throughout the year) have Reed’s Ramblings We have given out some prizes BY LEDA & STEVE SHAPIRO submitted the SIMPLY TEN Dave Soyars, Dave’s Corner for responses to the hard paper BEST. This allows you, dear Larry Wines, Tied to the Tracks copy in the last issue and will bribe you with a few reader, to confidently buy for yourself or as a gift, any EDITORS more to get you to complete this survey. We really do of a wide variety of Folk/Trad CDs for your collec- David Ascher • Marie Bruno Mary Pat Cooney • Britt Nicole-Peterson need it to help us know what you want and who you tion. Diane Sherman are. We promise not to sell or use it in any way other Cait Reed gives us a TEN BEST…but tells us there CONTRIBUTING WRITERS than for our own internal planning. are really more than ten. Enrico Del Zotto • Linda Dewar Our World of Music benefit was a huge success Dave Soyars has listed the TEN BEST for you in Frankie Farrell • Joellen Lapidus and truly let the public know about the diverse cultur- various categories and Simeon Pilich, who teaches Sabrina L. Motley • Simeon Pilich Cait Reed • Terry Squire Stone al treasures in our own backyard. We are fortunate to – a popular, always full class at Katerina Tomás have gotten support from our local talent - Gold Occidental- has taken the time give FolkWorks a short DISTRIBUTION Ring,Yuval Ron Trio, Susie Glaze & Hilonesome, but excellent TEN BEST list that I am going out to Brooke Alberts • Mary Dolinskis Nevenka, Masanga Ensemble and buy immediately. Marge Gajicki • Richard Gee Los Pochos - Amoeba Music, the Skirball This issue also brings us three reviews from new Cliff Gilpatric • Scot Hickey Cultural Center, Boulevard Music and McCabes. writer Sabrina Motley, Tuesday’s host on KPFK’s Sue Hunter • Julie James Dennis Louie • Nan McKinley Thank you all for your support! And, as usual, many Global Village. Gretchen Naticchia • Bill Ossa many thanks to our Board of Directors and volunteers FolkWorks is glad to welcome Law Talk a new col- Bea Romano • Daria Simolke and the many others who helped us do grass-roots umn by Richard Gee who is both a musician and an Stan Smith • Mimi Tanaka publicity which made the event a sell-out success! attorney. Please pummel him with your questions Lynn Worrilow • John Wygonski Our Writers Meeting produced more good ideas. regarding legal issues and music. We are sure this col- LOGO DESIGN Until a few months ago, many of our writers had never umn will become a favorite. Tim Steinmeier met and knew only the black and white photos in the So go out and buy this wonderful music on CD … Thanks to all those who have supported and newspaper. This Meeting was productive and fun and but remember that there is nothing like live music. We inspired us, especially Warren Casey of the Wicked Tinkers. you may notice a few changes in this issue because of will see you at some of the concert PICKS in this Published bi-monthly by FolkWorks a 501 it. Some things have moved around, some been elimi- issue. No matter how busy we are, we will be at (c)(3) non-profit organization an affiliate of th nated and we have some new writers. It was pointed Cerritos Center to hear Tinariwen on November 7 . Country Dance and Song Society (CDSS). out that we did not need to take up space with distri- BOARD OF DIRECTORS Brooke Alberts • Linda Dewar Kay Gilpatric • Roger Goodman DEAR FOLKWORKS IN THIS ISSUE Don Kiger • Holly Kiger • Gitta Morris Molly Nealson • Steve Shapiro Hi, EDITORIAL ...... 2 Mimi Tanaka • Monika White I love your paper but I only get it by way of my brother THE CRADLE OF ...... 3 Ron Young KEYS TO THE HIGHWAY ...... 4 Leda Shapiro, Executive Director who will have to hear my whining if he doesn’t bring me a It’s An Open & Shut Musical Pipe copy. I live in Sebastopol CA and help put on several And That’s About the Shape of It ADVISORY BOARD folk/roots music events at the community center. I’m also MUSICIANS FOR HIRE ...... 5 Bill Howard • Howard & Roz Larman THE VOICES IN MY HEAD ...... 5 Colin Quigley • Lisa Richardson involved with cumulus productions- Kate Wolf fest, and LEADING LIEDER Tom Sauber Celtic fest In Sept. My first question is: is there a place to get TIED TO THE TRACKS ...... 6 Commentary & Reviews by Larry Wines CONTACT INFORMATION the paper up here; and second would it be possible is get 6 or P.O. Box 55051, Sherman Oaks, CA 91413 DAVE’S CORNER ...... 8 Phone: 818-785-3839 so copies sent to me, so I could share them with my cowork- Musings on the Folk Scene by Dave Soyars ers and musicians. I don’t mind subscribing for me, but I [email protected] • www.FolkWorks.org ON-GOING STORYTELLING EVENTS ...... 8 ©2004 FolkWorks All Rights Reserved would like a few copies and I could pay postage. In exchange, THE LOS ANGELES SCENE ...... 9 maybe I could pass on local/ No Cal info to you. I grew up in REED’S RAMBLINGS ...... 10 Pasadena, Sierra Madre, and Silverlake during the first gold- Commentary on & Music by Dennis Roger Reed AD RATES en age of folk music in the 1960’s and played with and saw CD REVIEWS ...... 11 A GUITARIST’S HEAVEN ...... 12 Size 1 X 3X 6X some of our best and legendary musicians at the Ice House, The House Full Pg $660 $600 $550 , Mc Cabes, Cats Pajamas, Claremont Folk Center, ON-GOING MUSIC HAPPENINGS...... 13 1/2 pg $385 $350 $300 UCLA. But we didn’t have the great connection you are pro- CALENDAR OF EVENTS ...... 14-15 1/4 pg $235 $210 $185 viding—- almost, makes me want to move back down there. ON-GOING DANCE HAPPENINGS...... 16 1/8 pg $150 $125 $100 Keep up the good work, thanks. DANCING IN THE SUBWAY ...... 17 1/16 pg $85 $75 $65 ...THAT REMINDS ME...... 18 Steve Sherman, Sebastopol CA WHERE HAVE ALL THE FLOWERS GONE? by Valerie Cooley SPECIFICATIONS Via email. UNCLE RUTHIE ...... 20 Full Pg...... 9.5 x 15" WORDS AND MUSIC—A TEACHER’S DIARY 1/2 pg H ...... 9.5 x 7.375" Someone told me she always got three copies at Duttons LAW TALK ...... 22 1/4 pg V...... 4.625 x 7.375" Copying and Sharing Music... What’s the Big Deal? by Richard Gee 1/8 pg H...... 4.625 x 3.625" so she could send two to ex-LA musicians in Seattle and she LOOKAROUND ...... 23 just loves it! Greetings, People of the Future! by Brooke Alberts 1/16 pg V ...... 2 x 3" thanks very much for your great publication, I love reading CD’S THAT NEED TO BE IN 1/16 pg H ...... 3 x 2" it! YOUR COLLECTION...... 24 Artwork should be submitted for HOW CAN I KEEP FROM TALKING ...... 25 printing as 1-color black or grayscale. Jim Romano Election Day by Ross Altman Ads accepted in the following formats: SPECIAL EVENTS ...... 28 Via email DIGITAL Grayscale/B&W TIFF (min 300 dpi) or EPS Thanks for your good work. Beautiful paper, job well done. (outline all fonts or include fonts with file) NEEDS YOU Digital files can sent via e-mail or on a non- Best, returnable disk (floppy, ZIP or CD ROM in April We exist because of dedicated volunteers FolkWorks needs you for a few PC or Mac format). Include placed images. Via email hours every two months. Let us know if you would like to help with Marketing • Distributing • Writing CAMERA READY Researching/Co-ordinating • Selling Advertising B&W line art with photos Email: [email protected] or call 818-785-3839 if interested. (must be suitable for scanning to grayscale) DESIGN SERVICES Design & layout services are available for a nominal fee. Contact us for details at: www.FolkWorks.org e-mail: [email protected]

November-December 2004 FolkWorks Page 3 The Cradle of Cante Flamenco BY KATERINA TOMÁS © 2004

xotic, elegant, lively, profound, and a temporary figures from way of life for the Gitanos (the Spanish Jerez have been passed EGypsies). All describe flamenco, which down from father to son, over the past 25 years has gained in popularity mother to daughter, friend throughout the world. From the of to neighbor for generations to the Teatro Lope de Vega in to dating back at least 150 the Peñas Flamencas of Jerez de la Frontera to years. the flamenco nightclubs scattered throughout ways in which in such far flung cities as these songs and their Albuquerque, Santa Fe, Washington, D.C., accompanying dances are Seattle, , , and Los passed down has created an Angeles, flamenco thrives. intense bond among fla- A multitude of concerts by both Spanish and menco artists in Jerez. This American flamenco companies in New York City strong bond, and the social and in Los Angeles over the past several years security of the Gypsy place has led to numerous new dance and acad- in the Jerez de la Frontera emies, for it is through these two art forms that community (witnessed by most foreign students come to flamenco. But it is the local government’s the cante flamenco – flamenco singing – that involvement and support of drives the art form at its source in southern . the artistic endeavors of the As late as 1990 it was difficult to hear cante Gypsy and flamenco com- flamenco in the United States on the regular munity) has established basis, but now it is possible to hear both local one of the most vibrant, singers as well as Spanish professionals on a unique, outspoken and Katerina Tomas, Stephen Dick weekly basis in most major cities including Los active flamenco communi- Angeles. Most all of these singers have been pro- ties in the world today. foundly influenced by the cante flamenco of the These artists specialize in the cantes flamenco its dimensions, is the main theme of the Soleares: southern Spanish city of Jerez de la Frontera soleares, bulerías, alegrías de Cádiz, and tangos love of a sweetheart, brother, sister, mother, which poet Federico García Lorca called the de Cádiz – four of the major forms of the fla- father, friend, and particularly love as despair – “City of the Gypsies.” menco style. unrequited love. Describing the southern Spanish city of Jerez SOL Y SOMBRA Bulerías - The bulería is most likely derived de la Frontera as the cradle of cante flamenco is Singing a flamenco song is a challenging from burlería, the root word being burlar, mean- an understatement. Historical flamenco singers prospect, as are all cantes jondo (flamenco deep ing to make fun of something or someone. The and singing dynasties have been prevalent in songs) and cantes chico (light songs). As the term songs have a light-hearted, fun feeling: Jerez for centuries The famed singer El Loco implies, these songs are serious and deeply felt, The bulerías are considered by flamenco afi- Mateo (1832-1899), is reported to have created or lighthearted and fun, a term Spaniards often cionados to be flamenco’s most flexible form: the flamenco song the bulerías as a remate (a fast refer to as sol (sun) and sombra (shade). Sol y constantly changing, spontaneous, humorous, ending) for his version of the soleares. The sombra literally refers to either side of the corri- and a favorite festival dance. The song and dance soleares and bulerías are among the most impor- da (the bull ring), where patrons either sit in the is most frequently performed in cuadro flamenco, tant and popular songs in the flamenco song lex- shady (obviously much preferred!) or swelter on at a peña flamenca (flamenco social club), or at a icon, but more on that later. Don Antonio Chacon the sunny side of the stadium. Metaphorically, flamenco juerga (flamenco party with singing, (1869-1929), for whom the flamenco social club the term refers to the Spanish character, which guitar, and dancing). The juerga setting is Peña Centro Cultural Don Antonio Chacon in ranges from exceedingly dark and somber to friv- extremely popular in Gypsy circles. In most con- Jerez is named, was a famous, professional payo olous and silly. Both sol y sombra are prevalent temporary settings the bulería is performed at a (non-Gypsy) singer. He gained fame during the throughout the letras – the lyrics – of cante fla- fast pace, often at a rhythmic level exceeding 240 opera flamenco period (c. 1910-1955) with his menco. beats per minute. In traditional cuadro flamen- high falsetto, melodic voice. cos, the bulerías is presented with each singer or (1978-1933), another famous Jerezano Gitano TO SING THE SONGS dancer performing several short song or dance singer and contemporary of Chacon, sang fla- Four of flamenco’s most influential songs are variations, often taking turns with other artists. In menco in the rajo “rough” voice (voz afilla), the described here, including the soleares, alegrías, bulerías, both singers and dancers try to techni- style most popular with flamenco aficionados. bulerias, and tangos. The first verse of both cally “out-do” one another, sing or dance teas- Tia Anica la Piriñaca and Tio José de Paula (for soleares and alegrías is a warm-up and an intro- ingly about each other, spoof the audience, have whom the Peña Flamenco Jose de Paula is duction to the style. The second sung verse of fun, or sing or dance one’s mind. Intricate com- named) were famous part-Gitano flamenco both songs is often “mas valiente” - harder than binations of palmas (rhythmic hand claps) and singers born at the turn of the 20th century in the first verse. All flamenco songs employ a vari- jaleo (shouts of encouragement) are provided by Barrio Santiago on La Calle Nueva (New Street) ety of challenging techniques, including melis- the other performers, and often by knowledge- in Jerez. La Piriñaca was a professional recording mas (a decorative series of notes) at the ends of able aficionados often accompanies this song. star who carried on the flamenco songs of José de phrases, and quejíos or cries, such as the ¡Ay! Alegrías - The alegrías are the dominant Paula into the 1990s. José de Paula was a non- heard throughout the song. All singers warm up cante (song) in a group of songs categorized as professional singer whose creations of soleares with a vocal introduction, the “temple,” singing cantiñas. These songs come from the time of the and have, through La Piriñaca and various nonsense syllables like ¡Ay! (in solear- War of Independence between Spain and France other artists, had a permanent and positive influ- es), Con el Yai, que yai (in bulerias), le, le, le, la (the Peninsular War) when people from all over ence on the singing style of contemporary fla- (in tangos), or ti, ti ti, tran tran (in the alegrías). Spain gathered in Cádiz to launch the first attack menco singers in Jerez de la Frontera. Fernando Soleares - Most flamenco scholars believe against Napoleon. At that time the native songs Fernandez “El Terremoto” de Jerez (1934-1981) that the word soleares is a Gypsy abbreviation of of Cádiz collided with the northern jotas, and the was a supremely famous singer/dancer in Jerez. the word soledad, which means loneliness. various cantiñas were born, including the can- His son Terremoto Jr., who sings in the rajo Another definition of the word soleares is cen- tiñas, alegrías, mirabrás, caracoles and romeras. voice, performing the songs of his father and spe- tered on the Spanish word for sun, sol. Still Today, the alegrías are the most popular version cializing in the cantes soleares and bulerias. another definition claims the word and the of the song and dance, and are considered to have Famous flamenco singer Camaron de la Isla is accompanying sentiments surrounding the song originated in the Cádiz region of Spain, the legendary in the Jerez de la Frontera and Cádiz and dance soleares stem from the Spanish world southwestern edge of Andalucía on the Atlantic region. solar, meaning house or foundation. ocean, primarily from the cities of Cádiz, El These are important historical mentors for Soleares is considered, both in song and in Puerto de Santa Maria, and San Fernando, cities contemporary Jerezano flamencos who carry this dance, to be the central figure around which most that are only 30-45 minutes from Jerez de la oral history with them as a talisman. The flamen- of Flamenco revolves. The soleares is also con- Frontera by train. co songs of these and other historical and con- sidered (“deep” song) or of a serious nature in song, guitar, and dance. Love, in all of FLAMENCO page 26

Page 4 FolkWorks November-December 2004 It’s An Open & Shut Musical Pipe And That’s About the Shape of It BY n the last issue we explored the exciting extends the range by over-blowing to kick as a closed ROGER world of beer bottle music. This article the instrument into the next higher register. pipe, can only res- GOODMAN Icontinues the road to understanding a lit- Over-blowing is a technique where the onate the odd tle more about wind instruments and begins flautist increases the rate of airflow. This, in numbered harmonics (n = 1, 3, 5 …). Adding with a question: Why does the clarinet sound turn, pushes the instrument toward a higher up the sine waves for just the odd numbered a full octave lower than the flute even though pitch. But the instrument can only resonate at harmonics results in a wave form that is they are both about the same length? To pitches that place an anti-node at the open- moving from the smooth sine wave towards begin to get to the bottom of this mystery, ings of the pipe. In the next available reso- an edgy square wave. This is what gives the let’s quickly review the last issue’s topic nant mode (see Figure 1, n=2) the pipe will clarinet its characteristically hollow and about resonance and standing waves (see the contain a complete sine wave or throaty Archives at www.folkworks.org Vol. 4 No. 5 cycle. This means that the new wave- sound. page 4). length is half of the fundamental The next To summarize what was covered in the wavelength, so the frequency or article will last issue, when you blow over a bottle, the pitch is doubled. With that, the mode examine the column of air inside the bottle is excited, thus is an octave above the fundamental. harmonics of producing a state of resonance. Resonance is While in this mode (register) the fin- stringed characterized by the existence of a standing gering pattern can again be applied instruments or stationary wave. Standing waves have reg- to produce the next scale. and show that ularly re-occurring locations called nodes The next register up (Figure 1, they are 1 where the sound wave’s amplitude remains at n=3) contains 1 ⁄2 full cycles, which rather similar zero and, therefore, does not move. (If you places it at an octave and a fifth to those of an can overlook a little misspelling, you can above the fundamental. The next reg- Figure 2. Closed Pipe (Clarnet) open pipe. remember that NODES are points of NO- ister above that (Figure 1, n=4) fits We will also DESplacement). Half way between each two complete cycles into the pipe delve further into the mysteries of the har- node there are locations of maximum dis- making it two octaves above the fun- monic overtone series. Until then strive for a placement called anti-nodes. damental frequency. more resonant and harmonious life and, as As it turns out, playing an orchestral wind CLOSED PIPES always, stay tuned. instrument is just a more sophisticated way As mentioned above, the instru- of blowing over the mouth of a bottle. ments of the clarinet family respond Roger Goodman is a musician, mathematician, Blowing into the instrument excites the col- acoustically as closed pipes (open to punster, reader of esoteric books and sometime umn of air and causes it to resonate. the outside air at the bell, but closed writer, none of which pays the mortgage. For that, Most wind instruments can be visualized by the player’s mouth at the other he is a computer network guy for a law firm. He as cylindrical pipes that can be divided into end). There must be a node at the closed end has been part of the Los Angeles old-time & con- two groups defined by their boundary condi- where the air movement is obstructed tradance music community for over thirty years. tions. (remember NODES = NO-DESplacement) While not a dancer, he does play , guitar, har- Boundary and an anti-node at the open end. As shown monica, , & spoons. Roger has a conditions in Figure 2, there is only room for one quar- penchant for trivia and obscura and sometimes refer to what ter of a wavelength within the closed pipe tries to explain how the clock works when asked happens at the instead of the one half of a wavelength that only for the time. He lives with his wife, Monika ends of the fit into the open pipe. This means that the White, in Santa Monica. tube. fundamental of the clarinet sounds an octave Cylindrical lower than the fundamental of the flute even tubes can be though they are about the same length (and open pipes that’s the answer to our initial mystery ques- (both ends tion!). open) or The next register up still has to have a closed pipes Figure 1. Open Pipe (Flute) node at the closed end and an anti-node at the (one end open end. You can see (from Figure 2, n=3) closed). All orchestral wind instruments that only three quarters of a wavelength fits react as open pipes except for the instru- into the pipe for the fundamental mode. The ments in the clarinet family that react next register above that follows from the next acoustically as closed pipes. available anti-node OPEN PIPES (Figure 2, n=5) and The flute is a good example of an open allows one and one cylindrical pipe (open to the outside air on quarter wavelengths HOT FRITTATAS both sides). Since the open ends of a pipe do to fit within the pipe. not obstruct air movement, nodes (nodes = By now you might Invitation to the Dance NO-DESplacement) cannot form there. be wondering about Italian Music in the Ballo Instead, anti-nodes will occupy these open- the values of n from Liscio Tradition ings. With anti-nodes at each end of the tube, Figures 1 and 2. In the standing wave, by definition, says that the next installment “This CD is a GOOD one!... there must be a node midway between them of FolkWorks you (see Figure 1, n=1). This is the fundamental will see that these Hats off to !” or lowest vibrational mode of the instrument. values of n represent Kurt MacInnis, FolkWorks, Note that the pipe contains only half of a the harmonic over- Sept/Oct 2004 complete cycle or sine wave. So the wave- tones that are built length is actually twice the length of the pipe. upon the fundamen- “...a great range of traditions, By opening successive finger holes, the tal. As we observed explored beautifully.” flautist can shorten the effective length of the above, the flute, Dix Bruce, Mandolin Magazine, Summer, 2004, pipe and produce successively higher pitch- because it is an open es. That’s what makes it possible to play a pipe, can resonate all BOOKING AND SALES: scale. of the harmonics (n = www.hotfrittatas.com OR telephone (707) 526-7763. However, the capability of the flute is 1, 2, 3 …) while the much greater than a single scale. The flautist clarinet, since it acts

November-December 2004 FolkWorks Page 5

GIG BOX THE VOICES MUSICIANS FOR HIRE IN MY HEAD BUZZWORLD BY JOANNA CAZDEN Southern ’s premiere Celtic- based acoustic / eclectic band. A unique blend of exuberant Irish dance music with classic , surf, and spy music of the LEADING 1960’s. You’ve heard them on projects as varied as James Cameron’s Titanic to accompanying performers like , David Byrne and Brian Eno. LIEDER Booking now: concerts, corporate events, private parties, weddings. 818-904-0101 • [email protected] • Tis soon to be the season of singalongs, holiday music gatherings, http://users.adelphia.net/~grlockwood/BUZZWORLD/INDEX.html and miscellaneous Saturnalian partying. Not a bad time to brush up CLADDAGH, an Irish folk music band, is on the skills of helping OTHER people sing together. ‘ a lively quintet noted for outstanding Yes, Virginia, songleading is a skill, not an inborn talent. It’s not quite vocals, harmonies and a hefty dash of the same as conducting an orchestra, teaching someone a new song from humor. Instrumentation consists of: aguitar, scratch, accompanying yourself on an instrument, or calling a dance— banjo, bass, pennywhistle, bodhran and but songleading includes elements from all of these experiences. You others... Bookings for concerts, weddings have to give visual cues, anticipate troublespots, and provide musical and any other special event. 818-363-1526 references of pitch and tempo right before they’re needed. More than (Creative Spark) www.claddaghband.net anything, an effective songleader must exude total confidence that your group of singers can and will sound wonderful. OLD #7 Let’s assume that you are picked to lead the songs/ carols/ parody- Mississippi native, Cliff Wagner and his carols/ whatevers, because you have a smidge more musical training band, “The Old #7” are entrenched in than anyone else present. Let’s assume further that you’ve faithfully read preserving Appalachian Bluegrass, the Roger Goodman’s excellent columns on music theory (aka FolkWorks very same music played by The Stanley page 4), and you can figure out the basic structure of a song. Brothers, Jimmy Martin, and Larry Does the melody start at its lowest pitch, highest pitch, or (most com- Sparks to name a few. Old #7’s sound monly) somewhere in the middle? This is important for picking a good incorporates traditional three part har- key. Does your own voice tend to be a lot higher or lower than other peo- monies and excellent instrumentals influenced by The Delta ples’ voices? That means you should transpose from where YOU are and Honky Tonk which gives Cliff Wagner & The Old #7 their unique most comfortable, to fit the biological average. Inexperienced singers of sound. 310-831-0055 • cliff@old number7.net • www.oldnumber7.net both genders can usually sing within the octave of low Bb to high Bb, so keep the melody in that range, or between a low G and a high D at the outside. Make this a couple of notes higher for children; kids don’t have MUSIC INSTRUCTION most power below middle C. If you’re accompanying as well as leading, be sure that the song is in NICOLAS BUCKMELTER a key you can play without looking. It’s better to ask someone to help Nick has been playing and teaching Irish flute you transpose the guitar chords to an easy voicing and then use a capo, and whistle for more than ten years. In 2003 he rather than fuss and swear at those bar chords you just can’t grab yet! toured as a traditional musician under the This is not the best situation for fancy instrumental intros or picking pat- auspices of the Irish Embassy in Tokyo. Over terns; a solid strum to anchor both rhythm and tonality will serve just the years he's had the good fortune to perform fine. with some of the most respected musicians in Naturally, you have to know the song itself pretty well in all dimen- the Celtic world, including , Dale Russ, Pat O'Connor and sions, so that you have the right rhythm and feel in your head before you the Black Family. He hosts a regular session at Finn McCool's in Santa start, and you can set a reasonably good tempo. Does it start on an upbeat Monica. 760-935-4812 or [email protected] (i HAVE a LITtle DREIdel) or a downbeat (JOY to the WORLD)? This CÁIT REED influences what kind of lead-in you provide. If someone else is accom- Cáit Reed is currently taking students who are panying the group, rehearse with them at least once, to confirm the keys interested Traditional Irish Fiddle, Tenor Banjo, and tempos as well as the selection of songs. , Mandolin, Bodhran, Transverse Ideally, you’re familiar enough with the lyrics that you don’t need to Flute and Celtic Song accompaniment. Cáit has read them closely. This frees your attention—and eye contact—for the over 30 years experience as a teacher and per- other singers. At least know the chorus cold, and be able to start every former of . Many of her students verse or transition without having to look at the songsheet. have gone on to become professional musicians If there will be an audience (for instance, you’re caroling at a hospi- and recording artists in their own right. Cáit tal or nursing home), plan the order of songs in advance AND double focuses on technique, ornamentation, regional check that your singers have their songsheets in the right order. Start and styles, phrasing, creating variations, playing “by end with the ones that are most familiar or easy; otherwise alternate ear” and having fun. Please write her at faster and slower tempos, and sprinkle the hardest numbers in the mid- [email protected], or give her a call at dle. If you’ll be capoing around, write notes on this. My working song- 310-543-1219. Her Web site will be up soon at www.caitreed.com. sheets are full of reminders like “Bb: play G+3” []. JOELLEN LAPIDUS For each song, the leader’s first jobs are to get everyone’s attention, Joellen Lapidus is one of the pioneers of con- confirm what song is “up,” and provide the starting pitch—or cue the temporary fretted dulcimer playing and con- person with the pitch pipe or guitar. Establish the rhythm with the instru- struction. She is the author of the dulcimer ment, or conduct it with arm gestures. Then give a bigger visual cue, per- instruction book Lapidus on Dulcimer. Her haps a head nod or a lift of your peg-head, a beat or two before the first playing style is a blend of traditional word, because that’s when people will take their breath to sing. The larg- Appalachian, Indian, , jazz, classical and er the group, the bigger the cues. Think of —the absolute pop music that gives the dulcimer a new range master of songleading—pulling his right arm off the banjo in a big, of rhythmic, melodic and tuning possibilities. uplifting circle, just sweeping fabulous harmonies from a concert hall or Returning to her first musical loves, the accor- hillside of total strangers. dion and clarinet, Joellen also teaches a high Keep your attention on the group as you sing, smile encouragingly energy Klezmer Band Workshop at McCabes. and keep the rhythm strong. Anticipate transitions (into a B-melody, a For dulcimer lessons or a Klezmer Band Workshop call her chorus, or a repeat) with louder accompaniment or bigger gestures, just at 310-474-1123 as a dance caller reminds dancers of the trickier moves just before they happen. If someone is harmonizing or paying especially good attention, You can be listed here! catch their eye & grin. $30/1x • $75/3x • $125/6x • [email protected] • 818-785-3839 Keep your attitude cheerful and positive until the session is over, and your singers will thrive on your enthusiasm. When confident, happy voices come back at you, it is the best holiday gift of all.

Joanna Cazden is a singer, vocal coach, speech pathologist and musicolo- gist. You can find her online at www.voiceofyourlife.com or send comments or suggestions for future columns to [email protected]. May all our Tamburitza voices be heard! Zulu Drum Thai Zilophone

Page 6 FolkWorks November-December 2004

s the year 2004 winds down, I’d like . Availability: acoustic music stores or the to reveal the best musical getaways artist’s web site, www.sandiicastleberry.com Aand then offer reviews of some great Artists: ANGELS OFVENICE choices for holiday CDs. Next time, we’ll TIED Title: SANCTUS resume our series of resources for . TO THE Label: TRINE RECORDS GETAWAYS WITH MUSICAL It isn’t often that folk and OFFERINGS fans would be found seated together, so this With cooler weather, Las Vegas is a popular TRACKS review is a must. The Angels of are led destination. If you thought you were stuck with by magnificent harpist Carol Tatum, and blend overpriced, overproduced glitter, you’ll be the delightful sounds of Susan Craig Winsberg happy to know that Acoustic Routes is a great BY LARRY WINES on flutes and recorder, Cathy Biagini on Cello, alternative. Nancy Godfrey and Kevin Kozoriz and Christopher Pellani on percussion. have been presenting the series since Making music together, they are breathtak- September 2002 at the Las Vegas Little ing. Aficionados of Celtic, folk, chamber music any language, Hinojosa has the finest clear Theatre. The schedule is available at and new age will find common ground here. soprano voice in the business. www.acousticroutes.com, or call 702-385- Before I heard the CD, Carol Tatum told me, “A 1232. Most shows are Wednesday nights, to This is a fun holiday record with some friend in the music business said, ‘I don’t like accommodate the work schedules of locals. nice arrangements, co-produced by Christmas music , Carol, but I can listen Hinojosa and her longtime sideman, multi- November brings the Strawbs, Jeff Black and to this all year.’ I knew then that we had achieved talented Marvin Dykhuis. Availability: Peter Lang, and December offers Mark the goal we set when we made this one.” acoustic music stores or the artist’s web site, Reeves and a pair of weekend acoustic Sure, artists are always going to promote www.mundotish.com. Christmas shows with Lowen & Navarro. their creative product. But midway through the Another new series is year-old Acoustic first listen it was clear that her industry friend Artist: SANDII CASTLEBERRY Music San Diego, so prolific it’s already had had supplied her a credible claim. Title: CASTLEBERRY CHRISTMAS – 50 concerts. Carey Driscoll produces it as a There are plenty of traditional Christmas VOCALS, , volunteer. Most shows are at Normal Heights melodies here, from antiquity and modern VIOLIN United Methodist Church, so that much is rem- times alike, but the arrangements, instrumenta- Label: LIVE MUSIC COMPANY iniscent of Rod Stockfleth’s popular series in tion and crafting of the performances and Sandii Castleberry and her frequent accom- Pasadena. But this one is nearly every week- recordings make them all fresh and new. panist and husband Ron Daigh are talented th end. November offers the Strawbs, Tracy And there’s the brilliant inclusion of a 14 multi-instrumental string musicians. Grammer, Chris Stuart & Backcountry, century piece, Polorum Regina – Libre Castleberry is blessed with a fine and especial- Sarah Pierce, Christine LeDoux and Jeff Vermell. If you’re thinking droll Gregorian ly pleasant voice with good range. Her record- Black, while December brings two of new chant, you couldn’t be farther from the truth. ings are a favorite on ’s folk’s biggest stars, and John It’s an inspired performance of an inspiring acoustic/folk radio shows, and she is happily a Gorka. Details at www.acousticmusic- piece of music that deserves wide resurrection fixture at many community festivals. sandiego.com or call 619-303-8176. and enjoyment. The vocals here are in Latin, in It is something of a surprise that Daigh does- perfect harmony and very moving, whether or CD REVIEWS n’t play on this CD, though he receives not you understand the language. Castleberry’s greatest thanks in the liner notes. The album lists 11 tracks, opening with an Here’s a trio of CDs for the holidays. Don’t While Castleberry is an accomplished innovative mix of sweeping winter winds and worry, none are those celebrity-croons-tradi- singer-, this CD sticks with holiday crisp musicianship on Carol of the Bells, and it tional-carols clichés. All would make fine gifts standards. The songs are familiar, yet this isn’t concludes with a 12th bonus track, reprising and worthy additions to your collection. an interchangeable ho-ho-ho thing. Fans of that tune in a rousing vocal version. good string pickin’ will immediately appreciate This opener is an exhibition of point-coun- Artist: TISH HINOJOSA the crisp use of instruments showcased in the terpoint, fresh and upbeat, while underscored Title: FROM TEXAS FOR A CHRIST- title – acoustic guitar and violin – and the qual- with a slow haunting countermelody from MAS NIGHT ity of the studio work. In a time when so many Biagini’s cello. Turns out, it’s just the begin- Label: TEXAS MUSIC GROUP CDs are overproduced, sometimes to death, the ning of what’s in store on the rest of the CD. Tish Hinojosa loves Christmas. Her previ- sound engineering here is as refreshing as hav- It’s the kind of adventure in listening that ous Christmas album is a collector’s item that ing Castleberry play her guitar alongside your yields treasures of nuance with each replay, and began as a private gift for friends and music fireplace. Credit Dave Swanson’s mixing, offers yet another discovery of Tatum’s mas- industry insiders, went commercial, then van- Brayton Holt’s engineering and the sensibility tery of the ’s subtleties through head- ished along with the Watermelon label. Its heir, of everyone who took part. phones. Each track, while a joy in itself, is From Texas for a Christmas Night, came last Only four musicians appear. Paul McIntire is often strung to the next with the ensemble’s year, in time for Christmas but not for reviews. fine on the fiddle (er, violin), John Subbiondo wonderful strings and Winsberg’s flute themes. It’s a new label for Hinojosa, her Rounder deal plays an appropriately restrained bass, Paula And Pellani’s unobtrusive, well-crafted percus- completed. Its 12 tracks are mostly originals, a Jones contributes on , and Sandii per- sion repeatedly surprises when you suddenly compilation of five songs recorded in forms all the vocals, with some tasteful overdub realize it’s been there all along, in perfect September, 2003, and seven made back in the harmonies, as well as the acoustic guitar and blended accompaniment, and never as a fall of 1991. They blend seamlessly, and harmonica. metronome for the others. daughter Nina and son Adam, quite young at The vocals deliver a broad range of styles, The album runs just over 50 minutes of the original session, perform on Hanukia, one and all work. Much of Castleberry’s guitar is sheer delight. Availability: The artists’ web site, of the new tracks. straightforward, clean and relatively simple; www.angelsofvenice.com, or Trine Records, The title track is a 2003 composition, with a quickly, you understand that it’s done that way 818-543-4884. charming melody that gets right into the holi- to allow McIntire’s violin to shine, and to let the day feel. It’s followed by Milagro, a three- quality of her voice prevail. The net effect is a Larry Wines is a writer, songwriter, journalist writer collaboration from the 1991 session that small group of musicians who know how to and columnist, mountain climber, museum also includes Hinojosa’s song Arbolito in sepa- make music showcasing each instrument in a founder and former political pundit. He has rate tracks of Spanish and English, a song natural, relaxed manner. Nothing is forced or restored steam locomotives and enjoys long train remembered from her first yuletide offering. stilted, as it often is in some live small-ensem- rides, good music festivals, moonlight on water, And this is more correctly a holiday album, ble performances where everyone must tele- riverboats, Shakespeare and great songwriters. with the traditional Jewish Hanukia, in which graph to one player that it’s time for his/her His work has appeared “in lots of obscure the Catholic-raised Tish celebrates her ances- solo. This is smooth and establishes the right places” throughout America. He writes a col- tral Sephardic roots. That’s among the 2003 mood for Christmas at home. umn with weekly entertainment picks and con- tracks, as is another homage, the late Walter There are 13 tracks, and running time is over cert and CD reviews, including lots of acoustic Hyatt’s In a Christmas Dream. Two rare 35 minutes. While there are no originals, music offerings, available www.medianetwork- moments are provided by Tish’s piano recital in Castleberry extensively arranged the final track, group.com/index.html. You can e-mail him at lar- Memorabilia and her trilingual offering of and it’s listed as Jolly Ol’ St. ‘Pachabel’ in [email protected] Silent Night in English and Spanish, with a por- recognition of its origin as Pachabel’s Canon. tion as Silent Nacht in the original German. In It’s a nice signature piece to a fine Christmas See Larry’s TOP TEN FINDS on page 10.

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November-December 2004 FolkWorks Page 7

DESERT continued from page 1 pegs). Or sleep under the stars, if the low of 40oF doesn’t dissuade you. ACOUSTIC MUSIC SERIES The goals of the festival are to bring together the Touareg and other ethnic 2004-2005 CALENDAR groups of Mali together after many years of conflict as well as open the region and its culture to people outside of Mali. The Touareg are of Berber origin, dis- OCT. 22 TOM RUSSELL & ANDREW HARDIN placed from North Africa by Arab migration. They are considered traditionally NOV. 13 JIM MESSINA nomadic, but did found the city of Timbuktu in the 11th century as a trading post DEC. 4 and controlled this urban center, key to the very important salt trade on and off JAN. 15 until the French took the city in 1894. The Touareg were among the strongest MARCH 26 DOUGIE MACLEAN opponents of French colonial rule and Timbuktu was the last city to be taken by Listening rooms are rising in popularity these days, perhaps in response the French in Mali. to people’s needs for more intimacy in their musical experiences. With independence in the region, the Touareg faced the problem of new bor- ders as the nations of Mali, Niger, Algeria and Libya came into being, dividing One of the foremost listening rooms in the Los Angeles area isn’t really a room at their ancestral lands. A major Touareg rebellion began in 1963 and was met with all, but a series - the Acoustic Music Series, which presents concerts at Pasadena’s Neighborhood Church and Norma Coombs Auditorium. In addition, each year the brutal repression by the government of Mali. Dislocation became a way of life series sponsors several small house concerts at the Altadena home of one of the for many of the Touareg, as maintaining their traditional nomadic life became organizers. This year’s fall lineup includes Holly Near, Dave Alvin, and Dougie more difficult. A severe drought in the 1970s also made life in the region hard. MacLean to name a few. Visit our website to see the calendar, and we’ll be adding more concerts to the 2005 calendar as we move along. Many migrated to urban centers in North Africa. Once herders and desert traders, Touaregs now formed part of an urban underclass. However, in the early Over a career that has spanned 19 acclaimed albums, singer / songwriter Tom Russell has 1990s a reconciliation pact was signed in Mali and many of the Touareg people maintained two parallel careers. One - and the one that he is perhaps best known for - is as have been able to reclaim their traditional ways. an artist whose songs have drawn comparisons to Paul Simon and . But Russell has also held on to a career rooted in his love of the west and the people who helped make it If you can’t make it to Mali in January, you can still experience some of this what it is. Born in Southern California, Russell grew up immersed in the cowboy lifestyle. His story as The Festival in the Desert Tour made-up of Tinariwen, Lo’Jo, and father was a horse trader from Iowa and his brother, Pat, is considered one of the top livestock Ramatou Diakite, will be performing in Southern California in November. They contractors in California. With Indians Cowboys Horses Dogs, his fifth career “Western” will be at Claremont University on November 6 and the Cerritos Center for the album, Russell remains committed to expanding the boundaries of his own music. Performing Arts on November 7. Singer, writer, guitarist, producer and engineer, Jim Messina has performed with such rock Tinariwen is rooted in the Touareg struggle for greater autonomy during the bands as , , and Loggins & Messina, performing everything from coun- 1980s and 90s. Several of the founding members took up arms during those try to pop and rock. As a producer, his work involved producing albums for music legends such as the Doors and Buffalo Springfield. After producing their second album, he joined years, living in Libyan rebel training camps, while others faced imprisonment Buffalo Springfield as its bass player. When the group disbanded, he and two other mem- and exile. Some of the younger members were orphaned during the conflict and bers formed Poco, a band known for combining country and rock. Hired to produce Kenny were sent to government run orphanages were their language, Tamashek, and Loggins’ debut album, he joined forces with Loggins to form Loggins & Messina, recording nine culture was suppressed. Tinariwen was underground for much of its existence as albums over seven years, and selling over two million copies. Since that time, Messina has recorded solo and with Poco, and continues to write and record new material. His recent solo they sought to use music as a voice for the Touareg struggle. The peace accords album, River North, is all new material but still features Messina’s signature country-rock sound. of the early 1990s have allowed this group to be a voice for a new generation of young Touareg people. The lyrics now focus on hope, reconstruction and recon- Spanning 30 years and 20 albums, Holly Near’s career as a singer has been profoundly ciliation. defined by an unwillingness to separate her passion for music from her passion for human dig nity She was one of the first women to found her own label, Redwood Records, which was A frequent co-performer with Tinariwen is the French group Lo’Jo. Coming committed to promoting and producing music by politically conscious artists from around the from a background of street and circus performance Lo’Jo incorporates gypsy world. Near has received many honors from organizations such as the ACLU, NOW, and fiddle, Touareg music and Caribbean rhythm to create a transcultural sound with NARAS, and is a recipient of the Legends of Women’s Music Award. Over the years, she has a “Brechtian quality.” Although the group had been in existence for 20 years, its collaborated with such musical luminaries as Pete Seeger, Arlo Guthrie, and Cris st Williamson. Her recent recording, Edge, clearly demonstrates that Near is not resting on her sound is a current, 21 century combination of traditional sensibilities with a laurels, but continues to write and sing political songs with the grace, humor and maturity that modern perspective. come from being actively involved in social change for over 30 years. Ramatou Diakite comes from the Wassoulou region of Southern Mali. Her music is rooted in the farming and hunting cultures of this region, where women Visit www.acousticmusicseries.com traditionally have provided the singing that accompanies male dancers re-enact- Join our email list by writing [email protected] ing hunting exploits, as opposed to the griot story telling tradition of Mali many or our mailing list by calling 626.791.0411. Call TODAY of us may be familiar with. Its pentatonic-based melodies have a clear relation- ship to the pentatonic foundations of African American music. This common heritage is evident in Diakite’s collaboration with blues great and Malian kora player Toumani Diabate on the album . Interestingly, she credits her exposure to Hindu music in films she saw growing up (also based on five note pentatonic scales) as an influence on her style. The Festival in the Desert Tour will be a unique opportunity to see music and experience some of Mali’s diverse culture. The Cerritos Center or Claremont We don’t sing to get to the end of the University may not be in the Sahara, but it is certain to be an enriching and enter- song. If that were so, the fastest taining event. singers would be the best, and com- [Editor's note: Just prior to press time, we found out that Lo' Jo has cancelled posers would only write finales. We their tour. Festival in the Desert will still be showcasing Tinariwen and Ramatou don’t dance to get from one place on Diakite. This event is still a FolkWorks PICK.] the floor to another. DISCOGRAPHY — Alan Watts Festival in the Desert, CD - www.rockpaperscissors.biz/go/festivalcd from www.artkitchen.com Festival in the Desert, DVD - www.rockpaperscissors.biz/go/festdvd Tinariwen, Amassakoul CD - www.rockpaperscissors.biz/go/tinariwen Lo’Jo: Mojo Radio - www.eyefortalent.com

Enrico Del Zotto is an educator and musician who lives in Fullerton. He recently completed his M.A. in Music and Culture at State University.

Free Copy of Folk Dance Scene This (almost) monthly publication has folk dance events in California and elsewhere, folk lore articles, recipes and lots of good reading. It is just $15 a year for 10 issues. To get a free copy, just call Sandy Helperin, 310-391-7382 or e-mail [email protected].

Page 8 FolkWorks November-December 2004

Dave Soyars is a bass player and guitarist, a singer/song- Some things that without a doubt qualify as folk writer, and a print journalist with over fifteen years expe- music- if social and spiritual attachment to a communi- rience. His column features happenings on the folk music ty is the qualifier- are Native American flute music and scene both locally and nationally, with commentary on Pow-Wow songs. Arizona’s Canyon Records have, recordings, as well as live shows, and occasionally films since 1951, taken the lead in producing such records, and books. Please feel free to e-mail him at though I admit my personal knowledge stops short quickly after the recordings of flautist R. Carlos Nakai, [email protected] or write him c/o FolkWorks. TZ who people in the know have informed me is far from the premier practitioner of flute music. Nonetheless, In

s I’m writing, we’re nearing the end of the dog MARIAN KA Beauty We Return (!), a best-of Nakai collection, heads days of summer, so while I’m still suffering in up their recent releases. With a variety of settings, from the heat let me get one non-musical thing out O BY solo to full orchestra, Nakai doesn’t really lend himself A nd of the way first. On November 2 , please, please PHOT well to a compilation- his meditative solo works don’t VOTE. It’s your patriotic duty. I won’t tell you who to always fit well beside his often more energetic collabo- vote for (although anyone who knows me even a little rative ones. Nonetheless, it’s hard to beat for an intro- knows who I won’t be voting for), but the more people duction to the most commercially successful (plus who participate in the democratic process, the more Grammy winning) Native American artist. Other likely we are to have a result that an actual majority of records include a couple of collections of Pow-Wow people are happy with. Now back to our regularly songs. Tha Tribe’s Best of Both Worlds-World One (!) scheduled column. AVE S may look like a modern adaptation, but it sounds pretty It’s been a great year for new releases so far, though D ’ traditional - at least to my ears - bar a couple of spoken a lot of good stuff has either not made it to my hands yet word pieces that provide a little comedy relief. High or is not quite out. Stay tuned for lots of good stuff next Noon is a group of mostly Plains Cree from issue, but there are still a few good releases to talk about ORNER Saskatchewan, and their The Way it All Began (!) is an this time (no Irish releases this time, sorry). C enjoyable collection that’s recorded live, hindered First, rather than bring up the tired old argument of whether or not rap slightly only by its short length (just over 35 minutes). Finally, Northern music is folk music (but just to recap, my feeling is that it is- if you disagree Cree’s Rezonate, though even shorter (and similarly recorded live) is prob- please e-mail and let me know and I’ll try to convince you), I’d like to ably the best of the bunch, very energetic, with a large group of both singers review a good new CD by a singer/songwriter who is better known as a rap and drummers creating a powerful and memorable ensemble sound. Finally, artist. ’s An Acoustic Collection [I Music/BMG] (!) may not there’s Voices Across the Canyon, (!) a sampler of all the music that the label be as groundbreaking as some of the better work with his band Spearhead, produces, including some of the above artists, but also singer-songwriters but it’s sure an enjoyable listen, with more in common with singer/song- (in both English and Native languages), and some interesting blends. A good writers like (who Franti slightly resembles vocally) than most introduction to the label and its artists. rap music, although his talent for rhyme positively colors socially-conscious Finally, for a change of pace, it’s time to dust off the love beads for an material like Oh My God and Stay Human. Most of it, however, expresses enjoyable compilation of various British psychedelic folkies, Gather in the love and other universal emotions in a personal way, with a nice mellow, Mushrooms [Castle Music] (!). The compilation spans the years 1968-1974, sometimes jazzy groove. Franti is a smart and funny songwriter, capable of and includes well-known artists such as Sandy Denny and Bert Jansch touches such as using the words “Burn, Baby, Burn” in a song about a fire- alongside period relics like Forest and Magnet (not to mention teenager fly. I’ve always liked him as a rap artist too- he uses more actual musicians and future Exorcist composer Mike Oldfield, half of a duet with sister Sally, and artists than he does computers to create his musical backing, and he’s Sallyangie. If you don’t take it to seriously, it’s a deliriously enjoyable peri- used acoustic textures well with Spearhead as well, but here he shows he’s od piece, although some of it is also genuinely good (lots of phasing and fey capable of great work in a variety of formats. Nicely done. singing, but lots of good musicianship as well, particularly on guitar), and buying the compilation is a lot cheaper than finding the original 45s and LPs that these songs appeared on (many out of print). Well that’s it for this time, there’s a veritable ton of great stuff coming out soon, and I hope to tell you about as much of it as possible next time. TELLABRATION RATING SCALE: [!!!]—Classic, sure to be looked back on as such for generations to come. The sun sets on the third Saturday of November, and in almost [!!]—Great, one of the year’s finest. If you have even a vague interest in every time zone around the world, a remarkable thing happens...peo- the artist, consider this my whole-hearted recommendation that you go out ple begin telling stories. Folk tales, personal stories, original stories, and purchase it immediately. tales to make you laugh or cry...but all around the world, for one night [!]—Very good, with considerable appeal for a fan of the artist(s). If you in as many places as possible, the tales are told. In 1988, J. K. Pinkerton of Connecticut envisioned a night in purchase it, you likely won’t be disappointed. which people would celebrate the art of storytelling in as many places [—]—Good/solid, what you would expect. as possible, all on one night. This night came to be called [X]—Avoid. Either ill-conceived, or artistically inept in some way. Tellabration, and is still celebrated each November. Every year, the number of locations has grown, and now there have been Tellabration events on every continent with a full-time human population (if there have been any on Antarctica or Atlantis, no one has posted them to the Tellabration web site: www.tellabration.org). Tellabration concerts Vietnamese Banjo include a potpourri of tellers, usually ones associated with the spon- soring organization, and who showcase a variety of storytelling styles and skills. Proceeds typically go to the sponsoring organization, as tellers around the world donate their time and energies to this special night of sharing their art around the world. Like all folk arts, storytelling is about sharing and love of the art On-going Storytelling Events as much as it is about performing on the stage. Because Tellabration GREATER LOS ANGELES SUNLAND-TUJUNGA STORYSWAP concerts are usually sponsored by local storytelling organizations, LOS ANGELES COMMUNITY 2nd Saturdays • 8:00 pm STORYTELLERS Sunland-Tujunga Library Storytelling Group they are a great way to contact tellers, or to find out about storytelling 2nd Thursdays • 7:30 pm 7771 Foothill Blvd. • 818-541-9449 in general. Temple Beth Torah STORYTELLING & PERFOMING ARTS 11827 Venice Blvd., Mar Vista TOASTMASTERS This year, there will be hundreds of Tellabration events around the Audrey Kopp • 310-823 7482 • [email protected] A Toastmasters Storytelling Group world. Of the ones in California, two of them are: FAMILY STORYTELLING 2nd Mondays, 7:00pm Saturdays/Sundays CoCo’s Restaurant November 20, 2004 11:00 am, noon, 1:00 am • Free 15701 Roscoe Blvd., North Hills 7:00pm Storytelling in Spanish on alternating Saturdays. 818-541-0950 • [email protected] Getty Center Family Room ORANGE COUNTY Aliso Viejo Site Soka University 1200 Getty Center Drive, L.A. COSTA MESA SOUTH COAST Sponsor: South Coast Storyteller’s Guild 310-440-7300 STORYTELLERS GUILD Contact: David Chittenden, 714-921-3776 LEIMERT PARK 3rd Thursdays • 7:00 pm GRIOT WORKSHOP Piecemakers Village [email protected] 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 November 20, 2004 SAN GABRIEL VALLEY STORYTELLERS Bowers Kidseum 8:00 p.m. 3rd Tuesdays • 7:30 pm 1802 North Main St., Santa Ana Cal Poly Pomona Downtown Center Hill Ave. Branch Library 714-480-1520 • www.bowers.org/link3c.htm 55 S. Hill Ave., Pasadena MISSION VIEJO STORYTELLING 300 West Second Street • Pomona,CA 91766 626-792-8512 Wednesdays • 7:00 to 8:00pm Ticket price $10 LONG BEACH STORYTELLERS Borders Books and Music 1st Wednesdays • 7:00 pm 25222 El Paseo • 949-496-1960 Sponsor: Inland Valley Storytellers Los Altos United Methodist Church COSTA MESA STORYTELLING Contact: Patricia Snow, 909-355-4687 5950 East Willow, Long Beach BY LAURA BEASLEY 562-961-9366 Wednesdays • 10:00 am [email protected] South Coast Plaza • 949-496-1960

November-December 2004 FolkWorks Page 9 THE LOS ANGELES KLEZMER SCENE BY JOELLEN LAPIDUS ow does “klezmer,” vivacious, raucous, simultane- ously weeping, moaning, laughing, and chirping Htraditional instrumental Jewish wedding and dance music from Eastern , fit into Los Angeles’ rich musical soundscape? How does it interact with Los Angeles’ delicious variety of ethnic music traditions? Who plays Klezmer? Where can you hear it? Where can you learn it? I interviewed 3 professional musicians who make a good part of their living playing klezmer: Miamon Miller (violin and viola), Leo Chelyapov (clarinet and other woodwinds), and Ty Rust (tuba, bass, and other brass); as well as Claire Bergen (violin), former staff member of Yiddishkayt Los Angeles, and Cantor Mike Stein (violin, guitar, etc.) of Temple Aliyah of Woodland Hills, who conducts a temple-based klezmer band. Miamon explained that working klezmer musicians play primarily for “simchas” or celebrations like weddings, bar and bat mitzvahs (coming of age celebrations for 13 year old boys and girls), anniversaries, graduations, parties, fund rais- ers, and like events. Klezmer bands traditionally contain 3 or electric and acoustic bass, and gospel and rap singers. I heard them a recent more musicians playing some combination of violin, clarinet, flute, accor- Santa Monica Festival in Clover Park. The sound was powerful, electrify- dion, guitar, trumpet, trombone, tuba, or bass. ing, and mind-boggling because it fed your ears something they had never There are distinct bands, but the working klezmer musicians often sub- heard before. It had the seeds of something truly musically and culturally stitute for each other and the bands have different names depending on who revolutionary. gets the gig. For example if you call Miamon you hire a band called Which brings up another facet of the LA klezmer scene: all the musicians Bucovina Klezmer made up of Miamon (violin), Zinovy Goro (clarinet), I interviewed were versatile in multiple musical genres. Miamon, a classi- David Kasap () and Vic Koler (bass). If you call Leo Chelyapov cally trained violinist studying music composition at UCLA, switched to you get Hollywood Klezmer, made up of Leo (clarinet), Jordan Charnofsky ethnomusicology. He was the director of the Aman Folk Ensemble, a local (guitar and mandolin) and Larry Steen (bass). If you call Ty Rust you hire ethnic music and dance ensemble for many years, and is as comfortable West Coast Klezmer. The musicians move easily between bands when an playing klezmer as playing classical, jazz, swing, Sephardic, Balkan, and extra musician is needed or one band member has another engagement. Middle Eastern music. He and Claire Bergen are both members of Mesto They all play a repertoire that includes klezmer (Eastern European Jewish (Multi-Ethnic Star Orchestra), conducted by Nabil S. Azzam. Mesto com- music), Sephardic music (the music of the Spanish and Middle Eastern bines various ethnic music with western classical music, using both Middle Jews), Yiddish music (sung in the language of the Eastern European Jews), Eastern and classical European musical instruments. Israeli music, and some top 40. Leo Chelyapov grew up in the culturally rich urban environment of Miamon and Claire explained that we are in the midst of a klezmer Moscow, Russia. He studied piano, clarinet, and music theory from an early revival. Now just what is being revived? Is it the Eastern European klezmer age. In Russia, his grandmother took him to museum concerts where he of the 1600s, 1700s, 1800s and 1900s that was ear-based regional folk music heard Louie Armstrong and , and he was “flabbergasted.” before it was recorded or written down? Or the great American and American Jazz inspired him way before klezmer caught his attention. Leo th European klezmer bands that recorded in the first half of the 20 century? began playing klezmer seriously after coming to the USA 12 years ago; he Both of course! can glide back and forth between jazz and klezmer with seamless fluidity. The klezmer revival started in the 1970s with a San Francisco klezmer One of his most interesting klezmer fusion experiences was being backed up band called the Klezmorim. They did concerts, staged shows, made records by the Bobby Rodriguez Latin Band’s full rhythm section at the San Diego and toured. “Simcha bands,” as Miamon calls his type of band, may occa- Klezmer festival. He loves the idea of integrating different ethnic musics. sionally do a concert but their essential function is to provide music for He feels they have so many similarities on which to build common ground community celebrations. They are local community-based bands. Both are as well as differences with which to create entirely new blends. working bands, equal in professionalism and skill; but each have a different Ty Rust is equally eclectic, with training as a classical and avant-garde reason for doing what they do and choose their repertoire accordingly. tubaist, and a childhood spent playing many different instruments and In the 1970s and 1980s many touring klezmer bands formed, like the styles. Ty’s introduction to klezmer came during the late 1970s early 1980s Klezmatics, The Klezmer Conservatory Band, Kapelye, Brave Old playing in Ron Robboy’s The Big Jewish Band, a San Diego-based World, Maxwell St. Band, etc., with managers, promotional packages, klezmer group that did both concerts and “simcha” gigs. In Los Angeles, stage shows, record deals, and so on. Los Angeles produced one such tour- where musical opportunities were even more varied, he became director of ing klezmer band: Ellis Island, founded by bass and tuba player Stuart Balkan music for the group Avaz, an ensemble specializing in Balkan and Brotman (who went on to co-found Brave Old World). Then Itzak Persian music and dance. Today, Ty’s gigs include everything from classical Perlman, the world-famous violinist, recorded two klezmer albums: “In the brass quartets to klezmer, Balkan bands to symphony orchestras, Fiddler’s House” and “Live in the Fiddler’s House.” Instantly, klezmer Renaissance to . achieved a certain legitimacy and respectability. These recordings brought Cantor Mike Stein of Temple Aliyah in Woodland Hills toured all over klezmer to a wider mainstream international audience. the world with the American Navy Band for 17 years. He is equally com- Here in Los Angeles, the organization Yiddishkayt Los Angeles has fortable playing bluegrass, folk, jazz, and klezmer, and has orchestrated made a huge contribution to the klezmer revival by putting on festivals and Friday night services in each of those musical genres. He has played in concerts in which they bring nationally known musicians together with local numerous klezmer bands on both coasts, and conducts Shir Delight, his musicians. I attended one especially memorable concert at the Skirball Synagogue-based klezmer band, at Friday night services on the 2nd and 4th Cultural Center, two years ago. Claire Bergen, whose great-uncle Harry Fridays of the month. played with the great klezmer bands of the 1920s and 1930s, whose father There are Synagogue based klezmer bands all over Los Angeles, made played klezmer in the Catskills during the 1950s, and whose Uncle Bernie up of volunteers of all ages. Recently, David Ackerman of the Bureau of currently plays in the Los Angeles-based group Close Enough for Jewish Education organized a concert of the bands of Temple Isaiah, Temple Klezmer, described another project of Yiddishkayt Los Angeles, the Avada Israel of Hollywood, Beth Chayim Chadashim, Beth Shir Shalom, Temple Project. It was formed to introduce the younger generation to Yiddish cul- Beth Hillel, and many more. As Cantor Stein said, “It allows 11, 12 and 13 ture. Through the imagination of Joseph DeRusha, the Avada Project year-olds to play next to 50, 60, 70, and 80 year-olds. It creates a deep sense hatched an idea for an experimental band, the Alef Project, which brought of community among the musicians and among the members of the congre- a very unusual Canadian klezmer musician here, named “Socalled” (real gation.” The Bureau of Jewish Education also has a free community lend- name Josh Dolgin). He mixes in prerecorded hip-hop rhythms and electron- ing library that features a comprehensive collection of klezmer music books. ic sampling with the Alef Project’s own klezmer-style band, made up of Leo Chelyapov (clarinet), Claire Bergen (violin), a full brass section, drums, KLEZMER page 26

Page 10 FolkWorks November-December 2004

ack in August of 2000, I attended the Although he mentioned a bout with the flu week long International Guitar and a temperature at the start of his perform- BSeminar at the University of ance, it was the audience that soon was California, Santa Cruz. About the third REED’S RAMBLINGS sweating. With a ten-gallon hat on his head, evening there, I ventured down to the lobby CD REVIEWS BY DENNIS ROGER REED Jacobs-Strain exuded his love for perform- of the closest admin building, and heard a ance and the blues. His original tunes hold remarkably loud young voice. A thin teenag- well against the country blues standards. The er was jamming with several others, and next evening he displayed the same enthusi- besides accompanying himself adeptly play- asm in discussing his upcoming recording, ing slide guitar, he was singing with a fervor featuring a full ensemble of players. His that even John Hammond would find tough prior recordings either placed him in solo to match. I found out this lad’s name was performance, or with one or two accompa- David Jacobs-Strain, and that he was about nists including the brilliant Peter Joseph 17 years old. Burtt on kora. The following year he was on the work- In the folk world, the mercurial achieve- study staff at IGS at the Dominican College ments Jacobs-Strain has already accom- in San Rafael, CA. His vocal volume had plished take most musicians a lifetime, dropped a bit, and his guitar chops had including the , moved from impressive to unbelievable. He Philadelphia Folk Festival, MerleFest, studied that year with renowned British fin- Strawberry, Bumbershoot, and a myriad of gerstyle guitarist , who was other prestigious engagements in the US, suitably impressed by Jacobs-Strain abilities Canada and Europe. Jacobs-Strain has Dennis Roger Reed is a singer-songwriter, to have him join Renbourn at a gig in musician, and writer based in San Clemente, released six CDs in his career. His Berkeley later that month. CA. He is apparently somewhat of an expert NorthernBlues CD from 2002, Stuck on the By this time, Jacobs-Strain had already on , with his writings on the Way Back was produced by Kenny been on staff as an instructor at the Puget subject having been featured in Mojo and in Passarelli, and has garnered critical acclaim Sound guitar workshop for two years, having God’s Own Singer: A Life of Gram Parsons by from all corners. attended since the age of 12, and worked to Jason Walker. Writing about his music has Jacobs-Strain is understandably excited instructor status by the age of 16. appeared in Acoustic Musician, Bass Player, about his new CD, also on NorthernBlues, Jacobs-Strain was born in New Haven, Bluegrass Now, , Blues which is called Ocean Or A Teardrop. This is Connecticut, and as a youth moved with his Access, Blues Revue, Blue Suede News, Dirty a true ensemble CD, featuring guest musi- family to Eugene, Oregon. He began singing Linen, the LA Times, Living Blues, and Sing cians including Burtt on kora; Joe Craven on and playing guitar at the age of 9. He soon Out! He is still decidedly not famous. mandolin, fiddle, and oud; Anne Weiss became enamored with the country blues, assisting on vocals; Joe Filisko on harmoni- devouring recordings by Mississippi Fred vidual who early on discovered his love for ca; Danny Click playing ; McDowell, Lightnin’ Hopkins, Robert the guitar and roots music, and applied a Kendrick Freeman and Mark Clark on Johnson and Skip James. In 1996, he saw tremendous amount of effort into wringing as drums. master guitarist Bob Brozman perform at much as possible from his talent with that It’s a risky move for an artist that has Eugene’s W.O.W. Hall and was drawn to love. made his mark as a guitarist to release some- learning slide guitar. The next year, Jacobs- Jacobs-Strain is an older gentleman now, thing that isn’t a guitar record. Passarelli Strain opened for Brozman on the same facing legal adulthood this year. His returns as producer and bass player. The stage, playing slide guitar. FARWest showcase at Folk Alliance 2004 in recording has more of a jam session feel, as Although much can be made of Jacobs- San Diego provided new information. Now Passarelli allowed no rehearsals. Jacobs- Strain’s youth, more need be made of his tal- besides being a talented guitarist and vocalist Strain wanted to try to attain the looser, more ent. His feeling and technique far exceed his in the widest sense of the term “the blues,” improvisational feel that his live performanc- years. This is a case of a very talented indi- he is also now a consummate entertainer. es often provide. Jacobs-Strain lives in an organic vegetari- an co-op while studying cultural anthropolo- CD REVIEW gy at Stanford, and his songwriting reflects his world-views. The title track is about war, Artist: TOULOUSE ENGELHARDT MEETS REMI KABAKA and other songs deal with themes as dis- Title: A CHILD’S GUIDE TO EINSTEIN parate as the war on terrorism, social change Label: LOST GROVE RECORDS and marijuana cultivation. Release Date: JULY 2004 It’s intriguing trying to guess where David can be an acquired taste. The most Jacobs-Strain will be musically in ten years. repeated version of the beginnings of this genre has the late, It will be an interesting journey, and we the great as the inventor of “American Primitive listeners have a lot to look forward to. Music.” That’s probably an oversimplification of the process, but it works fine as an encapsulated history. The late 1960s and early 1970s was a heyday for this music, with guitar hero as the keystone player of that era. In 1975, Takoma TOP 10 FINDS Records, home of the heavy hitters of fingerstyle guitar, released Toullusions by Toulouse Engelhardt. Englehardt car- FROM LARRY WINES ried the same oddball humor that Fahey and Kottke exhibited, and his playing style was somewhat similar, but with some AFFORDABLE CONCERTS AT THE LA gratifying oddball twists. For one, besides the requisite six and twelve string workouts, he plunked COUNTY FAIR, INCLUDING AND . on a solid body electric guitar. were the axe of choice of , the stalwart 1960s instrumental giants of twang. Solid body electric were not being used by any of KAT PARSONS BELTING-OUT ACOUSTIC BLUES WITH ONLY HER FORMIDABLE Engelhardt’s fingerstyle peers. VOICE AND HER 6-STRING. Time passes. Englehardt continues to play, teaches college. A few years back, he crosses paths THE ARTISTS HELPING ARTISTS EXPOS with percussionist Rene Kabaka. Kabaka has played with Paul McCartney, Traffic, Paul Simon and AND SUMMITS – NEXT ONE ON many other major talents. According to both, it’s almost a case of musical love at first sight. They NOVEMBER 7, 2004. connect, they do some gigs. HEARING ASHLEY MAHER’S FUSION OF The new CD, A Child’s Guide to Einstein, is the record of this collaboration. Englehardt’s style AMERICAN FOLK AND WORLD MUSIC has matured, and taken a long leap into the joys of improvisation. Some of the tunes are not much AND SILENT PLANET’S WORLD-INFLU- more than the two artists exploring a concept. Two of the tunes are “tributes.” The first cut is ENCED CELTIC IN THE SAME DAY. Telstar, the British surf instrumental from the early sixties. The CD closes (sort of, there is a “hid- THE SKIRBALL’S FREE SUMMER CON- den” track) with ’s Third Stone from the Sun. In between, Englehardt’s compositions CERT SERIES. do full justice to his admirable technique. On many of the cuts, he drives his Taylor 12 string gui- DISCOVERING THE ACOUSTIC MUSIC tar into seriously bent territory. Producer Chris Darrow adds slide guitar and other touches to sev- SAN DIEGO CONCERT SERIES. eral of the tunes; ex-Byrd and World Music maven John York plays the Chinese table harp to one DISCOVERING THE LAS VEGAS tune, the Chinese reed flute to one and bass to another; and Kaleidoscope-ian Max Buda adds vio- ACOUSTIC ROUTES CONCERT SERIES. lin to two songs. There are other guests, but overall this is Englehardt’s and Kabaka’s show. Theirs THE SANTA CLARITA COWBOY POETRY is a marriage of the minds. The speed of Englehardt’s picking is often beyond mathematical com- AND MUSIC FESTIVAL. prehension, but Kabaka’s varied percussion work never fails to keep up. Englehardt’s compositions DISCOVERING WWW.KBCS.FM WITH ITS trade on the Einstein theme, and his work on Titanium Dandelions on the electric solid body must GREAT AMERICANA AND WORLD MUSIC go well beyond any Mosrite work recorded in these last two centuries. PROGRAMMING. In the 1980s, fingerstyle guitar moved into a sub-genre known as “New Age.” Often, that style THE MONTEREY COWBOY POETRY promises peace and but delivers somnambulism. Nothing could be further from A Child’s Guide to MUSIC FESTIVAL, DECEMBER 3-5, WITH Einstein. It’s great to hear Englehardt help move the fingerstyle guitar genre forward. THE BEST LINE-UP EVER.

November-December 2004 FolkWorks Page 11

CD REVIEWS BY SABRINA LYNN MOTLEY Sabrina Lynn Motley is Tuesday host of Global Village on KPFK 90.7 FM and series producer for Sounds of LA 2005 at the Getty Center.

Artist: GRACIANA SILVA “LA NEGRA” Artist: MARLENE DORCENA Title: MOLIENDO CAFÉ AUX PORTALES Title: MÈSY Label: ACCORDS CROISÉS Label: CONTRE JOUR The story goes that Doña Graciana’s father only Mèsy was released in 2002 on the Contre-Jour wanted one of his sons to play harp. One of his label, but has just received U.S. distribution through daughters, however, had other ideas. She simply Harmonia Mundi. It is the work of Haitian folk taught herself the instrument by sneaking into her singer/songwriter Marlene Dorcena, unknown to brother’s classes, which were being taught by a many on these shores, but wildly loved in her native blind harpist. Her determination would continue to country. Even the most cursory reading of her lyrics serve her well. “La Negra,” so named because of her Afro-Mexican origins, demonstrates why she is held in such esteem. She takes every opportunity to went on to sharpen her playing and singing skills in assorted bars, be “dis- remind Haitians that they are more than their current misery even as she covered” at the age of sixty and become one of the most respected expo- refuses to sugar coat that pain. In the song Fèy she writes: “The day a left nents of from Veracruz, . Although her music reflects falls in the water is not the day it rots. That comes later … no sweetness in the form’s colonial and multiethnic origins—African rhythms patterns, misery. To understand the bitterness of misery, simply taste it.” Dorcena’s Spanish harmonic structures and indigenous lyric motifs—it never feels songs are sparse, no unnecessary lyrical poetics or sonic fireworks, and her staid or formulaic. voice is uncomplicated in the very best sense of the word. She is at her finest Doña Graciana’s latest release, Moliendo Café aux Portales on Accords when supported simply such as on Malere (Unhappiness) or La fanmy Croisés, is another example of how layered her artistry can be. Songs such (Family) and, despite the seriousness of some of the subject matter, this is not as La Morena and El Jalajú are wonders. Full stop. She covers familiar ter- an album without bursts of joy. The rhythms of Lanmou lakay (Our Kind of ritory including La Bamba and La Iguana without reminding us of how Love) reflect those found throughout the Caribbean. It would be at home on often we’ve heard these songs in the past and that’s certainly no mean feat. any dance floor in or San Juan. Marlene Dorcena’s Mèsy incorpo- Significantly, she places son jarocho squarely into a larger cultural context. rates traditional melodies and lyrics into a new song of hope for a fractured As the liner notes indicate, by recording the Venezuelan love song and title country, the people who love her, and those just beginning to know her. track Moliendo Café, “the son jarocho passes its own boundaries and inscribes itself into the larger latino-american [sic] repertoire.” The liner notes also say that she is “accompanied” by Felipe Ochoa Reyes on jarana (five-course guitar) and Miguel Romero Uscanga on requinto (four-string guitar); however, it’s clear that their relationship is CD REVIEW more nuanced. On El Puntalito (The Little Morsel) and Canto a Veracruz Artist: LEO CHELYAPOV (Song to Veracruz) they toss verses and rhythms back and forth with famil- Title: LEO PLAYS KLEZMER iarity and aplomb. Like any good woman, La Negra knows what she knows. BY JOELLEN LAPIDUS She confidently shares the spotlight with those she respects and her instincts serve her well. Moliendo Café aux Portales is an inspired release from one Lyrical, intricate, dark, musky, light and silly all of son jarocho’s best. describe Russian-born Leo Chelyapov’s dazzling and playful first solo klezmer (Eastern European Jewish wedding music) clarinet album. In Klezmer music, the clarinet is known for its deep Artist: VARIOUS earthy tone, its sorrowful and whining note bends Title: LULLABIES FROM THE AXIS OF and playful chirps and squeaks. Although Chelyapov has two records with EVIL his own band, Hollywood Klezmer, has recorded with rock bands like the Label: KIRKELIG KULTURVERKSTED and Porno for Pyros, has composed and arranged for NORWAY film and movies, this is his first venture into a 100% solo album. Leo plays [Note: This CD is difficult to find. It can be pur- all the instruments and sculpts and shifts the background rhythms and musi- chased through http://valley-entertainment.com] cal textures to allow him to travel back and forth between traditional On January 29, 2002, President George W. klezmer sounds and klezmer fusions with techno music, jazz and Middle Bush uttered the infamous phrase “axis of evil” to Eastern music. describe the enemies of America and global Kolomeika and Terk in Amerika begin with standard klezmer rhythms, an democracy. At the top of the list were Iran, Iraq, and North Korea, although upbeat 2/4 rhythm and an offbeat Turkish 4/4 rhythm, respectively. Leo unnamed “allies” were also referenced. Much ink has been spilled over the starts with acoustic accordion, piano and dumbec (the typical Middle speech; however, it took Norwegian producer Erik Hillestad to offer a Eastern hand and finger drum). Then, using a midi synthesizer, he adds an response that embodied the complex humanism that the original statement electronic rhythm section and puts reverb on his clarinet. Once we acclimate lacked. He traveled to many of the new “axis” countries and collected lull- to this techno dance sound underneath his frolicking klezmer clarinet, he abies that could “lead us to the deepest and most fundamental way of com- offers up several more surprises: a delightfully liquid jazz improvisation in munication … between mother and child, between father and child.” He the middle of Kolomeika and a rhythmic middle eastern improvisation on was drawn to women’s voices because, in his words, “men’s voices are too Terk, giving these traditional pieces more dance mojo, more eclectic virtu- dominant today, speaking the words of power and warfare while the female osity, and a delicious sense of coming home when Leo leads us back to voice [is too] rarely heard.” the original traditional klezmer melodies. The process of constructing Lullabies was both straightforward and In Bublichki Bagelach, he again electronically alters the texture of his earthy arduous. First, Hillestad and others recorded lullabies—old and new—that and airborne clarinet style almost sounding like a soprano sax. Then, with a were sung a capella by singers from Palestine, , Syria, Afghanistan, as simple shift of rhythm, we go from the small rural villages of Poland into well as Iran, Iraq, and North Korea. It is important to note that some, like the feel of a smooth uptown restaurant piano bar. We can relax and sip a Iranian singer Pari Zanganeh and North Korea’s Sun Ju Lee, participated at drink and enjoy the liquid movement of the ascending and descending notes considerable risk. He then spent a year trying to find western singers with of the clarinet - but not for long. Suddenly we are pulled back to the rural the same courage. In the end, it was the likes of Lila Downs (Mexico/USA), small town feeling of the klezmer musician at a Jewish wedding. Annisette (Denmark), Sarah Jane Morris (England), Sevara Nzarkhan This is an intimate and well recorded album that feels like Leo is playing (Uzbekistan), and Eva Dahlgren (Sweden), among others, who understood just for you in his own living room. He reveals his playful side in tunes like the promise of the project. Zol Zain Gelebt and Nisht Gezorgt, that made me imagine bear cubs frol- Each of the western artists selected one of the earlier recorded lullabies icking in a meadow. In the Nigun in E, Erev Shel Shoshanim, Wedding to “interpret.” The two versions were woven together by Knut Reiersrud to, Melody and Hanna we hear his more lyrical and tender sensibilities, feeling for the most part, great effect. For example, the opening track Sad Sol (You, both the sad and the sweet side of the wedding party. My Destiny) is an appropriately dreamy landscape featuring Iranian Mahsa Leo Plays Klezmer is a joyful album full of surprises. It ends with the well Vahdat and Sarah Jane Morris that speaks to the mysterious longing parents known standard Hava Nagila. Although he doesn’t amp up this tune with a can have for their children even as cradle them to sleep. In Peace Song a techno backbeat, nor does he tweak his clarinet with reverb or special young singer from Iraq, Halla Bassam, is joined by Sevaran Nazarkhan in a effects, what Leo does do is have a hell of a good time playing 6 different lullaby that beckons peaceful sleep as well as relations among countries. instruments at once and especially wailing on his klezmer clarinet just for Their voices work exceptionally well together, disguising the fact that each you. was recorded miles, months, and cultures apart. Leo Plays Klezmer is available through www.soundswrite.com, www.hatik- As with most compilations, not all tracks work as well. Cuba’s Martha vahmusic.com, www.jewishstore.com, www.music.barnesandnoble.com, Lorenzo deserved a better partner than Germany’s Nina Hagen and Angel, and www.amazon.com. performed by Viva Killisly Chachati from Sryria and Nicaragua’s Katia Cardenal seems slightly out of place. Still, in a time when simplistic apho- Joellen Lapidus is a psychotherapist, musician, songwriter and musical instru- risms are being offered by friends and foes alike, Lullabies from the Axis of ment maker. She gives private dulcimer lessons and workshops, and runs a Evil is a touching gesture that compromises neither vision nor voice. raucous on-going Klezmer Band Workshop at McCabes Guitar Shop

Page 12 FolkWorks November-December 2004 A Guitarist’s Heaven THE FRET HOUSE BY FRANKIE FARRELL hat’s a guitarist’s idea of heaven? ended up with so many guitars Tom You arrive. The pearly gates open laughed and replied “We’re very enthusi- Wwide. St. Peter beckons, you enter astic about the product.” In selecting and, wow, you are surrounded by a mind-bog- instruments for the store he says they “look gling array of guitars. They hang from the ceiling for high quality instruments - the best we and the walls and one-of-a-kind instruments can find in the price ranges of our cus- await your touch. Heavenly choir? Better. There tomers.” Another reason for the astonish- are concerts by generations of the best acoustic ing collection of guitars is Tom’s respect pros. Want to hone your technique through all for the unique and intimate relationship eternity? No problem. A dozen seraphim are between musician and instrument. “Every there to guide you. Not quite ready to bid this instrument responds to the player and two world goodbye? Then, instead, visit a little piece people playing the same instrument don’t of acoustic heaven closer to home at Covina’s sound the same. So when you’re looking Fret House. for an instrument you’ve got to find the In 1970 three friends opened the first Fret one that responds to you the way that you House in Covina. Time passed and two of the play it, that matches that tone in your mind partners moved on, but Tom Seymour remained that says “that’s the voice I’m looking for.” to shape the store as it evolved over the years at For the beginning guitarist the chal- three different addresses. A finger-style guitar lenge is to get a good playable and afford- player, Tom taught guitar while in college. Upon able first instrument. The Fret House repair graduation he found a way to keep his two loves, staff does a complete setup on all their gui- education and guitar, alive by teaching second tars, with special attention paid to their less grade in public schools and developing a store expensive models. Each of their beginning which would provide great music, instruction and instruments has its neck, string height, instruments and a friendly and knowledgeable bridge saddle and nut adjusted before it is made available for sale. The price range for guitars is $109 to $8000. The $1000+ instruments include offers, “If you’re coming early to a concert give Breedlove, Mark Geiger, James Goodall, Martin, us a call and well happily give you directions to Santa Cruz and . The mid-price great local restaurants.” guitars include Fender acoustics; imported The Fret House - 309 N. Citrus Street - Breedloves, Roberto Dan, Deans and the least Covina, CA 91723 626-339-7020 www.fret- expensive lines include Sunlite and Zenith house.com imports. Among the exceptional instruments in the Frankie Farrell plays mandolin and other assorted store are a Goodall Macassar Ebony Concert instruments Jumbo (one of Tom’s current favorites) and a complete run of the Taylor Artist Series, exqui- site designs in limited runs of 100 each, with unique patterns and uses of materials, colors and woods. Among these guitars are the Sea Turtle; the Koi and the Grey Whale models, which have quilted maple sides and back that give an astonishing underwater effect; and the Liberty staff for his community. Tree, made from the tulip The Fret House Saturday night concert series poplar which was the last features an eclectic mix of acoustic performers. of the18th century An impressive roster of musicians, fingerstyle American trees used as a players, blues, bluegrass, classical, singer-song- gathering point for citi- writers and jazzmen have played there. Elizabeth zens in each state. Cotton, Merle Travis, Steve Gillette, Tom Ball & They also carry jazz Kenny Sultan, Duck Baker and Dan Crary have guitars, a wall of electric all played the hall. Dick Dale “The King of Surf guitars and basses, a Guitar” and his young son have done acoustic roomful of high end shows. Occasional jazz players, such as Herb amps, including the Mesa Ellis, provide the rare non-acoustic exception. Boogie tube amps, Premier mandolinist Evan Marshall is an annual Deering , Mid regular and such masters of the as the Missouri and Breedlove Hawaiian nonagenarian Bill Tapia recently and a full packed the house. Check their website for the range of music and upcoming December performances of Richard instrument accessories. Smith and Jeff Linsky and January’s Harvey Reid The Fret House also pro- and Chris Proctor. vides band instruments The concert hall is intimate [100 people max.] rentals for the local and has admirable acoustic qualities that Tom schools and offers attributes, in part, to the instrument cases that instruction for all the line its walls. Shows start at eight and munchies instruments that they rent are available at the breaks. and sell. For 34 years The Fret House has had an Open Pay the Fret House a Mic Night on the first Saturday of each month, visit. Traffic out to giving local performers a weekend night to share Covina on Saturdays is their music. Instrumentalists, singer-songwriters, light and if you’d like to and an increasing number of gifted young per- dine before a show, Tom formers have taken advantage of this opportunity recommends the follow- to perform. ing eateries: Giovanni’s, At the heart of The Fret House has an aston- Off Citrus Taste of Texas, ishing stock of instruments. When asked how he and Tulipano’s. He

November-December 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 31495 El Camino Real, San Juan Capistrano KPFK [North Hollywood] (90.7FM) (98.7FM 949-248-7469 • www.musicatthelibrary.com Santa Barbara) www.kpfk.org KCSN [Northridge] (88.5FM) www.kcsn.org SKIRBALL CULTURAL CENTER KUCR [Riverside] (88.3FM) www.kucr.org 2701 N. Sepulveda Blvd., L.A. KPCC [Pasadena] (89.3FM) www.kpcc.org 310-440-4500 • www.skirball.org KRLA [Hollywood] (870AM) KXMX [Los Angeles] (1190AM) UCLA PERFORMING ARTS CENTER KSBR [Orange County] (88.5FM) Royce or Shoenberg Halls, Westwood 310-825-4401 • www.performingarts.ucla.edu THURSDAY COFFEE HOUSES 7:00-9:00pm Down Home (KCSN) Chuck Taggart (variety including Celtic, 14 BELOW Cajun, Old-time, , 1348 14th St., Santa Monica • 310-451-5040 Quebecois) ANASTASIA’S ASYLUM 11:00pm-1:00am Blues Power (KPFK) Bobbee Zeno (blues) 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 JAM SESSIONS / OPEN MIKES / SINGS / ONGOING CONCERTS and more SATURDAY NOTE: NOT ALL SESSIONS ARE VIVA CANTINA McCABE’S GUITAR STORE 2nd Saturdays - 4:00-6:00 6:00-7:00am Around the Campfire (KCSN) OPEN, PLEASE ASK SESSION Classic throughout the First Sundays - signup 5:45pm • Free Santa Monica The Learners Group Laura Mike Mahaney (Cowboy and Western LEADER IF IT’S OK TO JOIN IN! week. 3101 Pico Blvd., Santa Monica 310-450-3516 music) 6:00-8:00am Wildwood Flower (KPFK) BLUEGRASS 900 Riverside Dr., Burbank 310-828-4403 • www.mccabesguitar.com SIGNAL HILL HOUSE JAM 818-845-2425 • www.vivacantina.com Ben Elder (mostly Bluegrass) OLD TIME JAM SESSIONS 1st & 3rd Tuesday 6:00pm 7:00-10:00am Bluegrass Express (KCSN) BLUE RIDGE PICKIN’ PARLOR VINCENZO’S 240 Industry Dr., Signal Hill Mike Mahaney (Bluegrass) Bluegrass Jam Saturdays 7:30-10:30pm CAJUN WAY Don Rowan • 562- 961-0277 8:00-10:00am FolkScene (KPFK) 7828 Chatsworth St., Granada Hills Wednesdays - 7:00pm Grateful Dudes SONGMAKERS Roz and Howard Larman (all folk www.pickinparlor.com • 818-282-9001 110 E. Colorado Blvd., Monrovia including live interviews, singer-song- 24500 Lyons Ave., Newhall Wednesdays Simi Valley Hoot call for schedule 661-259-6733 626-574-0292 writers and Celtic music) Simi Valley 7:30-11:30pm 10:00-11:00am Halfway Down the Stairs (KPFK) THE CINEMA BAR DRUMMING CTMS CENTER FOR FOLK MUSIC 805-583-5777 1st Sundays 4:00-8:00pm Uncle Ruthie Buell (Children’s show 1st Wednesdays 9:00pm 1st Mondays Musical 1st Monday with folk music) with Cliff Wagner and Old #7 YORUBA HOUSE 16953 Ventura Blvd., Encino Simi Valley 1:00-4:00pm 10:00am-1:00pm TWANG (KCSN) 3967 Sepulveda Blvd., Culver City Tuesdays 7:00pm 818-817-7756 805-520-1098 Cowboy Nick(classic Country music 310-390-1328 310-475-4440 yorubahouse.net IRISH MUSIC SESSIONS 1st Fridays North Country Hoot 3:00-5:00pm Prairie Home Companion® (KPCC) CURLEYS CAFÉ Bluegrass Jam OPEN MIKES Northridge 8:00pm-Midnight Garrison Keillor (Live - variety show) Mondays 7:00-9:00pm CELTIC ARTS CENTER 818-993-8492 5:00-8:00pm Classic Heartland (KCSN) BOULEVARD MUSIC Mondays - 9:00pm Orange County Hoot George Fair (vintage country) 1999 E. Willow (at Cherry), Signal Hill 1st Saturdays 6:00-8:00pm Prairie Home Companion® (KPCC) 562-424-0018 3rd Sundays - Variety Night (1st Mondays @ 8:00pm) Anaheim Hills 8:00pm-Midnight 4316 Sepulveda Blvd., Culver City Beginners Session: Sundays 4:00-6:00pm Garrison Keillor (Rebroadcast - variety EL CAMINO COLLEGE 714-282-8112 show) 310-398-2583 [email protected] 4843 Laurel Canyon Blvd, Valley Village 2nd Saturdays Camarillo Hoot Bluegrass Jam 818-760-8322 • www.celticartscenter.com 7:00-8:00pm Canto Sin Frontera (KPFK) 1st Sundays 1:00-5:00pm CAFÉ BELLISSIMO Camarillo 8:00pm-Midnight Tanya Torres (partly acoustic, Latin (12:00-4:00pm DST) Main Street Songwriters Showcase THE HARP INN 805-484-7596 political) 8:00-10:00pm 16007 Crenshaw Blvd., Torrance Tuesdays 7:30pm 2nd Sundays 3:00–7:00pm 3rd Thursdays Camarillo “Lite” Hoot Canto Tropical (KPFK) 22458 Ventura Blvd., Woodland Hills 130 E. 17th Street - Costa Mesa Camarillo 7:00-11:00pm Hector Resendez (partly acoustic, bilin- Bill Elliott 909-678-1180 • Ron Walters gual Latin / Carribbean) 310-534-1439 818-25-0026 www.harpinn.com 949-646-8855 805-482-0029 www.garretswayne.com/msss.html 3rd Saturdays South Bay Hoot 9:00pm-midnite Noche de Ronda (KCSN) LARRY BANE SEISUN Betto Arcos (Latin and Latin roots ME-N-ED’S Redondo Beach 8:00pm-Midnight Saturdays 6:30-10:30pm FENDI’S CAFÉ 1st Sundays 4:00-6:00pm music) Fridays 6:00-8:00pm Set Dance workshop 2:00-3:00pm 310-376-0222 4115 Paramount Blvd. (at Carson), 3rd Sundays East Valley Hoot SUNDAY Lakewood • 562-421-8908 539 East Bixby Rd. (nr. Atlantic), with Michael Breen of The Los Angeles Long Beach • 62-424-4774 Irish Set Dancers. Van Nuys 1:00-5:00pm 818-780-5979 6:00-8:00am Gospel Classics (KPFK) STARGAZER 4th Saturdays West Valley Hoot Edna Tatum FOLK MUSIC CENTER The Moose Lodge Concerts 1901 W. Burbank Blvd., Burbank Woodland Hills 8:00pm-Midnight 6:00-10:00am Bluegrass, Etc. (KCSN) 4th Sundays signup 7:00pm, 7:30pm $1 Frank Hoppe (Bluegrass, Old-time, 3rd Tuesdays - Free 818-898-2263 • [email protected] 818-887-0446 6501 Fallbrook (and Victory Blvd.) 220 Yale Ave., Claremont • 909-624-2928 4th Sundays West L.A. Hoot & Potluck many historical recordings) THE FRET HOUSE FINN McCOOL West L.A. 5:00-9:00pm 310-203-0162 Noon-1:00pm The Irish Radio Hour (KXMX) West Hills 818-704-6633 Tom McConville (some Irish music) Bluegrass Assoc. of Southern California 1st Saturdays - signup 7:30pm 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) Joy Felt 818-705-8870 309 N. Citrus, Covina Sherman Oaks 8:00pm-Midnight Garrison Keillor (Rebroadcast - variety Blue Ridge Pickin’ Parlor 818-282-9001 626-339-7020 2702 Main St., Santa Monica 818-761-2766 310-452-1734 show) www.covina.com/frethouse WELSH CHOIR OF SO. 6:00-8:00pm Folkroots (KSBR) TORRANCE ELKS LOUNGE GROUP SINGING Bluegrass Jam HALLENBECKS CALIFORNIA Marshall Andrews Tuesdays - signup 7:30pm - Free Sundays 1:30pm • Rutthy 818-507-0337 10:00-11:00pm Sunday Night Folk (KRLA) 4th Sundays 1:00-5:00pm SANTA MONICA TRADITIONAL Jimmy K. (Classic folk music) 1820 Abalone Ave., Torrance 5510 Cahuenga Blvd., North Hollywood FOLK MUSIC CLUB YIDDISH SINGING (HULYANKE) MONDAY-FRIDAY Bill Elliott 909-678-1180 818-985-5916 • www.hallenbecks.com 1st Saturdays 7:30-11:30pm 3rd Thursdays, Sherman Oaks Bob/Lynn Cater 310-678-1180 HIGHLAND GROUNDS Sha'Arei Am (Santa Monica Synagogue) Sholem Community Org. 10:00am-noon The Global Village (KPFK) THE UGLY MUG CAFE Wednesdays - 8:00-11:00pm 1448 18th St., Santa Monica Lenny Potash 323-665-2908 “Music from around the world and around the block” Bluegrass Jam 742 N. Highland Ave., Hollywood [email protected] WESTERN MUSIC 3rd Sundays 7:00-9:00pm 213-466-1507 • ww.highlandground.com Santa Monica Folk Music Club ON THE INTERNET www.santamonicafolkmusicclub.org 261 N. Glassell, Orange KULAK'S WOODSHED 3rd Sundays – 1:00–3:00pm Thistle & Shamrock 714-997-5610 or 714-524-0597 Mondays - 7:30pm • Free SHAPE NOTE/SACRED HARP 4700 Western Heritage Way, Griffith Park Fiona Ritchie (Celtic Music) www.museumoftheamericanwest.org VENTURA JAM host Kiki Wow 1st Sundays - 3:30pm-6:00pm www..org/programs/thistle 323-667-2000 Bluegrass Jam Sundays Songwriter showcase Eagle Rock Mary Rose Ogren O’Leary Driven Bow / Fiddlin’ Zone Western Music Assoc., So. Cal Chapter Gus Garelick (Fiddle Music) 2nd & 4th Wednesdays 6:00-9:30pm Mostly singer-songwriters every night 323-354-7707 • www.fasola.org Museum of the American West www.krcb.org/radio/ Pipo’s Restaurant 5230 1/2 Laurel Canyon Blvd., 3rd Sundays - 3:00-5:30pm (formerly Autry Museum) Riders Radio Theatre 1117 N. Ventura Ave., Ventura North Hollywood • 818-766-9913 West L.A. Pat Keating 310-557-1927 Riders in the Sky Gene Rubin 805-858-8311 www.kulakswoodshed.com (Cowboy variety show) [email protected] www.wvxu.com/html/riders.html

Page 14 FolkWorks November-December 2004 FOLK HAPPENINGS AT A GLANCE NOVEMBER 2004

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 5 6 HALLOWEEN INT’L DANCE PARTY (SE) Armenian (OGD) BAULS OF BENGAL (SE) (SE) MUSIC IN THE MOUNTAINS (SE) MUSIC IN THE MOUNTAINS (SE) Balkan (OGD) International (OGD) Balkan (OGD) CANTAN LOS FUEGOS (SE) GEORGE WINSTON (SE) ALFREDO ROLANDO ORTIZ (SE) International (OGD) Israeli (OGD) International (OGD) African (OGD) ANGELIQUE KIDJO / EUGE GROOVE (SE) JOEL RAFAEL (SE) BELA FLECK (SE) Irish (OGD) Scottish (OGD) Irish (OGD) Belly Dancing (OGD) RHYTHM RASCALS (SE) BRETT PERKINS, Israeli (OGD) Open Mike (OGM) Israeli (OGD) English (OGD) RICHARD GREENE (SE) NANNE-EMELIE ANDERSEN (SE) Morris (OGD) Irish Session (OGM) Scandinavian (OGD) International (OGD) THIRD DOOR DOWN (SE) BUCK HOWDY (SE) NEIL INNES (SE) Scandinavian (OGD) Group Singing (OGM) Scottish (OGD) Irish (OGD) CANTAN LOS FUEGOS (SE) SEVERIN BROWNE & Scottish (OGD) Drumming (OGM) Zydeco (OGD) Israeli (OGD) Contra (OGD) JAMES COBERLY SMITH (SE) Irish Session (OGM) Group Singing (OGM) Scottish (OGD) Greek (OGD) L.A. WORLD STORYTELLING FESTIVAL (SE) Open Mike (OGM) Open Mike (OGM) International (OGD) ALFREDO ROLANDO ORTIZ (SE) Bluegrass (OGM) Old Time Jam (OGM) Scottish (OGD) INTERTRIBAL MARKETPLACE (SE) Group Singing (OGM) Bluegrass (OGM) Group Singing (OGM) KITKA AND VINOK WORLDANCE (SE) Open Mike (OGM) COWBOY ENVY (SE) DENNIS ROGER REED (SE) FESTIVAL IN THE DESERT (SE) Contra (OGD) Bluegrass (OGM) Group Singing (OGM) Open Mike (OGM) 7 8 9 10 11 12 13 MUSIC IN THE MOUNTAINS (SE) RIDERS IN THE SKY (SE) Armenian (OGD) HOT CLUB OF COWTOWN (SE) TRACY GRAMMER (SE) SONGSALIVE! SHOWCASE (SE) SOUTHERN CALIFORNIA AUTUMN BALL (SE) INTERTRIBAL MARKETPLACE (SE) PETER & ELLEN ALLARD (SE) International (OGD) Balkan (OGD) THE JOINT IS JUMPIN’ (SE) HOT LIPS & FINGERTIPS (SE) SUE HOADLEY (SE) PAMELA MORGAN plus PAUL KAMM Balkan (OGD) Israeli (OGD) International (OGD) African (OGD) RAMBLIN’ JACK ELLIOTT (SE) JEFF BLACK AND ERIC HANSEN (SE) & ELEANORE MACDONALD (SE) International (OGD) Scottish (OGD) Irish (OGD) Belly Dancing (OGD) AL STEWART (SE) CHRIS STUART AND BACKCOUNTRY (SE) BOB MALONE (SE) NEIL INNES (SE) Irish (OGD) Open Mike (OGM) Israeli (OGD) International (OGD) JEFF BLACK (SE) LAURIE LEWIS & TOM ROZUM (SE) AMILIA K SPICER (SE) Israeli (OGD) Irish Session (OGM) Scandinavian (OGD) Irish (OGD) Cajun (OGD) JIM MESSINA (SE) RANDY SPARKS (SE) FESTIVAL IN THE DESERT with Morris (OGD) Drumming (OGM) Scottish (OGD) Israeli (OGD) Contra (OGD) CHASTE WHITE AND BLUSH RED (SE) TINARIWEN & RAMATOU DIAKITE (SE) Scandinavian (OGD) Zydeco (OGD) Scottish (OGD) Greek (OGD) ANGELA LLOYD (SE) MATT THE ELECTRICIAN (SE) Scottish (OGD) Group Singing (OGM) Hungarian (OGD) CHOOKASIAN ARMENIAN ENSEMBLE (SE) BRETT PERKINS & FRIENDS (SE) Irish Session (OGM) Open Mike (OGM) International (OGD) TOULOUSE ENGLEHARDT (SE) International (OGD) Polish (OGD) Open Mike (OGM) Old Time Jam (OGM) Israeli (OGD) Contra (OGD) Scottish (OGD) Israeli (OGD) Bluegrass (OGM) Bluegrass (OGM) Scottish (OGD) Bluegrass (OGM) Bluegrass (OGM) Old Time Jam (OGM) Open Mike (OGM) Group Singing (OGM) Group Singing (OGM) Irish Session (OGM) Open Mike (OGM)

14 15 16 17 18 19 20 CHOOKASIAN ARMENIAN ENSEMBLE (SE) CHRISTENE LEDOUX, JAMES GREY, DR. JOHN. CHARLIE MUSSELWHITE, DON STIERNBERG QUARTET (SE) DR. JOHN. CHARLIE MUSSELWHITE, AL PETTEWAY & AMY WHITE (SE) AL PETTEWAY & AMY WHITE (SE) KRISTIN MOONEY / JAKE LABOTZ / JON STATHAM, TRUSTING LUCY (SE) SHEMEKIA COPELAND (SE) Balkan (OGD) SHEMEKIA COPELAND (SE) AL STEWART (SE) A GRAND IRISH CHRISTMAS CONCERT (SE) BILL FOREMAN (SE) JACK GRUNSKY (SE) SWITCHBACK, THOMAS LEEB (SE) International (OGD) African (OGD) THE DUO TONES (SE) LAURENCE JUBER (SE) KATHERINE DINES (SE) Balkan (OGD) Armenian (OGD) Irish (OGD) Belly Dancing (OGD) Contra (OGD) THE WHIRLING DERVISHES The BOBS (SE) International (OGD) International (OGD) Israeli (OGD) English (OGD) Greek (OGD) OF DAMASCUS (SE) RANDY SPARKS (SE) Irish (OGD) Israeli (OGD) Scandinavian (OGD) International (OGD) International (OGD) PETER ALSOP (SE) TISH HINOJOSA (SE) Contra (OGD) Israeli (OGD) Scottish (OGD) Scottish (OGD) Irish (OGD) Scottish (OGD) DAVID JACOBS-STRAIN with SION & ANDERSON (SE) International (OGD) Morris (OGD) Bluegrass (OGM) Zydeco (OGD) Israeli (OGD) Open Mike (OGM) TELLABRATION 2004 (SE) Israeli (OGD) Scandinavian (OGD) Open Mike (OGM) Group Singing (OGM) Scottish (OGD) OAXACAN FOLK ART (SE) Polish (OGD) Scottish (OGD) Irish Session (OGM) Open Mike (OGM) Group Singing (OGM) ROMANIAN RENDEZVOUS II (SE) Scottish (OGD) Irish Session (OGM) Group Singing (OGM) Old Time Jam (OGM) Group Singing (OGM) Open Mike (OGM) Drumming (OGM) & HERB PEDERSEN (SE) Irish Session (OGM) Bluegrass (OGM) Contra (OGD) Open Mike (OGM) International (OGD) Bluegrass (OGM) Group Singing (OGM)

21 22 23 24 25 26 27 AL PETTEWAY & AMY WHITE (SE) Balkan (OGD) Armenian (OGD) Thanksgiving Eve Thanksgiving Day MARK HUMPHREYS VICTORIAN GRAND BALL (SE) OAXACAN FOLK ART (SE) International (OGD) International (OGD) with SEVERIN BROWNE (SE) IAN WHITCOMB (SE) BANSHEE IN THE KITCHEN (SE) Irish (OGD) Israeli (OGD) BOWFIRE (SE) Contra (OGD) THE SAVOY FAMILY BAND (SE) Israeli (OGD) Scottish (OGD) DAY AFTER THANKSGIVING INT’L Bluegrass (OGM) DANCE PARTY (SE) KALA RAMNATH, ABHIJIT BANERJEE (SE) Morris (OGD) Open Mike (OGM) Group Singing (OGM) DENNIS ROGER REED (SE) DAN ZANES & FRIENDS (SE) Scandinavian (OGD) Irish Session (OGM) CHRISTINA ORTEGA (SE) GRANT-LEE PHILLIPS/PETER ADAMS (SE) Scottish (OGD) Drumming (OGM) Greek (OGD) International (OGD) Irish Session (OGM) Hungarian (OGD) Israeli (OGD) Open Mike (OGM) International (OGD) Polish (OGD) Bluegrass (OGM) Israeli (OGD) Scottish (OGD) Scottish (OGD) Group Singing (OGM) Open Mike (OGM) Irish Session (OGM) Western Music (OGM) Bluegrass (OGM) Open Mike (OGM)

28 29 30 BLACK TONGUED BELLS (SE) Balkan (OGD) (SE) International (OGD) International (OGD) Armenian (OGD) Israeli (OGD) Irish (OGD) International (OGD) FOLK HAPPENINGS AT A GLANCE Polish (OGD) Israeli (OGD) Israeli (OGD) Scottish (OGD) Morris (OGD) Scottish (OGD) Group Singing (OGM) Scandinavian (OGD) Open Mike (OGM) Check out details by Open Mike (OGM) Scottish (OGD) Irish Session (OGM) Irish Session (OGM) Irish Session (OGM) Drumming (OGM) following the page references: Bluegrass (OGM) Open Mike (OGM) Open Mike (OGM) Bluegrass (OGM) OGM: On-going Music - page 13 OGD: On-going Dance - page 16 SE: Special Events - page 28

November-December 2004 FolkWorks Page 15 FOLK HAPPENINGS AT A GLANCE DECEMBER 2004

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 Balkan (OGD) RICHARD SMITH / AARON TILL (SE) MONTEREY COWBOY FESTIVAL (SE) MONTEREY COWBOY FESTIVAL (SE) FOLK HAPPENINGS AT A GLANCE International (OGD) African (OGD) THE BLIND BOYS OF ALABAMA (SE) WENDY WALDMAN & Irish (OGD) Belly Dancing (OGD) EDDIE FROM (SE) KENNY EDWARDS (SE) Israeli (OGD) English (OGD) JEFF LINSKY (SE) HOLLY NEAR (SE) Scandinavian (OGD) International (OGD) JERRY HARMON (SE) JANE SIBERRY (SE) Check out details by Scottish (OGD) Irish (OGD) Contra (OGD) RICHARD SMITH / AARON TILL (SE) Zydeco (OGD) Israeli (OGD) Greek (OGD) ALFREDO ORTIZ AND INCA (SE) following the page references: Group Singing (OGM) Scottish (OGD) International (OGD) DENNIS ROGER REED (SE) Open Mike (OGM) Scottish (OGD) CANTAN LOS FUEGOS (SE) OGM: On-going Music - page 13 Old Time Jam (OGM) Group Singing (OGM) Contra (OGD) Bluegrass (OGM) Open Mike (OGM) Bluegrass (OGM) OGD: On-going Dance - page 16 Group Singing (OGM) Open Mike (OGM) SE: Special Events - page 28

5 6 7 8 9 10 11 MONTEREY COWBOY FESTIVAL (SE) ARLO GUTHRIE ADAAWE (SE) HARRY MANX (SE) African (OGD) JOSE HERNANDEZ (SE) JOSE HERNANDEZ (SE) BLIND BOYS OF ALABAMA (SE) with (SE) HARRY MANX (SE) MIRIAM MAKEBA (SE) Belly Dancing (OGD) CHARLIE HUNTER TRIO (SE) BROCELIANDE (SE) RAUL MALO (SE) Balkan (OGD) Armenian (OGD) Balkan (OGD) International (OGD) RICHARD SMITH / AARON TILL (SE) RICHARD SMITH / AARON TILL (SE) RIDERS IN THE SKY (SE) International (OGD) International (OGD) International (OGD) Irish (OGD) GUY VAN DUSER (SE) GUY VAN DUSER (SE) ELENI MANDELL / GWENDOLYN (SE) Irish (OGD) Israeli (OGD) Irish (OGD) Israeli (OGD) LOST CANYON RAMBLERS (SE) ROBERT LONGLEY (SE) STEVEN PILE (SE) Israeli (OGD) Scottish (OGD) Israeli (OGD) Scottish (OGD) Cajun (OGD) Contra (OGD) CANTAN LOS FUEGOS (SE) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) Contra (OGD) Bluegrass (OGM) International (OGD) Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) Greek (OGD) Group Singing (OGM) Polish (OGD) Scottish (OGD) Group Singing (OGM) Zydeco (OGD) Hungarian (OGD) Scottish (OGD) Irish Session (OGM) Drumming (OGM) Group Singing (OGM) International (OGD) Israeli (OGD) Open Mike (OGM) Open Mike (OGM) Israeli (OGD) Bluegrass (OGM) Bluegrass (OGM) Old Time Jam (OGM) Scottish (OGD) Old Time Jam (OGM) Group Singing (OGM) Bluegrass (OGM) Open Mike (OGM) Group Singing (OGM) Irish Session (OGM) Open Mike (OGM)

12 13 14 15 16 17 18 RICHARD SMITH / AARON TILL (SE) Balkan (OGD) Armenian (OGD) Balkan (OGD) African (OGD) CHERISH THE LADIES (SE) CHERISH THE LADIES (SE) CHARLIE HUNTER TRIO (SE) International (OGD) International (OGD) International (OGD) Belly Dancing (OGD) THE DUO TONES (SE) ROBBY LONGLEY, JESUS SEVERINO (SE) WITCHER BROTHERS (SE) Irish (OGD) Israeli (OGD) Irish (OGD) English (OGD) Contra (OGD) LAS POSADAS CELEBRATION (SE) ACOUSTIC EIDOLON (SE) Israeli (OGD) Scottish (OGD) Israeli (OGD) International (OGD) Greek (OGD) MUSICANTICA (SE) Contra (OGD) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) Irish (OGD) International (OGD) Contra (OGD) International (OGD) Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) Israeli (OGD) Scottish (OGD) International (OGD) Israeli (OGD) Scottish (OGD) Drumming (OGM) Zydeco (OGD) Scottish (OGD) Open Mike (OGM) Bluegrass (OGM) Polish (OGD) Irish Session (OGM) Group Singing (OGM) Group Singing (OGM) Group Singing (OGM) Scottish (OGD) Open Mike (OGM) Open Mike (OGM) Group Singing (OGM) Bluegrass (OGM) Old Time Jam (OGM) Irish Session (OGM) Open Mike (OGM)

19 20 21 22 23 24 25 ASYLUM STREET SPANKERS (SE) EILEEN IVERS & IMMIGRANT SOUL (SE) MID-VALLEY BOYS (SE) Balkan (OGD) KEB’ MO’ (SE) Christmas Eve Christmas Day International (OGD) Balkan (OGD) Armenian (OGD) International (OGD) African (OGD) Israeli (OGD) International (OGD) International (OGD) Irish (OGD) Belly Dancing (OGD) Polish (OGD) Irish (OGD) Israeli (OGD) Israeli (OGD) International (OGD) Scottish (OGD) Israeli (OGD) Scottish (OGD) Scandinavian (OGD) Irish (OGD) Group Singing (OGM) Morris (OGD) Bluegrass (OGM) Scottish (OGD) Israeli (OGD) Irish Session (OGM) Scandinavian (OGD) Open Mike (OGM) Zydeco (OGD) Scottish (OGD) Western Music (OGM) Scottish (OGD) Irish Session (OGM) Group Singing (OGM) Bluegrass (OGM) Irish Session (OGM) Group Singing (OGM) Open Mike (OGM) Open Mike (OGM) Open Mike (OGM) Drumming (OGM) Old Time Jam (OGM) Bluegrass (OGM) Bluegrass (OGM)

26 27 28 29 30 31 International (OGD) Balkan (OGD) Armenian (OGD) NEW YEAR’S INT’L DANCE WEEKEND (SE) NEW YEAR’S INT’L DANCE WEEKEND (SE) NEW YEAR’S INT’L DANCE WEEKEND (SE) Israeli (OGD) International (OGD) International (OGD) Balkan (OGD) African (OGD) NEW YEARS EVE CONTRA DANCE (SE) Polish (OGD) Irish (OGD) Israeli (OGD) International (OGD) Belly Dancing (OGD) Greek (OGD) Scottish (OGD) Israeli (OGD) Scottish (OGD) Irish (OGD) International (OGD) International (OGD) Group Singing (OGM) Morris (OGD) Open Mike (OGM) Israeli (OGD) Irish (OGD) Scottish (OGD) Open Mike (OGM) Scandinavian (OGD) Irish Session (OGM) Scandinavian (OGD) Israeli (OGD) Open Mike (OGM) Irish Session (OGM) Scottish (OGD) Drumming (OGM) Scottish (OGD) Scottish (OGD) Bluegrass (OGM) Irish Session (OGM) Zydeco (OGD) Open Mike (OGM) Open Mike (OGM) Group Singing (OGM) Bluegrass (OGM) Open Mike (OGM) Old Time Jam (OGM)

Page 16 FolkWorks November-December 2004

ON-GOING DANCE HAPPENINGS DANCING, DANCING and more DANCING

AFRICAN DANCING GREEK DANCING WEST HOLLYWOOD FOLK DANCERS SCOTTISH DANCING Wednesday 10:15-11:45am YORUBA HOUSE KYPSELI GREEK DANCE CENTER West Hollywood Park, San Vicente & Melrose AMERICAN LEGION HALL 310-475-4440 Fridays 8:00-11:30pm $5.00 West Hollywood • Tikva Mason 310-652-8706 Sundays Highland - 5:00-7:00pm [email protected] • yorubahouse.net Skandia Hall 2031 E. Villa St., Pasadena Advanced - 7:30 - 9:30pm WEST L.A. FOLK DANCERS ARMENIAN DANCING Dalia Miller 818-990-5542 • [email protected] 412 South Camino Real, Redondo Beach [email protected] Mondays Lesson 7:45-10:45pm Fred DeMarse 310-791-7471 • [email protected] Fridays 7:45-10:45pm OUNJIAN’S ARMENIAN DANCE CLASS Joyce Helfand 626-446-1346 Louise Bilman 323-660-1030 SAN GABRIEL BRANCH - RSCDS Tuesdays 7:45-10:00pm Brockton School • 1309 Armacost Ave., West L.A HUNGARIAN DANCING Beverly Barr 310-202-6166 • [email protected] Wednesdays Beginner/Intermediate - 8:00-10:30pm 17231 Sherman Way, Van Nuys St. Luke's Episcopal Church Susan Ounjian 818-845-7555 HUNGARIAN CLASS (BEGINNING) WESTWOOD CO-OP FOLK DANCERS 122 S. California Ave., Monrovia BALKAN DANCING 2nd & 4th Fridays 8:30-10:30pm $7.00 Thursdays 7:30-10:45pm $4 Doug MacDonald 909-624-9496 Gypsy Camp 3265 Motor Ave., Los Angeles Felicia Mahood Senior Club [email protected] CAFÉ AMAN Jon Rand 310-202-9024 • [email protected] 11338 Santa Monica Blvd. (at Corinth), L.A. COLUMBUS-TUSTIN GYM 2nd Saturdays 7:30pm-10:30 pm INTERNATIONAL FOLK DANCING Tom Trilling 310-391-4062 at Café Danssa Wednesdays Beginner - 7:00-8:30pm WEST VALLEY FOLK DANCERS Intermediate - 8:30-10:00pm 11533, Pico Blvd., West Los Angeles ALTADENA FOLK DANCERS Fridays 7:30-10:15pm $4 Mady 310-820-3527 [email protected] Wednesdays 10:30-11:30am 17522 Beneta Way, Tustin Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park Shirley Saturensky 949-851-5060 Ian 818-753-0740 [email protected] Thursdays 3:00-4:00pm Jay Michtom 818-368-1957 • [email protected] Altadena Senior Center • 560 E Mariposa St., Altadena CAFE DANSSA IRISH DANCING DANCE STUDIO, VALLEY COLLEGE Wednesdays 7:30-10:30pm Karila 818-957-3383 Mondays Beginner - 7:00-8:30pm 11533 W. Pico Blvd., Los Angeles ANAHEIM INTERNATIONAL CLEARY SCHOOL OF IRISH DANCE Intermediate - 8:00-10:00pm Sherrie Cochran [email protected] FOLKDANCERS www.irish-dance.net • 818-503-4577 Ethel at Hatteras St., Van Nuys Aase Hansen 818-845-5726 • [email protected] 626-293-8523 Wednesdays 7:30-9:30pm • 511 S. Harbor, Anaheim CELTIC ARTS CENTER hometown.aol.com/worldance1/CafeDanssaHome CALTECH FOLK DANCERS Irish Ceili EDISON COMMUNITY CENTER Pagephoto.html Tuesdays 8:00-11:55pm Mondays 8:00-9:00pm (ex. 1st Mondays) Thursdays Beginner - 7:30-9:00pm SAN PEDRO BALKAN FOLK DANCERS Throop Memorial Church 300 S. Los Robles, Pasadena Wednesdays - 7:30-9:00pm Intermediate - 7:30-9:30pm Mondays 7:30-9:30pm Nancy Milligan 626-797-5157 • [email protected] 4843 Laurel Canyon Blvd., Valley Village Renee Boblette Bob Patterson 714-731-2363 Dalmatian American Club CONEJO VALLEY FOLK DANCERS 818-752-3488 • www.celticartscenter.com GOTTA DANCE II DANCE STUDIO 17th & Palos Verdes, San Pedro Wednesdays 7:30-9:30pm $1-2 LOS ANGELES IRISH SET DANCERS Thursdays - Intermediate/Advanced - 8:00-10:00pm Zaga Grgas 310-832-4317 • Pauline Klak 310-832-1074 Hillcrest Center (Small Rehearsal Room) Mondays 7:30 - 9:30pm Sonia’s Dance Center BELLY DANCING 403 West Hillcrest Drive, Thousand Oaks The Burbank Moose Lodge 8664 Lindley Ave., Northridge Jill Lundgren 805-497-1957 • [email protected] 1901 W. Burbank Blvd., Burbank Deanna St. Amand 818-761-4750 • [email protected] Call for schedule/locations Thursdays 7:30 - 9:30pm Mésmera, 323-669-0333 • www.mesmera.com DUNAJ INT’L DANCE ENSEMBLE LINDBERG PARK RECREATION BUILDING Wednesdays 7:30-10:00pm The Columbian Fathers Tuesdays 6:30-7:30pm children; 7:30-10:15pm adults CAJUN / ZYDECO DANCING Wiseplace 1411 N. Broadway, Santa Ana 2600 North Vermont Ave., Los Angeles 5041 Rhoda Way, Culver City • 310-820-1181 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm [email protected] MARTIN MORRISEY SCHOOL LUTHERAN CHURCH OF THE MASTER South Pasadena War Memorial Hall Richard Duree 714-641-7450 OF IRISH DANCE 1st & 3rd Fridays Beginner/Intermediate 7:00-9:00pm 435 S. Fair Oaks Ave., South Pasadena FOLK DANCE FUN 818-343-1151 725 East Ave J Lancaster 2nd Sundays except April, May, October 3rd Saturdays 7:30-9:30 pm O’CONNOR-KENNEDY SCHOOL Aase Hansen 818-845-5726 3rd Sundays 5:00-9:00pm 8648 Woodman Ave., Van Nuys OF IRISH DANCE NEWPORT-MESA BALLET STUDIO VFW Hall Ruth Gore 818-349-0877 818-773-3633 • [email protected] Fridays Beginner - 7:30-9:30pm 1822 W. 162nd St., Gardena • 562-427-8834 INTERNATIONAL FOLK DANCE CLUB THOMPSON SCHOOL OF IRISH DANCE Intermediate - 7:30-9:30pm Wednesdays - Lessons 7:00pm Dancing 8:00-9:00pm $5 AT UCLA Cecily Thompson 562-867-5166 • [email protected] Shirley Saturensky 714-557-4662 Joe’s Crab Shack Mondays 9:00-11:00 pm Free ISRAELI DANCING RANCHO SANTA SUSANA COMM. CTR. 6550 Marina Dr., Long Beach UCLA Ackerman Student Union Building Mondays LALA LINE (626) 441-7333 Room 2414 • 2nd Floor Lounge Westwood ARCADIA FOLK DANCERS Children - 6:30-7:30pm Kathy Higgins 805-581-7185 For additional Cajun/Zydeco dancing: 310-284-3636 • [email protected] Tuesdays 7:30-9:00pm Beginners - 7:30-9:00pm Mary Lund 818-996-5059 users.aol.com/zydecobrad/zydeco.html LA CANADA FOLKDANCERS Shaarei Torah, 550 N 2 St., Arcadia 5005-C Los Angeles Ave., Simi Valley David Edery 310-275-6847 CONTRA DANCING Mondays 7:30-9:30 pm ROYAL SCOTTISH COUNTRY DNC. SOC. La Canada Elementary School COSTA MESA ISRAELI DANCERS Knights of Columbus Hall CALIFORNIA DANCE CO-OPERATIVE 4540 De Nova St., La Canada Wednesdays 7:00-11:30pm Tuesdays Beginner - 7:00pm Intermediate - 8:15pm www.CalDanceCoop.org • Hotline 818-951-2003 Lila Moore 818-790-5893 JCC of Orange County • 250 Baker St., Costa Mesa 224-1/2 S. Sepulveda Blvd., Beach 1st Fridays - Lesson 8:00 Dance 8:30-11:30pm LAGUNA FOLK DANCERS Yoni Carr 760-631-0802 • [email protected] Wilma Fee 310-546-2005 310-378-0039 South Pasadena War Memorial Hall Wednesdays 8:00-10:00pm LA CRESCENTA DANCERS [email protected] 435 S. Fair Oaks Ave., South Pasadena Sundays 8:00-10:00pm Wednesdays 7:00-8:30pm SCOTTISH COUNTRY DANCE Dennis 626-282-5850 • [email protected] Laguna Community Center Church of Religious Science Wednesdays 562-916-8470 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm 384 Legion Ave & Glenneyre, Laguna 4845 Dunsmore Ave., La Crescenta Jack Rennie 310-377-1675 • [email protected] Richard Duree 714-641-7450 • [email protected] Karila 818-957-3383 Brentwood Youth House SOUTH PASADENA WAR MEMORIAL 731 So. Bundy, Brentwood LEISURE WORLD FOLK DANCERS ISRAELI FOLK DANCING AT UCLA Sundays Beginner - 7:00-9:00pm Jeff 310-396-3322 • [email protected] Tuesdays 8:30-11:00am Saturdays 8:30-11:00am Mondays 9:00pm UCLA Ackerman Union 2414 435 Fair Oaks Ave., South Pasadena 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm Club House 1, Leisure World, Laguna Hills James Zimmer • [email protected] 310-284-3636 Alfred McDonald 626-836-0902 • [email protected] Florence Kanderer 949-425-8456 All Saints Epoiscopal Church ISRAELI DANCE WITH JAMES ZIMMER ST. PAUL’S EPISCOPAL CHURCH 3847 Terracina Drive, Riverside MOUNTAIN DANCERS Tuesdays 8:00-11:00pm Thursdays Beginner - 7:30-9:30pm Meg 909-359-6984 • [email protected] Tuesdays 7:00-9:30pm West Valley JCC, Ferne Milken Sports Center Intermediate - 7:30-9:30pm 2nd Saturdays - Lesson 7:30 Dance 8:00-11:00pm Oneyonta Congregational Church 22622 Vanowen Street, West Hills Don Karwelis 714-730-8124 1515 Garfield Ave., South Pasadena Thursdays 8:00-9:30pm Sierra Madre Masonic Temple THE DANCE ACADEMY Rick Daenitz 626-797-16191 Sundays 2:00-3:00pm 33 E. Sierra Madre Blvd., Sierra Madre Mondays Intermed - 8:00-10:00pm Frank 818-951-4482 • [email protected] NARODNI FOLKDANCERS Encino Community Center, LA Recreation & Parks 4935 Balboa Blvd, Encino 818-995-1690 24705 Narbonne at 247th St., Lomita 2nd Sundays Thursdays 7:30-10:30pm $3 Jack Rennie 310-377-1675 • [email protected] Dance America, 12405 Woodruff Ave., Downey 2nd Fridays 9pm Free Slow Jam 2:00pm Lesson 3:30 Dance 4:00-7:00pm TORRANCE CULTURAL CENTER John Matthews 562-424-6377 • [email protected] 4th Fridays 9 pm Free La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne Maltz Center, Temple Emanuel-Beverly Hills Fridays Beginner - 7:00-8:30pm Gretchen 909-624-7511 • [email protected] NEWPORT BEACH 8844 Burton Way, Beverly Hills Intermediate - 8:00-10:00pm 3rd Fridays - Lesson 8:00 Dance 7:30-11:30pm Sundays (International/Israeli) [email protected] 310-284-3638 Between Torrance & Madrona, Torrance South Pasadena War Memorial Hall 8:00pm-9:00pm Beginners Jack Rennie 310-377-1675 • [email protected] 9:00pm-12 midnite Intermediate and Advanced UNIVERSITY OF 435 S. Fair Oaks Ave., South Pasadena VENTURA COLLEGE DANCE STUDIO Avant Garde Ballroom • 4220 Scott Dr., Newport Beach Wednesdays 7:30-10pm Marie 626-284-2394 • [email protected] Fridays Beginner - 7:00-8:30pm Avi Gabay 310-560-4262 • [email protected] 5600 Mulholland Dr., Los Angeles 3rd Saturdays Natalie Stern 818-343-8009 Intermediate - 8:00-10:00pm Throop Memorial Church PASADENA FOLKDANCE CO-OP 4667 Telegraph Road, Ventura Fridays 7:45-11pm Teaching to 9pm $2 VINTAGE ISRAELI 300 S. Los Robles Ave, Pasadena Anisa’s School of Dance Mary Brandon 818-222-4584 Barbara 310-957-8255 • [email protected] Throop Unitarian Church 300 S. Los Robles, Pasadena 14252 Ventura Blvd., Sherman Oaks 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Marshall Cates 626-792-9118 • [email protected] [email protected] Brentwood Youth House MORRIS DANCING 731 South Bundy Drive RESEDA INT’L FOLK DANCERS Peter 562-428-6904 • [email protected] Thursdays 3:00-4:45pm PENNYROYAL MORRIS Reseda Senior Center • 18255 Victory Blvd., Reseda Mondays 7:00pm 5th Saturday - Dance 7:00-11:00pm (Experienced) JoAnne McColloch 818-340-6432 Throop Memorial Church Debi Shakti & Ed Vargo 818-892-4491 300 S. Los Robles Ave, Pasadena ROBERTSON FOLK DANCE Sunset Morris • Santa Monica Chuck 562-483-6925 • [email protected] Mondays 10:00-11:30am Jim Cochrane 310-533-8468 • [email protected] 1641 Preuss Rd., Los Angeles 310-278-5383 SUNSET MORRIS THE LIVING TRADITION SIERRA MADRE FOLK DANCE CLASS Clive Henrick 310-839-7827 • [email protected] www.thelivingtradition.org Mondays 8:00-9:30pm WILD WOOD MORRIS 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm Sierra Madre Recreation Building 6270 E. Los Santos Drive, Long Beach Rebekah Hall, 406 East Grand Ave., El Segundo 611 E. Sierra Madre Blvd., Sierra Madre Julie James 562-493-7151 Diane 310-322-0322 • [email protected] Ann Armstrong 626-358-5942 [email protected] • wildwoodmorris.com BEFORE ATTENDING 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm SOUTH BAY FOLK DANCERS PERSIAN DANCING Downtown Community Center 2nd Fridays 7:45-9:45pm ANY EVENT 250 E. Center St.@Philadelphia, Anaheim Torrance Cultural Center SHIDA PEGAHI Rich DiMarco 714-894-4113 [email protected] 3330 Civic Center Dr., Torrance Tuesdays 6:00pm • 310-287-1017 Contact the event producer to verify information before attending any event. (Things change!!!) ENGLISH COUNTRY DANCING Beth Steckler 310-372-8040 POLISH DANCING CORRECTIONS TUESDAY GYPSIES GORALE POLISH FOLK DANCERS CALIFORNIA DANCE CO-OPERATIVE Tuesdays 7:30-10:30pm $7.50 www.CalDanceCoop.org Sundays 6:00-8:00pm FolkWorks attempts to provide current and accu- Culver City Masonic Lodge Pope John Paul Polish Center rate information on all events but this is not 1st & 3rd Thursdays 8:00-10:00pm 9635 Venice Blvd., Culver City 3999 Rose Dr., Yorba Linda always possible. First United Methodist Church Gerda Ben-Zeev 310-474-1232 • [email protected] Rick Kobzi 714-774-3569 • [email protected] 1551 El Prado, Torrance Millicent Stein 310-390-1069 Please send corrections to: Giovanni 310-793-7499 • [email protected] SCANDINAVIAN DANCING TROUPE MOSAIC [email protected] or 818-785-3839 FLAMENCO DANCING Tuesdays 6:30-8:30pm SKANDIA DANCE CLUB Gottlieb Dance Studio • 9743 Noble Ave., North Hills Wednesdays 7:30-10:00pm $5 LIST YOUR EVENT! POINT BY POINT DANCE STUDIO Mara Johnson 818-831-1854 To have your on-going dance event listed in Saturdays & Thursdays Lindberg Park • 5401 Rhoda Way, Culver City 1315 Fair Oaks, Suite #104, South Pasadena VESELO SELO FOLK DANCERS Sparky 310-827-3618 FolkWorks provide the following information: Katerina Tomás 626-403-7489 Thursdays, Fridays 7:30-10:30pm (intermediate class) Ted Martin [email protected] • Indicate if it’s an on-going or one-time event [email protected] Saturdays 8:00-11:00pm led by Cameron Flanders & John Chittum • Category/Type of Dance (i.e., Cajun, Folk) Hillcrest Park Recreation Center LE STUDIO SKANDIA SOUTH • Location Name • Event Day(s) and Time 1155 North Lemon & Valley View, Fullerton Mondays 7:30-10:30pm 100 W. Villa, Pasadena Lorraine Rothman 714-680-4356 • Cost • Event Sponsor or Organization Tuesdays 6:30pm Downtown Community Center Marcellina de Luna 626-524-6363 [email protected] WESTCHESTER LARIATS (Youth Group) 250 E. Center, Anaheim • Location Address and City Mondays 3:30-9:30pm $30 or $40/10-wk session Ted Martin 714-533-8667 • [email protected] • Contact Name, Phone and/or e-mail Westchester United Methodist Church 8065 Emerson Ave., Los Angeles Send to: Diane Winthrop 310-376-8756 • [email protected] [email protected] or 818-785-3839

November-December 2004 FolkWorks Page 17 DANCING IN THE SUBWAY BY TERRY SQUIRE STONE [Reprinted from Vol.1 No.1 of FolkWorks to commemorate the close of our 4th year and the relocation of Terry to Greece]

ere we are at the birth of a new adven- ed out each one to the Korean woman next to her and some avoided even casual eye contact. ture: a new newspaper for an old tradi- and explained what it could be used for. One for Teenagers, in loud clusters, came in, dominating Htion. A newspaper for those of us who migraines, another for tight bowels, another to the space for 10 minutes with their crudeness and have been around the folk music scene for a while, soothe a baby’s rash. They had never met before, high energy. A single businessman stared out the as well as one for those who are new to this com- but there they were behaving like housewives window pretending he had important things to munity. And, it is a community in the realist sense yacking over the backyard fence. think about. They all mingled: sound and breath, of the word. And, the oh-so-young girl who sat across from smells and looks. Languages understood and not, Which brings me to the LA subway… me with her crying newborn. Finally, she slipped clothes matched and mismatched, colors expected Bear with me… the baby under her tank top and sat, red faced, as and not expected, all those people jumbled togeth- I recently had reason to use the Los Angeles the baby found the nipple and quieted down. er, all in front of me, on a Tuesday afternoon. Metro Link system for the first time. The Metro Everyone watched the un- This was my Los Angeles. This was my com- Link is the LA version of Metro, the London folding drama, yet swift- munity, my people, my homeland. I was totally Tube. And, just like LA, it is glitzy and expensive, ly looked unprepared for this meeting of me and my com- without much “there,” there. It goes only a short away munity, but over time, as I continued to take the distance with a lot of fanfare, but it suited as subway over the next week or so, I allowed each my purposes; to get downtown from the trip to be a mirror of me and my world. And, I the San Fernando Valley while learned a new way into the universe. avoiding the traffic and the hassle Which almost brings me right back to our new of finding reasonably priced publication – Folkworks... parking. I was very single Do you know that bowling alley leagues are minded, I might even say nar- down across the country? People just aren’t com- row-minded, when I started out ing out to mingle and throw big balls down long on my little underground wooden lanes like they used to. We’re not form- adventure. I wanted transporta- ing clubs, making practice dates, having celebrato- tion and nothing else. ry bar-b-ques like we used to. Once upon a time we Now, I have always consid- had a strong sense of community, now it’s gone. ered myself to be an average Too much bother? It’s easier to sit alone on a Angeleno – addicted to my car. couch and watch bowling on TV... more comfort- And, while in my car I am safe, solitary, in able to sit in a car alone, than to be in that awkward control, and private, and, I like it that way. press of humanity on public transportation. More Being alone in my car is as natural and efficient to shop online. One after another our com- soothing as being in my bathtub, with the munities, our social glues, are dissolving. added benefit of being able to vent at But, no! Halt! Stop right there! Wait a minute!!! strangers with little or no consequences. Not ours! We are a community that is not about I mutter and sputter at other souls who to dissolve. FolkWorks is here to celebrate a will never know what is going on in my very strong, important, vibrant and needed little space, and I’m better off not know- community. This is not some new fad or ing. I make up my own rules, which effortless amusement. The folk music crowd rarely apply to me or my driving, and I has been, and will be, around for a long time. become enforcer and judge of all who And, we touch, we talk, we accept new, even come near me. I am queen of the road, strange people into our midst. Old and new at just as I am queen of the bath!! the same time. We hearken back to a time But, one day, for very practical rea- when the only music one heard was the music that sons, I found myself gliding down a was self-made. The only way to obtain new music steep escalator into another way of was from another human being. Your social com- being. Into the LA subway system. munity was your life, your love, your thread to the And, I didn’t like it. Oh, it was clean universe. And your community was full of music enough, seemed safe, and, except for a and dance. baffling ticketing system, seemed straight- Music that came from every country that your forward enough. Get on here, get off there, community had ever had ties to. It took work, job done, mission accomplished. concentration, dedication, planning and practice. I followed the signs, and found myself Dance that meant touching, holding, sweating and sitting in a shiny new subway car, rattling out laughing. of the North Hollywood Station bound for We also hearken forward to creating a new def- Pershing Square. I sat on a plastic seat, inition of community. A community that includes which was clean enough and even had a lit- I knew there would all that is natural, real, homey, and simple. A com- tle padding. be other people, but I munity that doesn’t demand more and more, bigger So far, so good. wasn’t expecting and greater. A community that loves what is now, But then, other people got on the train, too. them to be so, so here, real, uncomplicated. Folkworks will track the All kinds of people. They kept getting on and get- baby start- members of our community, celebrate their lives ting off all during my trip. And, despite my best ed to real! And, they spoke and our lives, tell us where and when to meet efforts to pretend I was still queen, they knocked nurse. I to each other, some- again, call on us to dance and sing, help us to teach me off my throne. smiled. times just out of and learn, encourage us to create, and try again. We I mean I knew there would be other people, but There courtesy, sometimes are gathering around the fire, drums in hand, to I wasn’t expecting them to be so, so real! And, they was the beat the beat of community, of family... much like spoke to each other, sometimes just out of courtesy, drunk who like old friends. And, the LA subway system. sometimes like old friends. And, sometimes they looked so sometimes they even I raise my glass to a long, long trip. even spoke to me! There was a couple from confused spoke to me! Switzerland who were here for a trade show down- and much Terry Squire Stone has been around the LA dance town and were looking to kill a few hours between more community since the early 1970’s and was one of the seminars. Did I think they should go to NoHo or harmless founders of the LA Contradance Society when she City Walk? Could I help them? They wanted to to me then and Desmond Strobel put together the first “Bi- know my opinion! he would have on the street. There were no dark Monthly Balls” at Miles Playhouse in Santa Monica. Then, there was the Orthodox Jewish teenager corners here and he was like a member of a wed- She has also performed English & American from Woodland Hills who was out for his first ding party who had been invited but didn’t quite Country dance, European court dance, and 19th cen- adventure alone. Everything from the purchasing know how to act. He wanted to make a good tury at various venues throughout of a ticket to the art on the walls was a wonder to impression while he was here, but didn’t know the Los Angeles area and danced with such groups as him. He was bright eyed, clean cut and seemed like which fork to use. So, he just sat and grinned at Liberty Assembly and the Antique Dance Academy. something out of Catcher in the Rye. everyone. By the time this last issue of 2004 is published, Terry An African-American woman with an armful of Some people smiled at me, some didn’t. Some and her family will be living in Greece helping to potted plants that she was taking to market, point- made polite conversation, some chatted up a storm, publish FolkWorks with the help the Internet.

Page 18 FolkWorks November-December 2004 WHERE HAVE ALL THE FLOWERS GONE? am moving, even as I write this, from how, it would start again. my apartment of thirteen years. I spend “Save me from this song before it kills Ihalf the hour on the computer and the me,” pleaded Betty, clutching her throat and other half dealing with the consequences of croaking out a line. Did we? No, we joined unimpeded acquisition. My companion of her, croaking, till we slipped unconsciously the moment is O Sister, a CD of women’s back into our normal voices. We stopped that, mercifully, prevents singing only to eat, sleep, and let the bridge my singing under the influence of adrenalin. players concentrate. I swam across one heav- Adrenalin makes me not only sing so fast enly lake after another with Glenn, side- my words blur but also fixate on one song in stroking so we could talk, but, when the con- particular. I often sing songs appropriate to versations lagged, we’d revert to The Song. the projects I’m working on, like Aunt Returning to shore, we’d hear the others Dinah’s Quilting Party when I’m quilting banners, or Applepicker’s Reel singing too and, in some uncanny way, we’d all be in sync. when I’m gardening. Gradually, as I speed up, all but one drops out, and that At one point we fell in step with a solitary hiker who wasn’t about to get one becomes a driving, possessive, territorial monster for the duration of the hooked. “Try some methadone,” he suggested, and introduced The project. Once I did a rush job of stenciling grapes on a kitchen floor. An hour Whistling Gypsy Rover. What a relief that was, yet, when he branched off to into the job I got the flu and a 103-degree temperature. For the next two days Pioneer Basin, his song died in mid-phrase and Flowers reasserted itself. I daubed paint in slow motion, hallucinated possums eating my grapes, and It was a lovely trip. The swimming was delicious, the conversations live- sang Tom Paxton’s Bottle of Wine over and over and over. ly, and the bridge games apparently enjoyable. On the last afternoon, how- Even when healthy and calm, I find that some songs beg to be repeated. ever, I returned from a solitary jaunt and met Percy emerging from our camp Some have catchy rhythms or rhymes that lodge in the repetition receptors with his backpack on. in my brain. Others have chords that don’t resolve till the first note of the “My stupid wife messed up the Blackwood Convention,” he growled, next verse. And then there’s Where Have All the Flowers Gone? whose vers- “and I’m leaving.” He headed for the pass, stiff with fury but – can you es circle back to the beginning, never giving you a place to stop. believe it? – humming Where Have All the Flowers Gone?. That song became the theme for a Sierra backpacking trip I took years Lots of songs have taken hold of me and not let go, but nothing before ago. I never think of Mono Pass and the Recesses without hearing it and I or since has been so compelling. Writing the end of this column, I’m still in can’t hear it without re-living those five days and the ten thousand times we the moving process, four weeks and nine hundred miles farther along. I have sang it. We learned it in the parking lot as we laced up our boots, sitting on a friend helping me and she sings songs with my granddaughter – Pop Goes car bumpers sporting “Make Love Not War” stickers. the Weasel, Little White Duck, and Yea Ho Little Fish. Kady, at two and a It hit us like a powerful drug and quickly became an addiction. First we half, has decided opinions as to which songs will be repeated and which sang it because it was new and pretty and anti-war. Then we sang it because won’t. Does she decide by rhythm? Content? Construction? The variable it was familiar and poignant. A couple of people started harmonizing and it sweetness of our voices? Or is it just arbitrary wielding of power? became an obsession. If we spread out on the trail and couldn’t hear each Whichever it is, she keeps me going on a straight path instead of round and other, the song died out. We’d hear bird songs again and breezes in the trees. round in circles. Tomorrow, though, I’ll get out my autoharp and see if she We’d think thoughts. We’d realize it was kind of nice not singing. Then gets hooked on Flowers. somebody would stop to tie a shoe and we’d all bunch up again and, some- Valerie Cooley is now living in Coos Bay, Oregon and, looking forward to the monthly contradances there and in Bend, or maybe Eugene. She intends to return for the Solstice Festival. She is being granny to her granddaughter #1, with #2 due in the next couple of weeks. And she is still writing her column for FolkWorks.

CINEMA Z SKIRBALL CULTURAL CENTER 2701 North Sepulveda, Los Angeles • 310-440-4500 – www.Skirball.org This monthly film series explores the lives of great musicians and follows musical traditions from around the world.

Saturday, November 6 TOM DOWD AND THE LANGUAGE OF MUSIC 2:30 pm – Free - No reservations necessary This documentary profiles the life and work of legendary producer–recording engineer, Tom Dowd. Dowd produced and engineered timeless records for artists such as Ray Charles, , , , , , Cream, , , , , and countless others. A Q&A with filmmaker Mark Moormann follows the screening. (2003, 90 minutes) “Inspired and inspiring” —Premiere Magazine

Saturday, December 4 POWAQQATSI 2:30 pm – Free - No reservations necessary The second installment in the trilogy by Godfrey Reggio, Powaqqatsi focuses on the cultures of Asia, , Africa, the Middle East, and . With a breathtaking score by Philip Glass, the movie is expressed solely in visuals and music, and is a powerful exploration of the efforts of developing nations and the effect the transition to modernization has had on them. (1988, 99 minutes)

November-December 2004 FolkWorks Page 19

CD REVIEWS Artist: JOLIE HOLLAND With this new recording, whatever spontaneity may have been lost is Title: ESCONDIDA regained with clarity and a chance to hear what she can do given more Label: ANTI/EPITAPH options. Even then, the orchestration is beautifully spare, yet inventive. Her BY BROOKE ALBERTS rendition of the English song Mad Tom of Bedlam (called Boys of Bedlam on Steeleye Span’s Please to See the King) is done with the sole backing of oving through a palpable medium of some jazz snare and cymbal. American folk tradition, it’s clear that On the first track, Sascha, she has a nimble (yet at the same time lan- MJolie Holland has listened carefully to guid), slinky, jazzy blues style. Black Stars is more of her original melodic some of the best of American music. She counts as style with deceptive meter, and the lyrics contain such imagery as, “the her favorites Blind Willie McTell, , moon is wizened and it is old as a toad in a Chinese story.” Old Fashioned Skip James, Lucy Cotton, Billie Holliday and Mississippi John Hurt, to Morphine is a fun little ditty written while in the midst of a waitressing shift name a few. Add to them Syd Barrett. With those, she has melded her own “meditation on the history of medicine,” to a melody fusing Old Time idiosyncratic, inventive and surprising melodies to form something wholly Religion with Keep Your Lamp Trimmed and Burning. Poor Girl’s Blues is original and hypnotic. an intriguing poetic blues, and Good Bye California has a Country Western Born in Texas with New Orleans roots, Jolie Holland has paid her ram- feel. The way she pulls on her vowels in that one is arresting. Reportedly, bling dues, living on the road for a few years with roving performers (cir- however, she doesn’t speak with a Texas accent unless drunk… cus artists, puppeteers) before ending up in Vancouver where she was a With Do You? She gets back to the mildly unhinged feeling that perme- founding member of . She left the group after their ated Catalpa, which also carries over into the next track, Darlin’ Ukulele. 2001 CD, Blue Horse, and moved to San Francisco. This number has a dreamy arrangement of ukulele, marimba and musical Her first solo album, Catalpa (Anti-, 2003) came out of Jolie playing a saw along with some beautiful whistling, that was almost reminiscent of few of her compositions at 4:00am for a friend of hers to learn. It has the Steve Reich’s work, texturally. She ends the album with the Civil War era raw voyeuristic quality of a field recording, and it demands engagement, the song, Faded Coat of Blue, again, beautifully spare with a guitar and man- evocative, poetic lyrics being occasionally indiscernible - elusive, yet dolin, ending with an instrumental tag of Rally Round the Flag using fiddle intriguing. I was immediately entranced by the first track, where she has a and just the barest plunks of banjo. big Mexican drum playing a steady 12/8 beat against her guitar’s 4/4 and Together, Catalpa and Escondida are two beautiful albums and I, for giving it the compelling feel of a southwestern Pueblo dance. She has a pen- one, am really looking forward to her next work. chant for strange timing, and a style of vocal ornament that’s all her own.

Artist: VARIOUS, COLLECTED BYALAN He’s plenty o money to dress me in silk LOMAX And nae bonnie laddie’ll tak me awa Title: SINGING IN THE STREETS; Most of the songs included in this collection are associated with games SCOTTISH CHILDREN’S SONGS that were common at the time, and the descriptions of the games in the liner Label: ROUNDER notes are a useful enhancement to the recordings. It’s interesting to hear the BY LINDA DEWAR similarities between the versions collected in different locations (primarily , Aberdeen, and the Hebrides), and to wonder how they traveled ere is another in Rounder’s wonderful so efficiently from place to place. series of Alan Lomax’s field recordings. As a point of interest, I played this CD for my husband, who is Scottish HThis time his subjects are children, recorded mostly in 1951 and and was a child, at the time the recordings were made. He recognized most in three very diverse areas of with assistance from legendary of the songs and verses he heard, and could recite or sing them even though Scottish/English singer Ewan MacColl. Why children’s songs? A quote he grew up in rural Perthshire, nowhere near the locations where the record- from the liner notes explains: “These recordings are not nursery rhymes— ings were made. Others, I remember from my own childhood in the rhymes or songs taught by adults to children. Rather they are the folklore of American Midwest…Ever bounce a ball or skip rope while singing One, children themselves, first heard from their pre-teen elders, learned along Two, Three Alairy? with their peers aged seven to ten, and abandoned when puberty struck.” There is that this CD is a valuable source of information and Abandoned, perhaps, but certainly not forgotten. Anyone who is famil- background for anyone who is performing Scottish-based traditional music. iar with the traditional , England or the eastern United The combination of recorded songs and interviews offers rare insight into States is sure to recognize familiar bits of tune and lyric. Some of the songs the origins of many of the songs we play today. Even if you’re not a per- remain in the lexicon of Scottish song today, almost unchanged from the former or student of this sort of music, you’ll find great entertainment value versions heard in this recording. The Wind, The Wind, a hundred-year-old in hearing and reading the lyrics, some of which are just plain fun. Who but counting song, is easily recognizable as the modern I’ll Tell My Maw, which a child could come up with: has been recorded by a number of current Celtic artists. Or, try singing the All that shivers is not jelly following lyrics of the song My Name is Sweet Jenny, to the tune of Bonnie Take for instance Freddy’s belly Dundee: For it shivers like a fish My name is sweet Jenny, my age is sixteen In the middle of a dish My father’s a farmer in yonder green

Artist: MUTUAL ADMIRATION SOCIETY this summer, did some national TV and added have added Led Zeppelin Title: MUTUAL ADMIRATION SOCIETY multi-instrumentalist John Paul Jones as a special guest performer. The tour Label: SUGAR HILL SUG-CD-1067 also included drummer Pete Thomas (Elvis Costello & The Attractions). Release Date: JULY 13 2004 The good news is that this CD is an excellent match between Phillips and BY DENNIS ROGER REED Nickel Creek. The Creek are incredible players, with timing and taste well beyond their years. It wouldn’t matter that they started as little kids wearing o just what is this Mutual Admiration cowboy suits and performing novelty tunes if the result was not this seam- Society? There’s no mention of the less entity that plays fiddle, mandolin and guitar better than can be imag- Sartist’s names on the front or rear cover. ined. But the Creek’s material on their own recordings does not live up the The cover has a photo of an unidentifiable guy looking out a window. Well, high standard of their playing. It’s hard to imagine that it could. Phillips let’s spill the beans. This is the long awaited collaboration between former material and vocals vastly make up for this minor deficit. Toad the Wet Sprocket lead singer Glen Phillips and Nickel Creek, featur- But to clarify, even though Phillips sings the leads and wrote most of the ing Sara Watkins, Sean Watkins and Chris Thile. Since this CD is on Nickel songs, this is not a project where the Creek are just a brilliant backup band. Creek’s label, one has to wonder about the low profile release, but perhaps Their musical taste mesh into each song in a manner that helps defines the it’s best to stifle that curiosity and enjoy the music. tunes. The record starts with Comes a Time, not the Neil Young tune, but an I mentioned “long awaited.” Back in 2000, Phillips was opening for Ben evocative original by Phillips and his Wet Sprocket buddies that talks about Folds at the Belly Up in Solano Beach, and during his set he mentioned he’d facing the world. Phillips has a plaintive vocal style that suits the Creek’s been recording with a local bluegrass band. “Maybe you’ve heard of them, sensitive backing well. A finely executed cover of ’s Think they’re called Nickel Creek,” he enthused. The crowd provided a smatter- About Your Troubles closes the disk, one of the few pop songs to discuss the ing of applause in recognition of what at that time was a regional band with decomposition of the human body following death and still make you tap only a burgeoning national presence. your toes. Mutual Admiration Society’s version features a “hidden track” Times have changed. Phillips late 1990s band Toad the Wet Sprocket instrumental reprise that highlights the Creek’s significant is only a memory, and Nickel Creek are one of the hottest young bands in chops. /bluegrass/folk/Americana scene. This record represents a whirl- If you enjoy well done “singer-songwriter” music with sensitive back- wind recording project of six days in December of 2000. The “band” toured ing, then Mutual Admiration Society will be your cup of chamomile tea.

Page 20 FolkWorks November-December 2004 WORDS AND UNCLE RUTHIE MUSIC—A TEACHER’S DIARY WEDNESDAY, SEPTEMBER 7TH and do anything they really want I cannot believe we are all back at school today, administrators, teachers, to do, so I am very careful when therapists, orientation and mobility people, clerical and custodial staff, the Lupe informs me that she plans to P.E. teacher’s new puppy (shhhh), the Braillists, the bus drivers and, oh yes, be an airline pilot … I gulp and Ms. Cuca, the music teacher—yours truly! No kids today, just us! then say, “Lupe, will you do Ms. We are feasting on fruit, pancakes, pastries, juice and coffee! We are Cuca a big favor?” She says “Of chattering and laughing, hugging and hollering to each other across the course!” and I say, “Will you be multi-purpose room as though it had been years, instead of weeks! We are sure to tell Ms. Cuca the name of complaining about our summer being over, but each of us is secretly delight- the airline you are flying for?” ed to be back! Here come Mario, Daniel, and We are a very small school of about one hundred blind students. Only a Angelica. They are always togeth- few are partially sighted. A few on our staff are also blind and partially er. They are ten. The boys will tell everyone how much they hate Angelica, sighted. We tell a lot of ‘blind jokes’ and we have a lot of potlucks. We cel- especially when she refuses to sit between them. They make up very fright- ebrate everything, every day, and each other. Most of the time it is a happy ening stories about Angelica, one of which I overheard last semester: place; sad times bring us closer to one another. “Angelica is walking down the street and this big Ogre (pronounced ‘o- No one calls me Uncle Ruthie in school. I have been Cuca for over fif- gray”) chops off her head and she yells ‘Help, Help’ and then we save her teen years. In Spanish “Ruth” is “Refugio” or “refuge.” And the nickname life!” is “Cuca.” Don’t ask me why. I just work here. And it’s the hardest job I ever They love her so much, and so do I, even when she sings in her phony loved. lounge-singer voice! Today we do meetings and scheduling. Usually this is a difficult and I begin my teaching day with Li, whose parents want him to have piano frustrating task as we compete with one another for each student’s time. The lessons every day instead of once a week, even though Li would rather lis- teachers bemoan the paucity of classroom time, as the kids’ schedules are ten to the refrigerator for hours at a time. I teach piano with what I call “The filled with orientation and mobility, speech, P.E., physical therapy, special Contiguous Method.” I begin with a piece of tape on middle C and teach programs, assemblies, and, oh yes, music, which includes a weekly class- everything in relation to this central point. I also teach theory and harmony room music period, plus piano, autoharp, violin, drums, and other individ- from the very beginning, and also ear training, improvisation and even com- ual instrument lessons. There are also two choruses. The Senior Chorus is position. (We record short improvisations and refine them into little pieces.) the highlight of my week—the Junior Chorus mostly resembles a pogrom! The first day goes well. The Senior Chorus wants to sing two Malvina For some unknown reason the scheduling goes very smoothly. First Reynolds songs, If You Love Me and Place to Be. They want to know what choices give way gracefully to second choices. This is my fifth year here, is the sea? We talk about the vastness of the ocean. This is a difficult con- and I feel welcome and valued. cept for blind children. But I will not teach a song unless they understand After an unnecessary lunch, I work on my bulletin board. I fill it with every word and every concept in it. This is also my approach when teaching wonderful prints of instruments with the names in Braille, and I fill the sighted children, but there are some very difficult concepts for blind chil- empty spaces with quotes from the staff, about their musical preferences, dren. You try it. Think about explaining words like, prairie, anchor, ocean, which range from Hayden to Hip-Hop, from Rap to , from Opera to the height of trees, rainbows, and color, for starters. Last Christmas we were Oratorio, and from Country to Jazz. talking about where homeless people sleep. Explain doorway. “My music teacher in Junior High said she would give me an ‘A” if I Here is an invitation. Call me at 310-8038-8133 or e-mail me at promised never to pick up another instrument!” [email protected] and we’ll arrange for you to visit my school. If you’re “Opera is OK but the singing makes it hard to hear the music!” (Some a musician, plan on playing and/or singing for us. One way or another, X-rated quotes didn’t make it to the bulletin board but I will share them with you’ll find yourself participating, and loving every minute of it! Maybe you the month after I retire!) you’d like to be a regular volunteer. We always need help. You could be my THURSDAY, SEPTEMBER 8TH new best friend! It’s 8:15 AM and HERE COME THE KIDS! Uncle Ruthie is a singer, songwriter, storyteller, recording artist, Special First down the hall is Javier who has never found it necessary to use Education music teacher for blind children and a poet. Her radio show can be more than one consonant when singing, heard every Saturday morning at 10:00 am on KPFK 90.7 FM. In her spare “Old Dack Donald das a darm, dee eye, deeeye dough!” time she will be writing this column and sharing her thoughts on music and life Jose is next, he is eleven and a graduate of Blarneystone College. He is with our readers. partially sighted which explains the following quote. “Ms. Cuca, Ms. Cuca,, You are still the most beautiful teacher in this school!” I decide not to argue with him. Instead we check his summer growth in height. I tell him that in June he came up to my chin and now he is up to my BULLETIN BOARD lower lip, but don’t be getting any ideas! This is the character who sits in the front row of chorus and assemblies and blows kisses to all the musicians! I AM FAIRLY NEW IN THE AREA, and would like to start playing He is followed by Lupe, who is my most talented piano student. She says out again. I am a singer/songwriter and rhythm guitarist. My influences she practiced every day this summer, but might not be a concert pianist are: Patty Griffin, Dar Williams, Allison Kraus, , and on when she grows up. We constantly reassure our students that they can be, and on. If you are seriously interested in doing original music, (and maybe some covers) with submissions to record companies, please call me! Michael-Ann 818-462-3253 GUITAR BANJO - swap or sale: “The magic of a banjo and the sim- plicity of a guitar.” Slingerland approx 1934, all original, sat wrapped in closet for last 50 years. Calf head, nicely figured birds-eye maple neck and body, resonator pan, good to very good condition. With new soft case. Will trade for good baritone uke, , button accor- dion, will consider offers. -Wally 310 842 8733 or 310 871 1739 worl- [email protected] MISSING 60’S FOLK? LET’S MAKE MUSIC IN SANTA CLARI- TA -Anyone missing Peter, Paul & Mary, John Denver, Bob Dylan? I’m a new FolkWorks member, a child of the 60’s who lives in Santa Clarita. I’m seeking like-minded individuals with solid voices and strong instru- mental skills (guitar, bass, etc.) to form a small “retro” folk/pop group. I think there’s nostalgia for this music, don’t you? I have a book of more than 80 songs — many from that prolific era, and others more contem- porary and eclectic. I play acoustic guitar and can sing lead or harmony. Please get in touch if interested! Serious inquiries only, thanks. [email protected]

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TOP TEN from DAVE SOYARS songs, too, by band members and Linda talented on a variety of instruments. [Dave is a featured columnist for FolkWorks. See Thompson, to name a few, all beautifully sung Appalachian songs, field hollers, fiddle tunes, pg 8 for Dave’s Corner] by Anne Marie O’Malley. waltzes, blues guitar solos, rags- all played 1 The Unbroken Circle A Tribute to the 5 Dervish Spirit [Compass] with equal parts talent, grace and humor. [Dualtone] Experimentalism comes to Irish music via the 10 Lunasa - The Kinnity Sessions [Compass] The mother of all tribute records. A great psychedelic touches here, but they’re still Recorded live, no overdubs, in an allegedly group of performers, many named Carter or among the best pure tunes players around, haunted castle. A great distillation of every- Cash, performing the songs that formed the with not one, but two, wonderful and unique thing they’re about- great tunes, tight musi- foundation for modern country music. Good singers. Great songs by great writers (Bob cianship and a blend between traditional and material, good artists, artist and material well- Dylan, Ewan MacColl) engagingly Celtified, modern Irish music that cheats neither. matched. The concept’s so simple you’d think too. So it does seem as though, in the end, it was a it would happen more often than it does. Also, 6 Dirk Powell Time Again [Rounder Select] great year for Irish music. Five out of the ten among the final recordings of two great Powell, from Louisiana but with Kentucky listed here are Irish. Note also that four of American artists, and June roots, performs a great collection of them are on Nashville’s Compass Records, Carter Cash. Appalachian songs, many learned at the feet which I guess would have to be my label of 2 The Ride of his grandfather, who also appears here in the year. As always, if I’ve missed some, I’d [Hollywood Records/Mammoth] archival recordings. Good band (including his love to hear about it. Once again they probably fall slightly outside good pals Tim O’Brien and Darrell Scott) led of what this paper usually covers, and I admit by Powell, who plays banjo, fiddle, mandolin, (particularly here) they’re really a rock band. and sings, all brilliantly. The best rock band in the world right now, say 7 Téada Give Us a Penny and Let Us Be Gone I, and this collection of new and re-recorded [Green Linnet] tracks with a great bunch of guests (Mavis Young traditionalists flatly refuse to allow any Staples, Richard Thompson, Ruben Blades, progressive edge into their “pure drop” music. et. al.) is never less than exciting and bril- SUPPORT So why do they sound so fresh? Well, the fid- liantly played. dling and singing of Oisin MacDiarmada is 3 Brass Monkey Flame of Fire part of it, but the whole band’s great, and their [Topic Records, U.K.] youth is evident in the enthusiasm with which Now past 60 and an MBE recipient, Martin they play music in a style that’s decades older FolkWorks Carthy keeps finding challenging and interest- than them. ing new directions to take English traditional 8 Sean Doyle - The Light and the Half-Light music, and this band’s mix of English Brass [Compass] Become A Member Band and folkie supergroup (also featuring (see Page 27) Where the best Irish guitarist in the world, English Dance Master John Kirkpatrick, John Doyle, learned his love of song. Dad’s whose singing is generally better than really good too, chooses songs well and sings [email protected] or call Carthy’s) is still the coolest sound around, them passionately, as well as intoning a Yeats often envied, never imitated. 818-785-3839 poem. The younger Doyle, Liz Carroll and 4 Gráda The Landing Step [Compass] Dirk Powell provide accompaniment. • Yes, the instrumentals do sometimes resemble 9 Bruce Molsky - Contented Must Be www.FolkWorks.org the music of Lunasa, whose bassist Trevor [Rounder Select] Hutchinson produces. The exciting thing Another American doing great American about them is, unlike all-instrumental Lunasa, music, Molsky is also similarly disgustingly almost half of the tracks are songs. Good

Page 22 FolkWorks November-December 2004 Copying and Sharing Music... What’s the Big Deal © 2004 RICHARD GEE. ALL RIGHTS RESERVED. USED BY PERMISSION.

his is what I hope to be the beginning of would otherwise not have. For example, your a dialogue among the music community copyrighted arrangement gives you the right to Tin Southern California (or wherever else license to others the right to synchronize the this may be read) concerning the legal issues arrangement in a motion picture, video or televi- facing all of us in folk, acoustic and traditional LAW sion program. If you have recorded the arrange- music. I would love to get your questions and ment and own the master, you will also have the comments for future articles. You can reach me right to license the master use of the recording at [email protected]. Of course, you TALK embodying the arrangement. Integrated music should note that none of the opinions set forth in companies (companies that have both a record- this article are intended to be legal advice, and By Richard Gee ing and a publishing side) frequently negotiate that you should seek the advice of a qualified two separate fees for the use of music in a tele- attorney to pursue any issue I may write about in vision program or motion picture: the synchro- this column. nization (or “synch”) license and the master use license. So can you. Can I get a copyright in an arrangement of traditional (i.e. public domain) music? What’s all the fuss all about with file sharing? Who is the RIAA and why The short answer is yes. Under copyright law, an arranger may claim a are they suing file sharers? copyright on an arrangement of an otherwise public domain work. This Essentially, every time you copy a recording for someone else, you are would include, for example, an arrangement of tunes together, such as is infringing on the rights of the owner of the master and the song to collect found in much of Celtic and old-time traditional music. However, to be income for reproducing their respective works. That doesn’t just include file effective, the arrangement must be “minimally creative,” meaning that it sharing; it also includes “burning” copies of CDs or MP3s for friends as must include some minimal originality. Copyright will not protect mere well as cassette copies. I’ve seen entire albums copied, along with their J- arranging of the sequence in which tunes are played. Some minimal varia- cards (i.e., the jacket around the cassette or CD with all of the liner notes, tion on the public domain tune must exist in order to protect the arrangement graphics, etc.). Unless specifically approved, or the use is for educational under copyright. purposes, this is an infringement under the copyright law. Once copyright protection is available, it only applies to the rearrange- The RIAA or Record Industry Association of America is the trade group ment itself. In other words, the copyright does not alter the legal status of for record labels including both Green Linnet and Shanachie. The file-shar- the original tune as being in the public domain. Thus, anyone else may ing fuss arises from the fact that the files people are sharing contain copy- arrange the public domain work or play the public domain work without righted material. I haven’t seen or read anything that would lead me to infringing on your copyright, so long as the arrangement is not substantial- believe that this is a big issue in the folk music community, although I see ly a note-for-note copy of your arrangement. no reason why it couldn’t become so. The RIAA strategy is to try to change This can be particularly tricky with traditional music and the collection the mindset of those who do not believe that file sharing is a violation of of mechanical royalties for the copyrighted arrangement. Unless it is a note- copyright law by going after the most egregious offenders and making for-note rendition of your copyrighted arrangement, mechanical royalties examples of them. While not pretty, the tactic seems to have had some may be hard to come by. For those who are not familiar with the term effect; in recent surveys the number of Americans that believe file sharing mechanical royalties, these are royalties earned by the arranger for the use is not a violation of copyright has gone down dramatically. Further, the legal of the arrangement on an audio recording. The mechanical royalty is a fea- digital download market is growing at an exponential rate. There are, of ture unique to American and Canadian law and the amount of the royalty per course, several other explanations for this, which we can discuss in future song (or side, as the industry puts it) is set by law at a default rate (current- articles. ly $0.085 per song in the U.S.). Nevertheless, the copyrightable arrangement of an otherwise public Richard Gee is an attorney specializing in the entertainment industry and a domain work gives you certain rights to receive income on your arrange- Celtic and acoustic singer, guitarist, songwriter, arranger and music producer ment (which the music industry calls “exploitation” of your music) that you in his spare time.

Thai Folk Fiddle Scottish ADVERTISE Bagpipe IN FOLKWORKS It’s Good Business.

November-December 2004 FolkWorks Page 23 Greetings, people of BY BROOKE ALBERTS the future! I say this because I am writing in August for a paper coming out for November and December, and it feels a bit strange to think about that. I have spent the last week at the Valley Boulevard across from the La of the Moon Fiddle Camp not playing the fiddle (that’s my daughter’s job), Brea Tar Pits, is opening its show, Eclectic th but enjoying the time in a variety of other ways. I was able to sit in on some Collecting: Folk Art A to Z on November 19 , 2004 th of my daughter’s classes, and we learned some Gaelic singing, including and running through February 27 , 2005. The show work-songs, a spel against hailstones, and some puirt a beul (“mouth consists of over 300 objects collected by members of the music”- a method of making dance music without the musical instruments Folk Arts Council (a support arm of the CAFAM), whose that had been banned during the Jacobite Rebellion) from a lovely and won- purpose is to “enlarge the community’s appreciation of derful traditional Scottish singer from the Isle of Barra, Catherine-Ann folk art as an essential expression of our diverse ethnic MacPhee. She has a fine new album out, by the way, Suil Air Ais: Looking roots, and to provide an educational forum for the study of Back 2004 Greentrax, and she distributed a fabulous recipe for Traditional folk art from around the world,” hence the “eclectic collect- Christmas Fruitcake (no,no! Read on!)… ing.” Ingredients: The “A to Z” comes in with the grouping of objects on dis- 1 cup of water play into categories arranged alphabetically. The first section will be angels, 1 cup of sugar with a variety of winged messengers from multiple cultures, and construct- 4 large eggs ed of paper, fabric, recycled objects, wood, and other materials. It will end 1 cup of butter in a Zoological Zone, with animals portrayed in puppets, musical instru- 2 cups of dried fruit ments, toys, masks, furniture and other media. In between will be such 1 teaspoon of baking soda groupings as Dolls, Containers, Love and courtship, Tools and Vehicles. 1 teaspoon of salt The exhibition is co-curated by Lyn Avins, a museum education consult- 1 cup of brown sugar ant and past chairperson of the Folk Art Council, and Tomi Kuwayama, a 1 teaspoon of lemon juice co-founder and past chairperson of the Folk Arts Council. 1 cup of chopped nuts Day of the Dead Altars and Ephemera and other Folk Tree exhibitions 1 bottle of Scotch The Folk Tree in Pasadena will be winding up its annual Day of the Dead Altars and Ephemera show (in the spacious back room of the shop) on Mixing Instructions: th th Sample the Scotch to check for Total Quality November 6 . Their 18 International Nativities Exhibition will commence th st Take a large bowl. Check the Scotch again (to be sue it is of the highest Total November 20 and continue through December 31 , with a Holiday Open th Quality) and pour 1 level cup and drink. Repeat. House Saturday December 4 , 2:00-6:00pm. For this occasion, there will be Turn on the electric mixer. Beat one cup of butter in a large fluffy bowl. Add displays of the widely practiced custom of creating nativity scenes emanat- 1 teaspoon of sugar and beat again. ing from artisans of Mexico and other parts of Latin and South America, Make sure the Scotch is still okay. Cry another tup. Africa, India Europe and beyond. Turn off the mixer. Break 2 large eggs and add to the bowl and chuck in the Some of the scenes from Mexico include nativities made of cornhusks, cup of dried fruit. Mix on the turner. If the fried druit gets stuck in the beat- tiny black and brown clay miniatures, and scenes painted entirely inside erers, pry it loose with a scrcwsdriver. walnut shells. Others are collapsible tin sets, and large wooden folding Sample the Scotch and check for consisticity. “retablos.” Next, sift 2 cups of salt, or something. Who cares?? Check the Scotch. Up the block, their connected contemporary crafts boutique, The Folk th Now sift the lemon juice and strain your nuts. Add 1 tablespoon. Of sugar Tree Collection, will be presenting their 13 annual Ornaments and or something. Whatever you can find. Adornments exhibition. The work on display comes from local as well as Grease the oven. Turn the cake tin 350 degrees. international artists and artisans, presenting handmade jewelry, ornaments Don’t forget to beat off the turner. Throw the bowl out the window and and other unusual and beautiful items. In the past, there have been orna- check the Scotch again and go to bed. ments of recycled tin, blown glass, embroidered stars, and ceramics. But now to the column at hand… CRAFT AND FOLK ART MUSEUM ECLECTIC COLLECTING: FOLK ART A TO Z 5814 Wilshire Blvd. The Craft and Folk Art Museum (CAFAM), located on Wilshire Los Angeles, CA 90036 323-937-4230 www.cafam.org Hours: Wednesday-Sunday 11:00am- 5:00pm Admission: General: $3.50/ Students and Seniors $2.50 / Members and THE FOLKWORKS Children under 12 Free THE FOLK TREE 217 S. Fair Oaks Ave., Pasadena CONNECTION 626-795-8733.-.www.folktree.com hen the movie was showing in THE FOLK TREE COLLECTION theaters, I went to see it with my Columbian friend 199 S. Fair Oaks Ave., Pasadena WHilda. She sang right along with the group because she 626-793-4828 had grown up with all of those songs in South America. I loved the Hours for both: group; they had such heart and passion, smooth, deep and rich. I Monday-Wednesday: 11:00am-6:00pm immediately went out and bought several of their CD’s, which are Thursday-Saturday: 10:00am-6:00pm still among my favorites. Sunday: 12:00pm-5:00pm. I also enjoyed the personalities of the different group members Call for extended holiday hours in December. featured in the movie. I thought it was great that redis- covered these wonderful musicians so the world today could enjoy Brooke Alberts is a songwriter and has a Masters degree in Medieval Studies. them. One of my favorites was Ibrahim Ferrer, the lead singer. When I heard they were doing a concert tour in the United States, I wanted very much to see them. But I kept missing them, finding out about them too late to get tickets because they were a sell-out. My brother reminded me that I better go see them soon because they KEEP UP TO DATE! wouldn’t be around forever. Some of them were in their 80’s and 90’s. About this time I was receiving my first issues of FolkWorks. On JOIN THE FOLKWORKS YAHOO GROUP the back page of the issues cultural events were listed for the next few months. I saw that Buena Vista Social Club would be performing at Keep up with current folk / trad happenings. Get reminders of what UCLA in April, so I ordered the tickets. This time I got them in time. is happening the upcoming weekend (the FolkWorks Calendar). Share The concert was memorable, and there was my favorite, Ibrahim information. Are you looking for a music teacher-post it here. Is your Ferrer, dancing and singing on stage, totally charming the audience. band playing-post it here. Do you want to know where you can pur- A few months later Ibrahim Ferrer died. I would have very much chase a digereedoo? Yup-post it here. regretted missing that live concert experience with him. Surf over to groups.yahoo.com. If you are a new Yahoo user, click Thank you, FolkWorks. on “new users” (click here to register). Create a Yahoo ID. You will be Linda Hutton asked to submit your email address, first and last name and zip code Via email along with your preferences. After you sign in, search for FolkWorks. Click on the FolkWorks hyperlink. That’s all there is to it.

Page 24 FolkWorks November-December 2004 CD’s THAT NEED TO BE IN YOUR COLLECTION Rather than the usual ten best of the year, we felt it more useful for our readers to give you a list of simply the ten best! This is a good start for a diverse listening collection. TOP TEN FROM CAIT REED TOP TEN FROM SIMEON PILICH The Heart of the Music™ Simeon Pillich has been active as a bass player in Los Angeles for over 20 years per- © Cait Reed 2004. All rights reserved. Used by permission. forming on many film and TV soundtracks. He has toured and recorded with Bob , Holly Near, Al Jarreau, Alice Cooper, Burt Bacharach, Nell Carter, Ry Celtic Classics Cooder, Melissa Etheridge, Tom Paxton, Rita Coolidge and John Hiatt, among oth- Càit has been mad about since she had the good fortune ers. He has also toured with many Broadway musicals, most recently Rent. to hear and play with Joe Cooley (of Peterswell, County ) and Kevin Simeon holds a B.A. in music and an M.A. in Ethnomusicology from UCLA and is Keegan (of Galway Town) when they and other distinguished guests would come completing a doctoral degree there. Aside from his studies, he spends the bulk of his “up the country” to visit her and her friends and coconspirators for weekends at time teaching courses in Jazz History and World Music (music of Africa, the Middle a ranch in Cloverdale called Preston. Those were rare seisiúns; lasting entire East, Asia, Europe, the Pacific Islands, Latin America and North America) at weekends, played by firelight and kerosene lamp in the old wooden church with Occidental College in Los Angeles. He has been a period and ethnic music consult- the old clock beating out the hour and the half-hour. Cáit has been playing and ant for film and TV since 1996 and, until recently, was the Tuesday host of The teaching since 1970. Her Web site (www.caitreed.com) is under construction and Global Village on KPFK (90.7 FM). her first solo album, The Rolling Wave will be released any minute now 1 Salif Keita Moffou [2002, Decca Records] Here are a few favorites. Since I’m only reviewing ten, I tried to give a well- rounded selection. They are not in any particular order. More to follow. Some of Malian singer blends traditional West African instruments and melodies with these are not easy to find but well worth the search. western instruments and technology. Though many artists have done this for many years and, this CD does it tastefully and with subtlety in order to avoid the (All are rated five out of five hearts -YYYYY). “over-the-top” productions that have plagued so many hybrid recordings in the 1 The Bothy Band The Bothy Band 1975 [1975, Green Linnet 3011, Polydor] past. By one of the most important Irish super groups of the ‘70s, this album has all 2 Spanish Harlem Orchestra Across 110th Street [2004, Libertad Records] of the rawness and excitement of a kick-ass session played by the best young Great salsa dance music. I use this CD when I go jogging or doing other cardio players of the day. (Triona Ní Dhomnaill, Mícheál Ó Domnaill, Dónal Lunny, work because of its up-tempo grooves. The orchestra uses several different lead- Paddy Keanan, and Tommy Peoples). singers on this recording, including three tracks by Ruben Blades. The CD is 2 The Chieftains Bonaparte’s Retreat (Chieftains 6) comprised of upbeat mambos and has only one (with rather sappy lyrics, [1976, Shanachie, Claddagh] if you understand Spanish). Despite that one flaw, the orchestrations and per- This is one of my favorite Chieftain albums. It is a tribute to Napoleon’s cam- formances are stellar, and it will keep your feet happy. paign and its Irish implications. They give us a good cross section of material 3 Les Musiques Du Sud: Mediterranean Music [2004, Al Sur Records] inspired by the era and the arrangements of medleys are superb. This compilation disc is an eclectic mix of music from various musical traditions. (Paddy Molony, , , Seán Keane, , Derek Included here are French bagpiper, Eric Montbel, Algerian oud player, Alla, the Bell and and is guest singer). multi-cultural ensemble known as Vershki da Koreshki, and many others. This [www.claddaghrecords.com] is a showcase for the Al Sur catalogue, which features music from Turkey, 3 Planxty [1972, Shanachie, Tara] Palestine, Spain, Italy, Corsica, among many other countries. A must have! With this line up, how can it be anything but great? If you love Irish music, you 4 Oumou Sangare Oumou [2003, World Circuit Network] must have this album. The playing, singing and arranging set the tone for all Oumou Sangare is unquestionably Mali’s most popular female voice and this the bands that follow later. (Liam O’ Flynn, , and double CD gives us a double dose of her musical magic. Oumou is a collection Dónal Lunny) [www.shanachie,com] of previously recorded music compiled by “world music” aficionado, Charlie 4 Andy Irvine and Andy Irvine and Paul Brady Gillet and World Circuit Network’s Nick Gold. Ranging from traditional Wasulu [1976, Green Linnet] (southern Mali) songs to personal self-composed songs with modern messages Two of the very best Irish troubadours, inspired arrangements, and effortless, and production values, this compilation is beautiful both as an ethnomusicologi- virtuoso instrumental and vocal work. Nothing I’ve heard recorded lately cal document as well as entertainment. comes close to the soaring musicianship on this album.[www.greenlinnet.com] 5 World Reggae [2004, Putumayo Records] 5 Joe Heaney The Road to Connemara [2000, Topic] This is another “world music” compilation CD put together by Jacob Edgar, The beloved Joe Heaney sings in Irish in the old style (sean nós) in songs from Putumayo’s main A&R man. This particular project includes reggae music by his native Galway. No accompaniment needed. [www.topicrecords.co.uk] artists such as Kana (France), Kaissa (Cameroon), Bernaud Uedre (New 6 Handful of Earth [1981, Topic] Caledonia), Ale Muniz (), Apache India (India), Mas y Mas (Spain), Intik (Algeria), and more. World Reggae succeeds in demonstrating how reggae has The awesome Scottish troubadour explores political subjects, and immigration been become a universal music, regardless of geographical orientation. as well as delicate love songs. [www.topicrecords.co.uk] 6 Greece: A Musical Odyssey [2004, Putumayo Records]. Here is another com- 7 Ossian Seal Song [1981, Iona] pilation pulled together by Putumayo’s Jacob Edgar. This collection of 12 This hard-to-find album is one of my favorites from this wonderful Scottish songs runs the gamut from the traditional to the modern and each song is a band. Features great Scottish tunes and songs including some Neil Gow and winner. Robert Burns.[users.argonet.co.uk/users/gatherer/perf/group2/oss.html] 7 Grace Of The Sun [2004, Stormy Forest Records] 8 Silly Wizard Caledonia’s Hardy Sons [1978, Shanachie] Richie Havens’ latest offering brings us his own songs, and covers songs of oth- This big, rhythmic, high energy Scottish band has been blowing audiences ers, as he’s done so many times before. On this CD, he interprets the music of away since the early 1970s. Brothers Johnny and Phil Cunningham join Andy Bob Dylan (All Along the Watchtower), Fred Neil (Red Flowers), and Joni M. Stewart, Bob Thomas, Gordon Jones and Martin Hadden. for traditional Mitchell (). His own songs are heartfelt expressions of love, peace, hard driving Scottish Music Madness. (Alas, we lost Johnny Cunningham last and community. In some of his own songs, he includes instruments from cultures year and we will miss his beautiful music and crazy sense of humor). outside North America, such as bouzouki, tablas, shakuhachi, kanun, riqq, gui- [www.shanachie.com] tarron. This CD is a pleasure through and through. 9 Noel Hill and Tony MacMahon In Knocknagree (I Gcnoc Na Grai) 8 Perla Batalla Discoteca Batalla [2004, Mechuda Music, www.perla.com] [1995, Gael-Linn, Shanachie] Southern California’s Perla Batalla performs songs such as Cuando Sale La (Button Accordion and Concertina). One evening, everyone gathered for a Luna, La Llorona, Las Mananitas,Reloj, and an especially beautiful rendition of dance in Knocknagree and the resulting live recording captures the excitement the classic Cucurrucucu Paloma in order to define Mexican heritage. Each song of two of the best Irish traditional dance musicians playing with soul and fire, has been reworked in her own way and presents a fresh approach to each. She complete with battering feet on timber floors.[www.shanachie.com] includes her own songs as well as one or two from contemporary songwriters. 10 Scottish Tradition 2 Songs of the Western Isles [1992, GreenTrax] This record is a joy! Recorded in 1971, this "field recording" captures the archaic and haunting 9 Lila Downs Una Sangre [2004, Narada Records] Hebridean music tradition including call and response working songs, dance Una Sangre (One Blood) is an opus that, for the most part, focuses on the writing tune tradition, and ballads in Scots Gaelic. [www.musicscotland.com] of its authors, Lila Downs and Paul Cohen. Downs does not refrain from per- Most are available at Celtic Trader [www.celtictrader.com], Tayberry Music forming traditional songs (La Bamba, La Cucaracha, Viborita and Tomas [www.tayberry.com] or Amazon [www.amazon.com], directly from the labels list- Mendez’ classic, Paloma Negra, but like Perla Batalla, she takes them in new ed above or locally from Amoeba Music [www.amoebamusic.com]. and fresh directions. Singing in Spanish, English, and Triqui (one of the native languages of the Oaxacan area), she demonstrates a mastery of the human voice, using it in fascinating ways. PS: Don’t make the mistake of comparing Lila Downs with Perla Batalla simply because they are both female Mexican- American singer/songwriters—they’re apples and oranges! 10 Me And Mr. Johnson [2004, ] Hearing the classic blues songs of Robert Johnson done by Eric Clapton is like discovering the wonders and legacy of your hometown after taking it for grant- ed for most of your life. I can’t think of a better interpreter of these songs than Clapton. Do yourself a favor and get this one!

November-December 2004 FolkWorks Page 25 Election Day HOW CAN I KEEP here are lots of election songs in the I also like the verse about George Washington “Great American Songbook” but, as that I include in Yankee Doodle Dandy, though FROM TALKING Tbefits a democracy, most of the songs this was not quite a campaign song, since he had about our presidents that are any good, that have earned his place in history well before becoming stood the test of time, are not campaign commer- President: There was General Washington sitting cials ( has made an in depth study of on a stallion, giving orders to his men, there must those). They are post election satires, broadsides have been a million. and occasional tributes that have engaged not the But in general, give me the songs that Tom tunesmiths but our greatest folk Paxton explained were the reason he had never singers. been invited to sing at the White House: I Don’t The exceptions, as always, prove the rule. For Want a Bunny Wunny for President Carter, every Dear Mrs. Roosevelt, ’s Talking Watergate for Nixon, We’re Filling a encomium to FDR (“This world was lucky to see Bottle for Ronnie (his song about Reagan’s Drug him born”), there are a dozen topical songs by Testing program), A Truly Needy Family of Your masters such as Tom Paxton (Lyndon Johnson Own (also about Reagan), and the aforemen- Told the Nation) and (Talking Cuban tioned Lyndon Johnson Told the Nation. Missile Crisis).Though after the assassination, Pete Seeger did not mention his name, but his Phil Ochs changed his tune about JFK and wrote great anti- War song Waist Deep In the two beautiful elegies That Was the President and, Big Muddy was also written about LBJ. When the more hauntingly, The Crucifixion. CBS censors refused to let him sing it on the Not surprisingly, the best campaign song ever Smothers Brothers show, their explanation was By Ross Altman written was about our greatest president, that the last verse: Every time I read the papers . Old Abe Lincoln Came Out of that old feeling comes on / We’re waist deep in the the Wilderness was a take off on The Old Gray Big Muddy and the big fool says to push on might lished and had his works circulated in Mare and helped get him reelected (and therefore lead some people to think he was talking about “Samizdat,” the underground press. His counter- assassinated) in 1864.I still sing this song and the President.(“Why that’s ridiculous,” replied parts in the U.S., Phil Ochs and Tom Paxton and have yet to encounter an audience that doesn’t Tom Smothers, “how could they think that?”). Bob Dylan, all of whom shook their fingers at the sing along with feeling, a hundred and forty years In the end, these are the songs that we should government, were published by Electra and after his death. (Of course, I haven’t sung it south hold up as examples of what it means to be an , respectively. Hardly the of the Mason-Dixon Line.) American. You don’t find songs like these under underground. Old Abe Lincoln came out of the wilderness, totalitarian regimes. In the Middle Ages, the trou- Philip Roth once said that in the Soviet out of the wilderness, out of the wilderness badours were hired by royalty to sing their prais- Union, nothing is permitted and everything mat- Old Abe Lincoln came out of the wilderness, es, in much the way that the Poet Laureate of ters. In America, everything is permitted and many long years ago. England is expected to compose verses to cele- nothing matters. Still, we who make our living by Chorus: Many long years ago… brate the King or Queen. the sweat of our guitar, would have no trouble Old Jeff Davis tore down the government, tore We are made of sterner stuff. Our best poets choosing in which kind of society to live. That is down the government… have never been in service of the court. Our folk why, my friends, this election matters so pro- But Old Abe Lincoln built up a better one, singers (like Pete Seeger) may get censored, but foundly. For we seem to be in a situation where built up a better one… they do not—as Victor Jara did in Chile under those very freedoms that we cherish, may indeed Then I repeat the first verse. Pinochet—get their hands smashed and murdered. be under attack, and not only from abroad, and One may argue about Joe not only from terrorists. The right to vote, which Hill, but at least Utah had we hold as a sacred trust, implies that our votes the good grace to frame him be counted. We can no longer take that for grant- for murder, and not to exe- ed. So I will leave you with the song that I added PUNCH IT TWICE cute him for what he had to the mix, after the 2000 election. It’s called New Words by Ross Altman written or sung. Punch It Twice and is based on Bob Dylan’s clas- Music by Bob Dylan In Russia, under the sic Don’t Think Twice. (You can hear it on NPR’s It ain’t no use to vote in Palm Beach County Soviet Regime, their great- All Songs Considered website: www.npr.org/pro- If’n you don’t know by now est writer— grams/asc/) It ain’t no use to vote in Palm Beach County Solzhenitsyn—was exiled Vote early, and vote often—maybe one of It don’t matter anyhow to the Gulag in Siberia; them will be counted. When you look to the right of your candidate’s name when he came to this coun- And the hole and the arrow ain’t lined up the same try—though he still wrote Ross Altman has a Ph.D. in English. Before becom- Maybe you’re just a little off with your aim like Jeremiah—he was put ing a full-time folk singer he taught college English Punch it twice, it’s all right. on 60 Minutes and other- and Speech. He now sings around California for wise ignored. During the libraries, unions, schools, political groups and folk And it ain’t no use in turning on your light, babe Cold War, the great East festivals. Like you never done before German folk singer Wolf No it ain’t no use in turning on your light, babe Bierman could not get pub- There’s no way you can vote for Gore This butterfly ballot was designed just for you ‘Cause you’re old and liberal and a Jew Been votin’ Democratic since 1932 Punch it twice, it’s all right.

And it ain’t no use to ask for another ballot, babe If you think you made a mistake No it ain’t no use to ask for another ballot, babe That’s how it’s done in the Sunshine State We threw out 15,000 in ‘96 Relax—it’s only politics Me and the governor are tight as ticks Punch it twice, it’s all right. IS SEEKING VOLUNTEERS

So you might as well vote for Buchanan, babe DISTRIBUTOR NEEDED FOR SANTA MONICA AREA The Reform Party nominee He’s on the right side of the ballot, babe WE NEED YOUR HELP! He’s as right as he can be There’s not a dime’s worth of difference between the Democrats PLEASE EMAIL OR CALL IF YOU CAN GIVE US 2-4 HOURS And Republicans, George Wallace told us that EVERY TWO MONTHS So we made it easy to vote for Pat Punch it twice, it’s all right. WRITERS • EDITORS • REVIEWERS • RESEARCHERS

New Material © 200l Grey Goose Music (BMI) MAIL@ FOLKWORKS.ORG • 818-785-3839 [email protected]

Page 26 FolkWorks November-December 2004

KLEZMER continued from page 9 PASSINGS I started teaching a “Klezmer Band Workshop” at McCabe’s Guitar Shop in Santa Monica to meet other people interested in klezmer. Many different types of THE GUTENBERG BIBLE OF PROTEST SONGS: people showed up. Immigrants, former European refugees, Jews, non-Jews, baby ’S BROADSIDE MAGAZINE boomers, generation X’ers, and teenagers came together to play this joyful pow- BY ROSS ALTMAN erful music of celebration and migration. Most of the participants have small klezmer bands of their own and play for the “simchas” in their own communities. A ninety-five year old woman died last June 27th in New They learn the music by ear, from the extensive discography that now exists, from Paltz, New York. You might have missed her obituary in the books, from the klezmer festivals like KlezCalifornia and KlezCanada, and from LA Times, buried on the back pages of the California section. their parents, uncles, and grandparents. Her name was Agnes “Sis” Cunningham and she single-hand- Whether you’re new to klezmer or a klezmer aficionado, I recommend listen- edly shepherded the talents of the greatest songwriters of the ing to CDs of our own local bands. Miamon’s group, Bucovina Klezmer, has an 20th Century onto a national stage. With her husband Gordon absolutely stunning and sensual recording, Bucovina Klezmer and Friends,” fea- Friesen, Pete Seeger and (composer of Carry It turing extraordinary musicianship in both klezmer and Sephardic music. Leo’s On) she launched Broadside in February of 1962, on the eve group, Hollywood Klezmer, has two CDs: The Brandeis Bardin International of an explosion of topical songwriting not seen since Woody Klezmer Ensemble and From LA to Odessa. The second album breaks away from Guthrie left Oklahoma in 1935 with a notebook full of Dust their first album’s rich traditional feel, venturing into klezmer fusions with Middle Bowl Ballads. Eastern, Sephardic, jazz, and classical sounds. had been put out of business by the Unlike New York or Boston, where there are specific clubs or restaurants that Blacklist in 1950, after Goodnight Irene spent six months at become klezmer centers because that’s where klezmer musicians gather, our the top of the Hit Parade. Pete Seeger’s People’s Songs klezmer scene is as widespread as our geography. You can hear klezmer at street organization and magazine had folded about the same time, festivals, farmer’s markets, the Santa Monica Pier, Culver City, the Skirball, the deep in debt. Sing Out! was filling the gap, but it was not Getty, etc. Catch a klezmer performance and admire the centuries-old ability of a committed to launching new songs by untried singers. Sis musical genre that adapts and assimilates the music around it while keeping its Cunningham had been a part of the Weaver’s parent group unique musical personality. The (see my four part interview with Bess HELPFUL WEBSITE AND EMAIL ADDRESSES FOR THE KLEZMER Lomax Hawes previously in these pages for their story), but ENTHUSIAST they too were defunct. Miamon Miller: www.mmillermusic.com Folk music was popular again, but it was the Kingston Leo Chelyapov: [email protected] Trio brand of folk music—college fun and nightclub hip—it Ty Rust, Email: [email protected] was not born of the kind of social struggles that created a Joe Joellen Lapidus, [email protected] Hill or a Woody Guthrie. Then, in late 1961, Pete Seeger and Yiddishkayt Los Angeles and Claire Bergen: www.YiddishkaytLA.org his wife Toshi took a trip to England and Scotland and were Mesto: www.mesto.org struck by a new wave of topical songwriting in the British Cantor Mike Stein: www.cantorstein.com Isles, and came home wondering whether anything like that Jewish Bureau of Education Community Library: www.jclla.org might be happening, or about to happen here. They talked it McCabes Guitar Shop: www.McCabes.com over with Sis (who like Woody had emerged in the 1940s as KlezCalifornia: www.klezcalifornia.org a Dust Bowl refugee from Oklahoma when she joined the For books and CDs: www.jewishmusic.com Almanac Singers). She was convinced that something like that was about to happen here too, with little more to go on Joellen Lapidus is a psychotherapist, musician, songwriter and than a nascent and the stirrings of an maker. She was known in the 1960s through the 1980s as an innovator of contempo- anti-nuclear testing movement. Could these produce songs rary fretted dulcimer playing and construction and is the author of the music instruc- worthy of the great labor songs of the 1930s that had first tion book, Lapidus on Dulcimer. After recovering from a long bout of graduate school inspired them to take up a guitar and a banjo? she has returned to her first loves, the accordion and clarinet. She gives private dul- In February of 1962 she decided to find out, and launched cimer lessons and workshops and runs a raucous on-going Klezmer Band Workshop Broadside as a mimeographed portfolio with five songs in it, at McCabes Guitar Shop. including one by a young folk singer who had arrived in New York City just ten months before—Bob Dylan. The song was The Talking John Birch Society Blues, the song that would soon get him booted off the Ed Sulllivan show. It was his first FLAMENCO continued from page 3 appearance in print. Within a few months they had published Dylan’s Blowing In the Wind, a full year before Peter, Paul The alegrías have a much faster tempo than the soleares, and the chord struc- and Mary recorded it. Sis had found (or founded) the renais- ture for the guitar stresses a major key. The word alegrías means joy or happiness, sance she was looking for. She had created a platform for and the song often speaks of the beauty of the city and of the women that live Malvina Reynolds (Little Boxes was first published in there. These are Spanish compliments, called piropos. Broadside), Peter LaFarge (The Ballad of that Tangos - Most versions of the tangos are for fun, pleasure and pure joy and are Johnny Cash would later record), Buffy St. Marie (Now That called chico (light, happy) songs and dances. Some tangos are also called the Buffalo Has Gone), Tom Paxton (Lyndon Johnson Told the canasteros (a flamenco term for wandering Gypsy basket weavers). The dance is Nation), and most importantly for my money, Phil Ochs, who generally sensual and exciting. practically lived at her home and recorded everything he Some scholars think that the rhythm and song may have entered southern wrote in their living room tape recorder. Sis and Gordon Spain from through the port city of Cádiz (Note: this type of flamenco would eventually release Phil Ochs’ Broadside Sessions, with song, which includes the rumba Gitana and flamenco guajíra, originated in Cuba just Phil and his guitar, an essential document of the explo- and Puerto Rico respectively, and are called cantes “ida y vuelta” or round trip sion of topical songwriting that Broadside was preserving and songs). Others believe the song and dance form originated in northern Africa, later presenting to the public. arriving in southern Spain. But more than the great Northern city artists, Sis stayed FLAMENCO – A WAY OF LIFE true to her original vision by publishing the new songs from Flamenco connects Gitanos, flamenco artists, aficionados, and audiences the Southern Civil Rights movement, created in the heat of throughout the world in fundamental ways and the more deeply you delve into it, nonviolent struggle in Mississippi, Alabama and Georgia. the more you feel its pull. It is emotionally cathartic, allowing for the personal- Ain’t Gonna Let Segregation Turn Me ‘Round, If You Miss Me ization one’s emotions. It reinforces a strong sense of artistic community. It lends From the Back of the Bus, I Ain’t a Scared of Your Jail, and purpose and integrity to the Gitano and the larger flamenco community by pro- Nina Simone’s classic Mississippi Goddam all appeared in moting a sense of spirited camaraderie. For those closest to it, it is a way of life. Broadside first. She also published Len Chandler, the young black folk singer who had one foot in both worlds, and who Katherine Thomas - Spanish flamenco dancer Katerina Tomás - has over 30 years of collaborated with Bob Dylan to create one of the hardest hit- training as a dancer, dance teacher, and choreographer, and is a recognized scholar ting songs of the civil rights movement, The Death of Emmett in the field in both the United States and in Spain. She has conducted scholarly Till. research on flamenco, the Gitanos, and on Federico García Lorca in , Jerez Sis Cunningham’s amazing prescience has been fully real- de la Frontera, Granada, and in New York. Katherine received her M.A. degree in ized and brought into the contemporary world of CDs in a dance at UCLA, and wrote the master’s thesis, “The flamenco artistic lineage of recently released boxed set The Best of Broadside Magazine Federico García Lorca and La Argentinita” in 1994. 1962-1988 Anthems of the American Underground from the In 2003 she choreographed “Fiesta Flamenca,” a cuadro flamenco performance Pages of Broadside Magazine (Smithsonian Folkways SFW piece for the internationally recognized BYU Folk Dance Team, who tour around the CD 40130), which was reviewed last year in The Los Angeles world. This is the first time that BYU has included flamenco in their touring reper- Times. It is one of the essential collections of modern toire. Contact Katerina at [email protected] , and deserves to be known for what it is: “The Gutenberg Bible of Protest Songs.” And it all started In December 2004, Katerina and her long time partner, award-winning guitarist with one woman’s indomitable faith and vision—and a lowly Stephen Dick, will present the flamenco and Spanish classical concert “Cantan mimeograph machine. Carry it on. los Fuegos: a celebration of the music and poetry of and Federico García Lorca” at the Madrid Theatre in Canoga Park.

November-December 2004 FolkWorks Page 27

SPECIAL EVENTS FOLKWORKS continued from page 28 THANK YOU EVERYONE FOLK 8:00pm WITCHER BROTHERS $18adv/ [www.witcherbrothers.com] $20door/ for the success of our Encino Community Center $2 discount children/stu./srs AS OF SEPTEMBER, 2004 4935 Balboa Blvd., Encino California Traditional Music Society & World Music Concert Bluegrass Assoc. of Southern California ANGEL FRIDAY DECEMBER 17 Gold Ring Anonymous 8:00pm THE DUO TONES $18 [www.pjmoto.com/specialty/duo_tones.php] Coffee Gallery Backstage Masanga Marimba BENEFACTOR 8:00pm CHERISH THE LADIES [www.cherishtheladies.com] Celtic Christmas with O.C. Pacific Symphony Ensemble Ruth C. Greenberg • Tom & Orange County Performing Arts Center, Segerstrom Hall Melinda Peters • Kathy Qualey 600 Town Center Dr., Costa Mesa Yuval Ron Trio Dave Stambaugh 714-556-2787 • www.ocpac.org SATURDAY DECEMBER 18 Susie Glaze & 4:00pm LAS POSADAS CELEBRATION PATRON Traditional Mexican holiday Hilonesome sing traditional verses, break a piñata, and of course, partake Susan Beem of some warm, tasty champurrado Frieda & Bob Brown Southwest Museum, Casa de Adobe, Mt. Washington Nevenka Christa Burch 7:00pm MUSICANTICA [www.musicantica.org] $15 Coffee Gallery Backstage Conjunto Los Pochos OUFFER David & Jennifer Dempsey 8:00pm CHERISH THE LADIES Ron Young/Linda Dewar See December 17 Gary Mandell 8:00pm ROBBY LONGLEY, JESUS SEVERINO $15

Steve Dulson [www.robbylongley.com] NAHMAN-ST Bonita Edelberg Boulevard Music McCabes

SUNDAY DECEMBER 19 JUDY Kay & Cliff Gilpatric 7:30pm ASYLUM STREET SPANKERS $12/$10 students Skirball Cultural Lisa Gwin [www.asylumstreetspankers.com] O BY Folk Music Center Center

Don & Holly Kiger PHOT MONDAY DECEMBER 20 AMOEBA Music Chris Gruber 8:00pm EILEEN IVERS & IMMIGRANT SOUL $25-75 Susie Glaze Aleta Hancock [www.eileenivers.com] Celtic Christmas Dorian Keyser Sheila Mann TUESDAY DECEMBER 21 8:00pm MID-VALLEY BOYS Free Nancy MacMillan Stargazer (Restaurant) Mary Anne McCarthy 6501 Fallbrook Ave., West Hills Steve Rosenwasser/Kelli Sager Bluegrass Assoc.of Southern California THURSDAY DECEMBER 23 Santa Monica Folk Music Club 8:00pm KEB’ MO’ [www.kebmo.com] $25-75 Jim Westbrook Walt Disney Concert Hall Elaine & Clark Weissman WEDNESDAY DECEMBER 29 * NEW YEAR’S INT’L DANCE WEEKEND Solvang

FRIENDS Beverly 310-202-6166 OUFFER Anonymous THURSDAY DECEMBER 30 * NEW YEAR’S INT’L DANCE WEEKEND Brooke Alberts see December 29 Robin & Tom Axworthy FRIDAY DECEMBER 31 NAHMAN-ST * NEW YEAR’S INT’L DANCE WEEKEND

Carvel Bass JUDY Aubyn & Doug Biery see December 29

6:00pm- NEW YEARS EVE CONTRA DANCE $25 O BY Henrietta Bemis Pat Ryan / Bog An Lochan Throop Church Doug Brown 300 S. Los Robles, Pasadena Gold Ring PHOT Valerie Brown/Jerry Grabel www.caldancecoop.org Bob & Melody Burns Chris Cooper Jim Cope Janet Cornwell Alan & Margaret Davis THE FOLLOWING ARTISTS AND RECORD LABELS Lisa Davis SUPPORT FOLKWORKS DON’T WAIT FOR SOMEONE ELSE TO DO IT. HAVE DONATED CDS FOR MEMBER PREMIUMS. Winifred Davis PLEASE JOIN THEM WITH YOUR SUPPORT. Enrico Del Zotto FOLKWORKS DEPENDS ON YOU! (SEE BELOW FOR MEMBER BENEFITS) Louise Dobbs Mary Dolinskis FolkWorks newspaper is free - but producing it isn’t. Caroline Aiken, Unshaken Mozaik, Live from the Lawrence Dunn Production, printing, insurance, postage, telephone, Baksheesh Boys, PowerHouse Marcia & Brian Edwards office and computer supplies, transcription, web The Baksheesh Boys Old Mother Logo, Joy Felt design and support are just some of the ongoing Claddagh, The Irish Rover Branching Out Joel Garfield Liz Carroll, Lake Effect Nightingale, Three John & Judy Glass expenses. Lila Downs, Border Kristina Olsen, Roger Goodman/Monika White FolkWorks has been around now for 4 years. You Lila Downs, One Blood The Truth of a Woman Jim Hamilton For Old Times Sake, The Privy Tippers, Chris Hendershot have come to rely on it being there as your primary Swing Cat Under the Crescent Moon Fron Heller/Bill Mason source of information about new and exciting events Sue Hunter Susie Glaze, Dennis Roger Reed, that you would not hear about otherwise. Its exten- Home on the Hill Little King of Dreams Trudy & Peter Israel sive calendar, interviews, CD Reviews and articles Bob Jacobs Jim Lauderdale & Ralph Round the House, Bryon Johnson about current happenings connects the diverse com- Stanley, ‘til the wee hours Dodi & Marty Kennerly munities in the greater Los Angeles area. I Feel Like Singing Today Round the House, Lunasa, Kinnitty Sessions Keep This Coupon Linda Kodaira Let us know that you want FolkWorks in your life by Peter Kolstad/Suzanne Benoit Pat McSwyney, Teada, Give Us a Penny and Brian McKibbin giving your financial support. Become a member at A Pint of Stout Let Us Be Gone James Morgenstern/Linda Dow the highest level you can, and commit to renewing Pat McSwyney, Wicked Tinkers, Gitta Morris/Gee Martin your membership to help FolkWorks continue. Below The Hop Blossom Banger for Breakfast Rex Mayreis is a form to mail with your check OR join online at Katy Moffatt, Yuval Ron Ensemble, Judy & Jay Messinger Greatest Show on Earth Under the Olive Tree Gretchen & Chris Naticchia www.FolkWorks.org. Do it now while it is on your Katy Moffatt, Molly Nealson mind Midnight Radio Sue Nelson Melanie Nolley Norma Nordstrom Dave Ogden Gabrielle O’Neill Stephen/Susan Parker MEMBERSHIP Peter/Priscilla Parrish Become a MEMBER today - It’s tax-deductible Lenny Potash Name (please print) Mattias F. Reese $25 – Basic $200 – Benefactor Suzie Richmond Subscription to Newspaper Benefits above PLUS $65 – Friend 2 tickets to one concert annually Street Address 1 th Tom Schulte Benefits above PLUS /16 page business or tribute ad (birthdays, anniversaries, special occasion) Yatrika Shah-Rais Discounts at FolkWorks Concerts Diane Sherman Recognition in Newspaper $500 – Sponsor City Miriam & Jim Sidanius Premium CD Gift Benefits above PLUS UPGRADE Annual Recognition Event 2 tickets to all concerts annually Anne Silver 1/8th page business or tribute ad State ZIP $125 – Patron (birthdays, anniversaries, special occasion) Jeff Spero/Gigi DeMarrais Benefits above PLUS $1,000 – Angel Mimi Tanaka Reserved Seating at email Barry Tavlin FolkWorks concerts Benefits above PLUS UPGRADE Gift Certificate for Basic Membership Doug Thomas 1/4th page business or tribute ad (birthdays, anniversaries, special occasion) Phone Vivian Vinberg I pick it up locally - don’t mail the paper. Ken Waldman Michael McKenna/Debbie Webb Thank you for making it possible! SELECT YOUR PREMIUM CD GIFT Don Green/Barbara Weismann Please make check payable to: Donald Wood 1st Choice: ______2nd Choice: ______FolkWorks • P.O. Box 55051 • Sherman Oaks, CA 91413 John Wygonski/Mary Cynar Your contributions are tax-deductible. FolkWorks is a non-profit 501(c)(3) organization!

Page 28 FolkWorks November-December 2004

SPECIAL EVENTS

MONDAY NOVEMBER 1 8:00pm AL STEWART [www.alstewart.com] $19.50 Coach House 7:30pm HALLOWEEN INT’L DANCE PARTY TUESDAY DECEMBER 7 8:00pm JEFF BLACK [www.jeffblack.com] $12.50 8:00pm LAURENCE JUBER [www.laurencejuber.com] $18 West L. A. Folk Dancers Fret House 7:30pm ADAAWE [www.adaawe.com] $20 Brockton School with SARA PIERCE [www.sarapierce.com] Coffee Gallery Backstage 8:00pm THE WHIRLING DERVISHES OF DAMASCUS $25-45 Voices and traditional African drumming 1309 Armacost, L.A. Cerritos Performing Arts Center Beverly 310-202-6166 SATURDAY NOVEMBER 13 with Sheikh Hamza Shakkûr & /$15 UCLA Students the Al-Kindî Ensemble 8:00pm HARRY MANX [www.harrymanx.com] $15 WEDNESDAY NOVEMBER 3 10:00am- SOUTHERN CALIFORNIA AUTUMN BALL UCLALive! (Royce Hall) Coffee Gallery Backstage 8:00pm BAULS OF BENGAL$25/$20 Skirball mem./$15 Students Friends of the English Regency 8:00pm TELLABRATION $10 WEDNESDAY DECEMBER 8 Featuring Purna Das Baul Dance lessons at 10:00am, tea at 2:00pm, Featuring Inland Valley Storytellers 7:30pm HARRY MANX [www.harrymanx.com] $20 [www.heartheworld.org/Touring/Current/purnadas_2004-5.htm] dancing with buffet supper 7:30pm Cal Poly Pomona Downtown Center Skirball Cultural Center Woman’s Club of South Pasadena Ccelebrated blues guitarist 300 W. Second St., Pomona Cerritos Performing Arts Center 1424 Fremont Ave., South Pasadena 909-355-4687 • [email protected] THURSDAY NOVEMBER 4 213-384-6622 • www.regencyfriends.org. 8:00pm MIRIAM MAKEBA $25-80 8:00pm CHRIS HILLMAN & HERB PEDERSEN $17.50 8:00pm GEORGE WINSTON [www.georgewinston.com] $25-45 7:00pm RANDY SPARKS & FRIENDS $20 Walt Disney Concert Hall Cerritos Center [www.chrishillman.com] [www.herbpedersen.com] [www.thenewchristyminstrels.com] Boulevard Music FRIDAY DECEMBER 10 FRIDAY NOVEMBER 5 Coffee Gallery Backstage SUNDAY NOVEMBER 21 7:30pm RICHARD SMITH / AARON TILL $20 * MUSIC IN THE MOUNTAINS $85/$75teen/ 7:30pm LAURIE LEWIS & TOM ROZUM $17.50 Guitar and fiddle [www.richardsmithmusic.com] Folk music jams, sing-a-longs, contradance $55child(3–12) [www.laurielewis.com] 10:00am- OAXACAN FOLK ART Dana Point Community House, Dana Point Camp de Benneville Pines McCabe’s Guitar Shop see November 20 Tim Johnson 949-842-2227 or Claire Woodruff 949-244-6656 San Bernardino Mountains 7:30pm ANGELA LLOYD $10 11:00am KALA RAMNATH, ABHIJIT BANERJEE $25/$15 Music 8:00pm JOSE HERNANDEZ [www.-sol.com] $30-62 Caroline Quintanilla 909-794-2928 [email protected] Storytelling by the Sea Circle members/ $5 non-Oxy student/Free Oxy students Merry-Achi Christmas www.uucamp.org Malibu United Methodist Church [www.kalaramnath.com][www.abhijitbanerjee.com] with SOL DE MEXICO (all-female Mariachi), 8:00pm GEORGE WINSTON [www.georgewinston.com] 30128 Morning View Dr., Malibu • 310-457-2385 Violin and tabla REYNA DE LOS ANGELES Center Club 8:00pm SUE HOADLEY $16 adv./$18 door Occidental College, Herrick Chapel & BALLET FOLKLORICO DEL PACIFICO 650 Town Center Drive, Costa Mesa Celtic and Native American harp and flute The Music Circle • www.musiccircle.org Cerritos Performing Arts Center 714-662-3414 Sylvia Woods Harp Center 11:00am & 4:00pm DAN ZANES & FRIENDS $20 / 8:00pm The CHARLIE HUNTER TRIO $22.50 8:00pm ANGELIQUE KIDJO [www.angeliquekidjo.com] $25-50 915 N. Glendale Ave., Glendale [www.danzanes.com] $10 kids under 12 [www.charliehunter.com] with EUGE GROOVE [eugegroove.com] 818-956-1363 • harpcenter.com UCLALive! McCabe’s Guitar Shop Cerritos Center for the Performing Arts 8:00pm JEFF BLACK AND ERIC HANSEN $15 12:00pm- BANSHEE IN THE KITCHEN 8:00pm GUY VAN DUSER $15 8:00pm RHYTHM RASCALS $12 [www.jeffblack.com][www.erichansen.net] [www.bansheeinthekitchen.com] Fret House Russ and Julie’s House Concerts Laguna Sawdust Festival Winter Fantasy Boulevard Music 8:00pm LOST CANYON RAMBLERS $15 8:00pm CHRIS STUART AND BACKCOUNTRY $12 935 Laguna Canyon Rd., Laguna Beach 949-494-3030 8:00pm RICHARD GREENE [www.richardgreene.net] $16 www.sawdustartfestival.org/winter_fantasy/winter.htm Coffee Gallery Backstage McCabe’s Guitar Shop [www.chrisstuart.com] Boulevard Music 7:00pm THE SAVOY FAMILY BAND $17.50 SATURDAY DECEMBER 11 8:00pm THIRD DOOR DOWN [www.thirddoordown.net] $13 [www.savoymusiccenter.com] Coffee Gallery Backstage 8:00pm JIM MESSINA [www.jimmessina.com] $28/$29 door * BROCELIANDE [www.broceliande.org] Acoustic Music Series (NC) McCabe’s Guitar Shop Caltech Folk Music Society SATURDAY NOVEMBER 6 8:00pm CHASTE WHITE AND BLUSH RED 7:30pm AL PETTEWAY & AMY WHITE [www.alandamy.com] 2:00pm & 8:00pm JOSE HERNANDEZ $30-62 * MUSIC IN THE MOUNTAINS Evening of tales and love presented by David Novak Kevin Ryan Guitars See December 10 see November 5 Beverly Hills Library 14082 Willow Ln.., Westminster 800-311-1527 • www.ryanguitars.com 7:00pm ROBBY LONGLEY [www.robbylongley.com] $12.50 9:00am- L.A. WORLD STORYTELLING FESTIVAL $30 adv/ 444 N. Rexford Dr., Beverly Hills • 310-288-2211 Coffee Gallery Backstage 7:30pm GRANT-LEE PHILLIPS/PETER ADAMS $10/$8 students with Marilyn McPhie, Michael Katz, . $40 door 8:00pm CHOOKASIAN ARMENIAN ENSEMBLE $30-45 8:00pm RICHARD SMITH / AARON TILL $15 Penny Post, Ellaraino, Jude Narita, more [www.seveneighths.com/ [www.grantleephillips.com][www.peteradamsmusic.com] Folk Music Center Guitar and fiddle [www.richardsmithmusic.com] USC Davidson Conference Center, L.A. chookasian_armenian_concert_ensemble.htm] Fret House 310-457-2385 [email protected] Northridge Performing Arts Center FRIDAY NOVEMBER 26 8:00pm GUY VAN DUSER $15 10:00am- INTERTRIBAL MARKETPLACE $8/$6Students,Srs./ 8:00pm TOULOUSE ENGLEHARDT $15 7:30pm DAY AFTER THANKSGIVING INT’L DANCE PARTY Boulevard Music Native American Artists Free children under 6 Fingerstyle guitar West L. A. Folk Dancers Southwest Museum/Autry National Center Fret House Brockton School SUNDAY DECEMBER 12 234 Museum Dr., L.A. SUNDAY NOVEMBER 14 1309 Armacost, W.L.A. 7:00pm ACOUSTIC EIDOLON [www.acousticeidolon.com]$12.50 www.autrynationalcenter.org Beverly 310-202-6166 Coffee Gallery Backstage 11:00am KATHERINE DINES [www.hunktabunkta.com] $6 11:00am BUCK HOWDY [www.buckhowdy.com] $6 8:00pm MARK HUMPHREYS [www.markhumphreys.com] 7:30pm RICHARD SMITH / AARON TILL $10/$8 students Matinee Kids’ Show Matinee Kids’ Show McCabe’s Guitar Shop with SEVERIN BROWNE Guitar and fiddle [www.richardsmithmusic.com] McCabe’s Guitar Shop Bean Town Folk Music Center 12:30pm & 2:00pm KITKA AND VINOK WORLDANCE 6:00pm RANDY SPARKS & FRIENDS $20 [www.thenewchristyminstrels.com] 8:00pm CHRISTINA ORTEGA [www.christinaortega.com] $15 7:30pm & 9:30pm The CHARLIE HUNTER TRIO $22.50 [www.kitka.org][www.vinokworldance.ab.ca] Coffee Gallery Backstage [www.charliehunter.com] Music Center Performing Arts Center of L.A. Coffee Gallery Backstage 8:00pm BOWFIRE $28-48 McCabe’s Guitar Shop 7:00pm FESTIVAL IN THE DESERT $25-45 7:30pm KRISTIN MOONEY / [www.kristinmooney.com] $6 JAKE LABOTZ / [www.jakelabotz.com] “the Riverdance of the violin” with TINARIWEN & RAMATOU DIAKITE Thousand Oaks Fred Kavli [www.triban-union.com] BILL FOREMAN [www.generalludd.com] SPECIAL EVENTS continued on page 27 Bridges Auditorium, Songwriter Showcase 8:00pm DENNIS ROGER REED Folk Music Center Acoustic roots music 7:00pm & 9:00pm ALFREDO ROLANDO ORTIZ $10/ 7:00pm & 9:30pm The BOBS [www.bobs.com] $22.50 Alta Coffee [www.alfredo-rolando-ortiz.com] $3 children under 12 506 31st St., Newport Beach • 949-675-0233 VENUE LOCATIONS San Juan Capistrano Library McCabe’s Guitar Shop SATURDAY NOVEMBER 27 7:00pm COWBOY ENVY [www.cowboyenvy.com] 8:00pm CHOOKASIAN ARMENIAN ENSEMBLE $30-45 ACOUSTIC MUSIC SERIES Coffee Gallery Backstage see November 13 * VICTORIAN GRAND BALL (NC) Neighborhood Church MONDAY NOVEMBER 15 Social Daunce Irregulars 7:30pm NEIL INNES [www.neilinnes.org] $22.50 Throop Unitarian Church, Pasadena 301 N. Orange Grove Blvd., Pasadena McCabe’s Guitar Shop 11:00am JACK GRUNSKY $7 818- 892-34354 www.lahacal.org/sdi.html. 626-791-0411 • www.acousticmusicseries.com 8:00pm JOEL RAFAEL [www.joelrafael.com] Conejo Valley Children’s Concert Series Countrywide Performing Arts Center 7:00pm IAN WHITCOMB [www.picklehead.com/ian.html] $15 BEAN TOWN plus BRETT PERKINS, NANNE-EMELIE ANDERSEN Coffee Gallery Backstage [www.brettperkinspresents.com][www.nanne-emelie.com] Janet and Ray Scherr Forum Theatre 45 N. Baldwin Ave., Sierra Madre Bodie House Concerts 7:00pm CHRISTENE LEDOUX, JAMES GREY, SUNDAY NOVEMBER 28 626-355-1596 • www.beantowncoffeebar.com 8:00pm BELA FLECK [www.flecktones.com] $30/$37.50 JON STATHAM, TRUSTING LUCY 7:00pm BLACK TONGUED BELLS $12.50 BODIE HOUSE CONCERTS Wiltern Theatre Circle of Songs [www.theblacktonguedbells.com] Agoura Hills 3790 Wilshire Blvd., L.A. Genghis Cohen Cantina Coffee Gallery Backstage 818-706-8309 • www.bodiehouse.com 213-388-1400 • wiltern.com 740 N. Fairfax Ave., L.A. 323-653-0640 • [email protected] TUESDAY NOVEMBER 30 BOULEVARD MUSIC 8:00pm SEVERIN BROWNE & JAMES COBERLY SMITH [www.severinbrowne.com][www.jamescoberlysmith.com] TUESDAY NOVEMBER 16 8:00pm KENNY LOGGINS [www.kennyloggins.com] $42-72 4316 Sepulveda Blvd., Culver City Countrywide Performing Arts Fred Kavli Theatre 310-398-2583 • www.boulevardmusic.com Bean Town 8:00pm DR. JOHN,[www.drjohn.org] $33-39/$30-35 stud./sr. 8:00pm DENNIS ROGER REED CHARLIE MUSSELWHITE, [www.charlie-musselwhite.com] THURSDAY DECEMBER 2 BRIDGES AUDITORIUM, CLAREMONT COLLEGES Acoustic roots music SHEMEKIA COPELAND [www.shemekiacopeland.com] * RICHARD SMITH / AARON TILL 4th St & College Way, Claremont Alta Coffee Carpenter Performing Arts Center Guitar and fiddle [www.richardsmithmusic.com] www.cuc.claremont.edu/BRIDGES/ 506 31st St., Newport Beach 8:00pm SWITCHBACK, THOMAS LEEB $15 The Guitar Shoppe 949-675-0233 [www.waygoodmusic.com/switchback] 1027B North Coast Hwy., Laguna Beach CALTECH FOLK MUSIC SOCIETY SUNDAY NOVEMBER 7 [www.thomasleeb.com] 949-497-2110 • www.theguitarshoppe.com Dabney Hall Coffee Gallery Backstage 888-222-5832 • folkmusic.caltech.edu * MUSIC IN THE MOUNTAINS FRIDAY DECEMBER 3 see November 5 WEDNESDAY NOVEMBER 17 * MONTEREY COWBOY FESTIVAL CARPENTER PERFORMING ARTS CENTER * BOB MALONE [www.bobmalone.com] 7:30pm DON STIERNBERG QUARTET $20 Cowboy Poetry and Music 6200 Atherton St., Long Beach 1735 Vine St., Hollywood [www.donstiernberg.com] Tom Russell with Andrew Hardin, Ian Tyson, RW Hampton, 562-985-7000 • www.carpenterarts.org Sons of the San Joaquin, Dave Stamey, Wylie & the Wild Just Plain Folks Music Awards Mandolin master CELTIC ARTS CENTER 323-462-8900 www.avalonhollywood.com Cerritos Center for the Performing Arts West, Don Edwards, and more 800-722-9652 • www.montereycowboy.com 4843 Laurel Canyon Blvd., Studio City 10:00am- INTERTRIBAL MARKETPLACE THURSDAY NOVEMBER 18 See November 6 8:00pm THE BLIND BOYS OF ALABAMA $40 818-760-8322 • www.celticartscenter.com 8:00pm DR. JOHN, [www.drjohn.org] [www.blindboys.com] CERRITOS PERFORMING ARTS CENTER 4:00pm AMILIA K SPICER [www.amiliaspicer.com] $10 CHARLIE MUSSELWHITE, [www.charlie-musselwhite.com] Pepperdine University 12700 Center Court Dr., Cerritos Tedrow’s House Concerts, Glendora SHEMEKIA COPELAND [www.shemekiacopeland.com] Smothers Theater, Malibu [email protected] Bridges Auditorium, Claremont Colleges 310-506-4522 • www.pepperdine.edu/arts/performances 562 916-8501 or 800- 300-4345 www.cerritoscenter.com 3:00pm FESTIVAL IN THE DESERT $25-45 7:30pm AL PETTEWAY & AMY WHITE [www.alandamy.com] 8:00pm & 10:00pm EDDIE FROM OHIO [eddiefromohio.com] $17 with TINARIWEN & RAMATOU DIAKITE Dana Point Community House McCabe’s Guitar Shop COACH HOUSE [www.triban-union.com] 24642 San Juan St., Dana Point • 949-42-2227 Cerritos Center for the Performing Arts 8:00pm JEFF LINSKY $15 33157 Camino Capistrano, San Juan Capistrano 8:00pm THE DUO TONES $18 Fret House 949-496-8930 • www.thecoachhouse.com 6:00pm BRETT PERKINS and FRIENDS $10 [www.pjmoto.com/specialty/duo_tones.php] [www.brettperkinspresents.com] Coffee Gallery Backstage 8:00pm JERRY HARMON [www.jerryharmon.com] $18 COFFEE GALLERY BACKSTAGE Coffee Gallery Backstage Coffee Gallery Backstage 8:00pm & 10:00pm AL STEWART [www.alstewart.com] $18.50 2029 N. Lake Ave., Altadena 7:30pm PAMELA MORGAN $12/$10 Students McCabe’s Guitar Shop SATURDAY DECEMBER 4 626-398-7917 • [email protected] Newfoundland Celtic singer/songwriter * MONTEREY COWBOY FESTIVAL www.coffeegallery.com [www.pamelamorgan.ca] LISTING UPGRADE NOW AVAILABLE see December 3 plus PAUL KAMM & ELEANORE MACDONALD COUNTRYWIDE PERFORMING ARTS CENTER Neo Impressionist folk duo [www.kammmac.com] Have your Special Event listed in larger font 12:30pm & 2:00pm ALFREDO ORTIZ AND INCA 2100 Thousand Oaks Blvd. Folk Music Center and highlighted in BOLD FACE. [www.alfredo-rolando-ortiz.com] 805-449-2787 • www.toaks.org/theatre [www.wheatmedia.com/inca] 8:00pm NEIL INNES [www.neilinnes.org] $15 ONLY $20 per event. Music Center Performing Arts Center FOLK MUSIC CENTER Coach House 7:30pm JANE SIBERRY [www.janesiberry.com] $22.50 220 Yale Ave., Claremont 8:00pm MATT THE ELECTRICIAN Call 818-785-3839 McCabe’s Guitar Shop 909-624-2928 www.folkmusiccenter.com with SOUTHPAW JONES and CASEY HOLFORD or email - [email protected] for details. w/ special guest MICHAEL MILLER 8:00pm WENDY WALDMAN & KENNY EDWARDS $15 FRET HOUSE Room 5 Lounge [www.wendywaldman.com][www.kennyedwards.com] 309 N. Citrus, Covina 143 North La Brea, L.A. Russ and Julie’s House Concerts 626-339-7020 • www.frethouse.com 323-938-2504 • www.room5lounge.com SATURDAY NOVEMBER 20 8:00pm HOLLY NEAR [www.hollynear.com] $24 GETTY CENTER MONDAY NOVEMBER 8 10:00am- OAXACAN FOLK ART Acoustic Music Series (NC) Carvings, Zapotec Rugs Show and sale 8:00pm RICHARD SMITH / AARON TILL $15 1200 Getty Center Dr., L.A. 11:00am PETER & ELLEN ALLARD $7 Museum of the American West Guitar and fiddle [www.richardsmithmusic.com] 310-440-7300 • www.getty.edu [www.peterandellen.com] 10:30am- ROMANIAN RENDEZVOUS II Boulevard Music Conejo Valley Children’s Concert Series THE LIVING TRADITION Line and partner dancing from Romania 8:00pm DENNIS ROGER REED Countrywide Performing Arts Center with Theodor and Lia Vasilescu Downtown Community Center Janet and Ray Scherr Forum Theatre Acoustic roots music 250 E. Center St., Anaheim Westchester Senior Center Bean Town 7:00pm RIDERS IN THE SKY $35/25/20/10 8740 Lincoln Blvd., Westchester 949-646-1964 • www.thelivingtradition.org 8:00pm CANTAN LOS FUEGOS $25-35 [www.ridersinthesky.com] . Sandy: 310-391-7382 [email protected] McCABE’S GUITAR SHOP McCallum Theatre Gerda: 310-474-1232 [email protected] [www.mojacarflamenco.com] Madrid Theatre 3101 Pico Blvd., Santa Monica 73000 Fred Waring Dr., Palm Desert 11:00am PETER ALSOP [www.peteralsop.com] $6 866-889-ARTS • www.mccallumtheatre.com 21622 Sherman Way, Canoga Park 310-828-4497 • www.mccabesguitar.com Matinee Kids’ Show 818-347-9938 WEDNESDAY NOVEMBER 10 McCabe’s Guitar Shop MUSIC CENTER PERFORMING ARTS CENTER SUNDAY DECEMBER 5 8:00pm HOT CLUB OF COWTOWN $10 7:00pm AL PETTEWAY & AMY WHITE [www.alandamy.com] W.M. Keck Foundation Children's Amphitheatre [www.hotclubofcowtown.com] Trilogy Guitars * MONTEREY COWBOY FESTIVAL Walt Disney Concert Hall Coach House Playa Del Rey • 310-305-7577 see December 3 111 S. Grand Ave., L.A. THURSDAY NOVEMBER 11 7:30pm TELLABRATION 2004 3:00pm CANTAN LOS FUEGOS $25-35 213-972-7211 • www.musiccenter.org Celebration of Storytelling around the world see December 4 8:00pm THE JOINT IS JUMPIN’ $25-45 El Dorado Nature Cener NORTHRIDGE PERFORMING ARTS CENTER CLARENCE “GATEMOUTH” BROWN, 7:00pm RAUL MALO 7550 E. Spring St., Long Beach [www.picknowl.com.au/homepages/cswann/raul.htm] 18111 Nordhoff St., Northridge DAN HICKS & HIS HOT LICKS, 562-570-1745 818-677-5768 • cvpa.csun.edu and HOT CLUB OF COWTOWN McCabe’s Guitar Shop Cerritos Center for the Performing Arts 7:00pm TELLEBRATION $5 2:00pm RIDERS IN THE SKY [www.ridersinthesky.com] $30-45 RUSS AND JULIE’S HOUSE CONCERTS featuring South Coast Storytellers Guild Northridge Performing Arts Center Oak Park (Agoura Hills/Westlake Village area) 8:30pm TRACY GRAMMER [www.daveandtracy.com] $15 Granpa Jim Lewis, Linda King Pruitt, Maryann Newton, Coffee Gallery Backstage Betsy Mosier, Dave Chittenden, Doris Hand and others 7:00pm STEVEN PILE [www.stevenpile.com] 818-707-2179 FRIDAY NOVEMBER 12 Soka University, Aliso Viejo Campus Coffee Gallery Backstage www.jrp-graphics.com/houseconcerts.html 949-240-1896 • www.storyguild.com 7:30pm ELENI MANDELL / GWENDOLYN $10/$8 students 8:00pm ENSEMBLE GALILEI $25 SAN JUAN CAPISTRANO LIBARY 7:30pm TISH HINOJOSA [www.mundotish.com] $16 [www.elenimandell.com][www.gwendolyn.net] 31495 El Camino Real, San Juan Capistrano [www.egmusic.com] Folk Music Center Skirball Cultural Center McCabe’s Guitar Shop 949-248-7469 • www.musicatthelibrary.com 8:00pm BLIND BOYS OF ALABAMA $20-40 8:00pm SONGSALIVE! SHOWCASE $5.00 7:30pm DAVID JACOBS-STRAIN $12/ $10 TLT mem, SKIRBALL CULTURAL CENTER with SION & ANDERSON Children under 18 Free [www.blindboys.com] [www.songsalive.org] Cerritos Performing Arts Center 2701 North Sepulveda Blvd., Los Angeles with Lisa Johnson & more Young blues phenomenon with Local Favorites Hallenbeck’s General Store [www.davidjacobs-strain.com][www.sion-anderson.com] 8:00pm ARLO GUTHRIE [www.arlo.net] $25-75 310-440-4578 • www.skirball.org 5510 Cahuenga Blvd., North Hollywood The Living Tradition with THE KLEZMATICS [www.klezmatics.com] UCLALIVE! 8:00pm A GRAND IRISH CHRISTMAS CONCERT $25 HOLY GROUND: 8:00pm HOT LIPS & FINGERTIPS $15 The Jewish and Spiritual Songs of Woody Guthrie 310-825-2101 • www.uclalive.org Boulevard Music Performing Arts Building, Pierce College 6201 Winnetka Ave., Woodland Hills Walt Disney Concert Hall WALT DISNEY CONCERT HALL 8:00pm RAMBLIN’ JACK ELLIOTT $17.50 818-784-3805 • www.kerryrecords.com 111 S. Grand Ave., L.A. [www.ramblinjack.com] 323) 850-2000 • musiccenter.org/wdch McCabe’s Guitar Shop Indicates Editor’s Picks