CELTIC MUSIC ISSUE

FREE BI-MONTHLY Volume 4 Number 2 March-April 2004

THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA

“Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers PlatinumPlatinum BecomesBecomes HerHer MARYMARY BLACKBLACK ININ CONCERTCONCERT

AlsoAlso inside:inside: BY J.J. RYAN lthough mysteriously absent from mainstream LearnLearn IrishIrish American radio airwaves, Mary Black has been a staple of Ireland’s music scene for over 20 years. Indeed, as a testament to her longevi- MusicMusic ty as an artist, Black won Irish Music Magazine’s Irish Music Award 2003 for Best A Contemporary Female artist. AA ConversationConversation Mary Black sprang into the Dublin folk scene of the mid- 1970’s, along with her three brothers and sister Frances, as a WithWith BessBess member of The Black Family. From the beginning, Black’s voice had a quality that sounds both plain and elegant, with a rich and satisfying timbre that easily stands by itself a LomaxLomax HawesHawes capella. However, when she left The Black Family, she began to transition away from traditional Irish singing and part 3 toward popular music with a nonetheless distinctly Celtic part 3 flavor. With each album release, her reputation and population have grown. Her 1983 debut album Mary Black, produced by Declan Sinnot, earned her a gold album in Ireland. In PLUSPLUS 1983, Anthem, her LP with the legendary Celtic group DeDannan, won the Irish Album of the Year award. Her KeysKeys toto thethe HighwayHighway subsequent 1985 release, Without the Fanfare took a dis- tinctly more contemporary musical turn. This further estab- lished her expanding solo career, and led to her departure CDCD ReviewsReviews from DeDannan in 1986. Later that year, she received Ireland’s Entertainer of the Year award. TheThe VoicesVoices inin MyMy HeadHead Her biggest commercial success to date came in 1989’s MARY BLACK page 17 andand muchmuch more...more... Page 2 FolkWorks March-April 2004

EDITORIAL

elcome to the several articles with a Celtic PUBLISHERS & EDITORS WCeltic issue of focus. Our lead article is about Leda & Steve Shapiro FolkWorks. We are Mary Black, the wonderful LAYOUT & PRODUCTION dedicating this issue to a fellow singer who was involved with Alan Stone Creative Services who had a great impact on our some of our favorite Irish bands. FEATURE WRITERS lives - Johnny Cunningham, We also have an article by one of Brooke Alberts, Lookaround who passed away recently [see L.A.s finest Irish fiddlers as well Ross Altman How Can I Keep From Talking page 26]. We got to know as a new friend from the San Uncle Ruthie Buell Johnny’s music in the early Francisco Bay area. We hope to Halfway Down the Stairs 1980’s when the group he encourage you to do new things, Joanna Cazden formed with his brother, Silly to listen to new music, to learn an The Voices in my Head Wizard, was touring. We were instrument, to take classes in a Valerie Cooley, That Reminds Me... both inspired by the freshness folk art, in general to be open to Viola Galloway, World Encounters and passion of the band. In the new things. If you have a musical Gus Garelick, Interviews mid-1980’s we were fortunate to bent, try learning to play Irish or Roger Goodman see Johnny in what was uninten- Scottish music [page 3]. We have Keys to the Highway Dennis Roger Reed

tionally a private concert in SONES BY SONYA PHOTO added a new listing for music Reed’s Ramblings Santa Monica. He was in town BY LEDA & STEVE SHAPIRO instruction to get you started Dave Soyars, Dave’s Corner playing at a bar and no one had [page 8]. Likewise, if you like to Larry Wines, Tied to the Tracks done any publicity. The Larman’s on FolkScene dance, L.A. offers many opportunities for you to learn EDITORS announced that there was a rumor that he would be and participate. We would be amiss not to mention that David Ascher • Marie Bruno playing and we followed up on it, told some of our several of the FolkWorks staff can be found playing Valerie Cooley • Mary Pat Cooney friends and there we were, one on one. Johnny took it regularly at the local sessions (or seisiúns, as the Irish Chuck Galt • Stan Kohls in stride and played for almost an hour for us and the call them). Check out page 13 to find one close to you Marcia Michael • Britt Nicole-Peterson local bar folks. and come on down. If you get tired flipping those Diane Sherman • Joel Shimberg Johnny and his brother Phil occasionally toured as pages back and forth, just read the whole issue cover CONTRIBUTING WRITERS Betto Arcos • Kathy Buys a duet. Their musicianship was exceptional and their to cover! Cait Reed • J.J.Ryan • Jerry Weinert brotherly stage banter endlessly amusing. Johnny and Finally, the Internet is a boon to those of us inter- DISTRIBUTION Phil had not played together for many years, but this ested in Celtic music and dance. You can find and pur- Valerie Cooley • Mary Dolinskis past summer got together for a reunion. Johnny played chase just about any recording that is in current Chuck Galt • Marge Gajicki several times during the past years at the Kennedy release. Some of these recordings are easily obtained, Cliff Gilpatric • Scot Hickey Performing Arts Center in Washington, DC and there but there are a few sites that specialize in the more Sue Hunter • Dennis Louie Nan McKinley • Gretchen Naticchia are on-line archives of the shows, including the obscure recordings. If you read music, you can find Matt Reese • Bea Romano reunion concert for your free viewing. Johnny will be the written music for just about any tune that you Daria Simolke • Stan Smith sorely missed. would be interested in learning. There are also on-line Lynn Worrilow • John Wygonski We at FolkWorks have a deep love of Celtic music. lessons available. And, for a small price, there is a LOGO DESIGN We provide information about the Celtic happenings weekly updated on-line concert. All with your fingers Tim Steinmeier in the L.A. area. We often have reviews of Celtic CDs “doing the walking” on your keyboard. Go to Thanks to all those who have supported and that we think are exceptional and have produced con- http://groups.yahoo.com/group/FolkWorks/links and inspired us, especially Warren Casey of the certs of some of our favorite Celtic performers. We are you will find some of the aforementioned Internet Wicked Tinkers. Published bi-monthly by FolkWorks a 501 media sponsors of concerts at the Skirball Cultural resources, and while you are there, join the FolkWorks (c)(3) non-profit organization an affiliate of Center and the Celtic Arts Center. And in this issue, Group and get updated calendar listings and more. Country Dance and Song Society (CDSS). because of St. Paddy’s Day and Johnny, we present BOARD OF DIRECTORS Brooke Alberts • Linda Dewar Kay Gilpatric • Roger Goodman Don Kiger • Gitta Morris Molly Nealson • Colin Quigley 10,000 COPIES OF FOLKWORKS ARE Steve Shapiro` • Monika White DELIVERED TO THE FOLLOWING LOCATIONS: Ron Young Leda Shapiro, Executive Director ADVISORY BOARD ALTADENA ENCINO MID-WILSHIRE Santa Monica Library THOUSAND OAKS Altadena Library CTMS Center for Folk Music Craft & Folk Museum Thunderbolt Gobel Senior Center Bill Howard • Howard & Roz Larman Lisa Richardson • Tom Sauber Coffee Gallery Backstage GLENDALE Molly Malone’s Tower Records Instrumental Music Backstage Brand Library MONROVIA Unitarian Community Church Musician’s Boulevard ARCADIA Borders Books & Music Monrovia Coffee Co. Un-Urban Cofee House Russ & Julie’s House Concerts CONTACT INFORMATION Wild Fiber Thousand Oaks Library San Gabriel Bead Company Glendale Central Library NEWBURY PARK P.O. Box 55051, Sherman Oaks, CA 91413 BALDWIN HILLS Sylvia Woods Harp Center Newbury Park Branch Library SIERRA MADRE TOPANGA CANYON Phone: 818-785-3839 Baldwin Hills Library Tower Records Bean Town Mimosa Café [email protected] • www.FolkWorks.org NORTH HOLYWOOD Topanga Video BELLFLOWER GRANADA HILLS Celtic Arts Center SHERMAN OAKS ©2003 FolkWorks All Rights Reserved Bellflower Brakensiek Library Baker’s Square Duttons Books Coffee Roaster TORRANCE Blueridge Pickin’ Parlor Hallenbecks Freedom Guitar Tower Records BEVERLY HILLS Guitar Center Beverly Hills Public Library HERMOSA BEACH KPFK VAN NUYS Java Man Kulak’s Woodshed Second Spin Noble House Concerts BRENTWOOD Sherman Oaks Public Library HOLLYWOOD Traditional Music VENICE AD RATES Duttons Books Shamrock Imports Tower Records Amoeba Music Venice Library Size 1 X 3X 6X BURBANK Aron’s Records NORTHRIDGE SILVERLAKE PennyLane Coffee Bean & Tea Leaf WEST COVINA Full Pg $660 $600 $550 Genghis Cohen Barclay’s Coffee Tower Records Priscilla’s Gourmet Coffee Highland Grounds Borders Books & Music Eastside Records 1/2 pg $385 $350 $300 Public Library Home Restaurant The Fret House Irish Import Shop CSUN/KCSN La Tazza Coffee 1/4 pg $235 $210 $185 Q is for Quilts Sam Ash Tower Records La Belle Epoque Viva Fresh Los Feliz Library WEST HOLLYWOOD 1/8 pg $150 $125 $100 LAWNDALE PASADENA CANOGA PARK/ Los Feliz Theater Bodhi Tree Books 1/16 pg $85 $75 $65 Gotham Guitars Borders Books & Music Nature Mart WINNETKA Central Library WEST L.A. 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Long Beach Library- Coffee Fix CULVER CITY SANTA MONICA Jennifer’s Coffee Ads accepted in the following formats: Boulevard Music all branches DIGITAL Long Beach Museum of Art 18th Street Arts Complex Lu Lu’s Beehive DOWNEY Portfolio Café All American Hero Studio City Music Grayscale/B&W TIFF (min 300 dpi) or EPS Ace Music Spring St. & Los Coyotes (Venice Blvd) Studio City Public Library If you would like to have (outline all fonts or include fonts with file) Brewer’s Rendevous Diagonal Anastasia’s Asylum TARZANA FolkWorks distributed to your Digital files can sent via e-mail or on a non- City Limits Deli Tower Records Finn McCool Pub Coffee Junction place of business please e-mail returnable disk (floppy, ZIP or CD ROM in Downey City Library World of Strings Hear Music Norms Rare Guitars to: [email protected] or call PC or Mac format). Include placed images. Downey High School Library Pub 818-785-3839. Current and Downey Music LOS ALAMAITOS McCabes Guitar CAMERA READY Blue Mountain Bagels back issues are available on the Mambo Grill Midnight Special web in Acrobat PDF format. e- B&W line art with photos Nordic Fox Restaurant MARINA DEL REY Novel Cafe mail them to your friends & (must be suitable for scanning to grayscale) Third Street Coffee Tower Records O’Briens (Main) family. Warren High School Rose Cafe DESIGN SERVICES Design & layout services are available for a nominal fee. Contact us for details at: www.FolkWorks.org e-mail: [email protected] March-April 2004 FolkWorks Page 3 So you want to learn Irish music

BY KATHY BUYS “The tune inspires me. It stirs things within and several tunes under my belt, I found myself me which I am then compelled to express really enjoying learning this way. As I continued through that very tune itself. Irish music in the months that followed, I found myself get- contains the inspiration and dreams of gen- ting better and better at picking up tunes by ear erations past and present. The tunes are the and my playing sounded more authentic. seeds of this great collective...” This music is about fun, community, sharing IN THIS ISSUE - Martin Hayes stories and interacting with others. Learning by EDITORIAL...... 2 ear seems congruent with this culture. Dots have SO YOU WANT TO LEARN IRISH MUSIC...... 3 can’t think of a better way to express why I their place in this learning, i.e. as a reminder of KEYS TO THE HIGHWAY ...... 4 love this music and feel so utterly compelled how a tune starts and as a skeletal guide to how a How Standard Is Standard Pitch? I BANDS FOR HIRE ...... 5 to learn it. Here are some tips that may make tune goes. What gives a tune life is the subtleties THE VOICES IN MY HEAD ...... 5 your learning experience more enjoyable and of the ornaments, the rhythm, and the articula- Unnatural Acts or, Why Bother Studying Voice? fruitful even if you’ve been playing a long time. tion. These are very hard to communicate TIED TO THE TRACKS ...... 6 First let me say that there really is no right or through sheet music and few sessions look kind- INTERVIEW ...... 7 wrong way to learn any kind of music. Do what ly upon dot readers. I heard one person say that A Conversation with bess lomax hawes - part 3 works best for you in a way that fits with your reading music at a session is like showing up at a ON-GOING STORYTELLING EVENTS...... 8 DAVE’S CORNER ...... 8 own personal learning style, time, resources etc. party with a book. CD Reviews Keep an open mind, try different things and So to start learning by ear, I would suggest the WORLD ENCOUNTERS ...... 9 you’ll eventually settle into your own way of following: CD Reviews REED'S RAMBLINGS ...... 10 learning. • Take a recording device to sessions and les- CD Reviews Let’s start then with the question of whether to sons. The Marantz tape allows you to slow A MUSICAL JOURNEY ...... 11 use written music or “dots”. I learned tunes off things down to half speed and exactly one CD Reviews sheet music and then tried to memorize them. It octave lower. Mini disc players or regular IRISH SEISIÚN RULES...... 12 took forever and when I went to sessions and tape players are great. Ask someone to play ON-GOING MUSIC HAPPENINGS...... 13 CALENDAR OF EVENTS ...... 14-15 played my new tune, people would look at me as the tune slowly for you to record. ON-GOING DANCE HAPPENINGS ...... 16 if I wasn’t playing Irish music. Well that’s • Use your computer: Musicmatch Jukebox THAT REMINDS ME...... 18 because I really wasn’t. allows you to transfer music from a CD onto UNCLE RUTHIE...... 20 After realizing that tunes are rarely introduced your computer and Transcribe! and the PASSING THROUGH ON THE PICKET LINE MUSIC AND MOVEMENT...... 22 with dots, my turning point came during a class Amazing Slow Downer allow you to then Part Three: Up In Arms About Wrist Pain where dots were frowned upon and the tunes play the tune at any speed without changing LOOKAROUND ...... 23 were taught as a whole, not even section by sec- the pitch (unless you want to). What's Happening in L.A. tion. I resisted, I complained. But the teacher • Listen to recordings of people who really HOW CAN I KEEP FROM TALKING...... 25 Phil Ochs: Folk Singer at the Barricades stood his ground and told me to “have faith in the know traditional music and have been play- FOLKWORKS PICKS...... 27 process.” ing a long time. Ask professionals who play SPECIAL EVENTS ...... 28 I had no choice but to try it. After about 3 days The LEARN IRISH MUSIC page 25 Celtic Spirit

L to R Top row: True Thomas Storyteller, Irish stepdancing, Irish Button accordian and uillean pipes, Middle row: Tony Cuff Scottish singer, Celtic banner, Molly Bennett stepdancer, Bottom row: Bodhran player, Gathering of the Clans, Breton pipes Page 4 FolkWorks March-April 2004 How Standard Is Standard Pitch?

BY ROGER GOODMAN

ost musicians today use electronic tuners to make sure the new wind instruments. The traditional gut strings were Mtheir instruments are “in tune.” Electronic tuners are improved and the high E was eventually replaced with a metal based on the “standard pitch” of A-440, meaning string. Then opera singers began to complain and rightfully that the A above middle C vibrates at 440 Hz (Hertz) or cps so. The rising pitch stretched the singer’s range to the point (cycles per second). The pitch pipes and tuning forks that of damage and vocal chords, unlike gut strings, could not preceded electronic tuners were also based on the A-440 be replaced. Something had to be done. In 1859, the standard. Have you ever wondered about A-440? What’s French put their collective foot down and came up with so special about A-440? Or, who got to decide that it was a compromise pitch of A-435, right between A-430.5 the magic number? Or why do we need to have a stan- and A-440 and actually passed legislation to mandate its dard pitch anyway? Hopefully, you’ll find the answers to use. At the time when the French set this pitch the typi- these questions as fascinating as I do because in this cal ambient temperature was usually about 15 degrees issue, we are taking a little side road on the Musical Celsius (59 degrees Fahrenheit). As concert halls began Highway to learn about something we simply take for using steam heat, the standard temperature became a more granted. comfortable 20 degrees Celsius (68 degrees Fahrenheit). It Humans have probably been communicating with music BY has since been argued by London’s Royal Philharmonic longer than they have with language. When they first discovered ROGER Society that the oboe (the wind instrument that sets the pitch music it is likely that one person at a time created unaccompanied GOODMAN standard for the orchestra) tuned to A-435 at 59 degrees Fahrenheit melodies. There was no need to standardize pitch—people just sang will raise to a pitch of A-439 at 68 degrees Fahrenheit. Thus, in 1896 where it felt comfortable. When people began to sing with others they still did- A-439 became the standard pitch in Britain. Elsewhere, including the United n’t need a standard pitch because a group tends to reach a consensus just by States, pitch was still creeping upward. singing together. Even when singing became more complex and methodical The arrival of radio brought together music and musicians from all over the as, for example, when the monks developed the liturgical chant or plainsong, world. The lack of a worldwide standard pitch was now an obvious problem. there was still no standard pitch. By the time Pope Gregory codified the rules In the 1930’s there was a great effort by the broadcasting industry for stan- of notation for the chant, some monasteries seemed to center on a particular dardization of concert pitch in North America and Europe, and, in 1939, this pitch range but it varied from one monastery to the next. was achieved at an international conference in London. The original intent With the advent of musical instruments, pitch became more important was to use the Royal Philharmonic’s A-439. The BBC decided to begin regu- because of the instrument’s physical constraints but it remained quite random. lar broadcasts of an electronically produced reference tone. To produce the Even when voice and instruments were combined it varied widely from place note, they used an oscillator controlled by a piezio-electric crystal vibrating at to place. Then came the pipe organ and with it a compulsory pitch. This meant 1 MHz. This was reduced to a frequency of 1 KHz by electronic dividers. It that, if one was to sing or play with a pipe organ, there was no choice but to was then electronically multiplied 11 times and divided by 25 producing the agree with the pitch chosen by the organ maker. Still, pitch differed from town frequency of 440 Hz. It turns out that the desired target of 439 is a prime num- to town and from church to church. Pitch even varied on the same organ with- ber and as such cannot be reached by dividing and multiplying. So the BBC in a church. That’s because organs that had metal pipes were often tuned by began broadcasting a reference tone of 440 Hz. This is how we arrived at the hammering in the ends of the pipe to raise the pitch or flaring them out to magic number of 440 Hz. lower the pitch. After a few dozen rounds of this the ends would become If you had assumed it to be a spiritual number that vibrated in resonance frayed. The easiest way to fix this was to trim the ends off all of the pipes. This with the Universe and was delivered by the hand of God, my deepest apolo- would make the pipes tunable again but raised the overall pitch of the instru- gies. As we have seen it was the result of various science, pseudo-science and ment. The older the organ, the higher the pitch. Well, during the 16th & 17th practical considerations and is at best a necessary compromise. For the time Centuries most of the organs were in churches and it was commonly believed being the pitch of A-440 is a globally accepted standard pitch but not without that the higher the music, the closer it was to God. So, the pitch was allowed ongoing dissention, most notably from those who play and study historical to creep gradually higher. music. Placed in the current context of our rapidly changing world of tech- Another era of pitch-raising began after the Napoleonic wars when, during nology, A-440 begins to feel like an immutable constant and I have no doubt the Congress of Vienna (1814-1815), the Czar of Russia, Alexander I, pre- that it will remain as such — but know that, in any particular span of time, sented the Austrian regiment bands with a full set of beautiful Russian-made local conventions for standard pitch have moved up and down without any instruments. These instruments were in the “higher German pitch” which apparent scheme. So get out your pitch pipe, tuning fork or electronic tuner, made the bands sound brighter and more brilliant. The new instruments were listen for that 440 Hz and, of course, stay tuned. very popular, especially since they were better able to fill larger and larger venues with sound. The higher A-440 pitch quickly replaced the older A- Roger Goodman is a musician, mathematician, punster, reader of esoteric books 430.5, which had by then been the official pitch of Europe for over 100 years. and sometime writer, none of which pays the mortgage. For that, he is a comput- As a result, manufacturers started tuning their instruments slightly higher to er network guy for a law firm. He has been part of the L. A. old-time & con- make them sound brighter than their competitors. Other companies were then tradance music community for over thirty years. While not a dancer, he does play compelled to make theirs even brighter, and the pitch kept floating upward. fiddle, guitar, harmonica, mandolin, banjo & spoons. Roger has a penchant for But there were problems with the new higher pitch. Violinists were break- trivia and obscura and sometimes tries to explain how the clock works when asked ing strings as they kept increasing the tension to reach the climbing pitch of only for the time. He lives with his wife, Monika White, in Santa Monica, CA.

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THE VOICES BANDSGIG FOR BOX HIRE

IN MY HEAD BLUE GHILLIES BY JOANNA CAZDEN Blue Ghillies play traditional Irish music at its finest! The rhythmic combination of fid- dle, banjo, mandolin, bodhran and guitar Unnatural Acts will get you movin’ and groovin’. Jigs, reels, hornpipes, songs... Bookings for con- OR, WHY BOTHER STUDYING VOICE? certs, festivals, parties, dances, weddings or other special events: 818-785-3839 - email: n early and mid-January I had the great good fortune to meet two out- [email protected] Istanding voice instructors. First, I spent a week with singing teacher and voice scientist Jo Estill. Trained from an early age in bel canto (classi- BUZZWORLD cal art songs), she spent decades measuring how sound waves change when Southern California’s premiere Celtic- the muscles of the mouth and throat are used in different configurations. based acoustic / eclectic band. A unique Ultimately, Estill developed a highly unique system of voice training blend of exuberant Irish dance music with based on what she terms “compulsory figures” – tiny isolated movements classic jazz, surf, and spy music of the that, once mastered, allow a singer to produce any style of singing, from 1960’s. You’ve heard them on projects as opera to bluegrass to “belting” to wispy jazz. Now 82 and nearing retire- varied as James Cameron’s Titanic to ment, Estill is passing her pioneer’s torch on to a few younger teachers accompanying performers like Ray Charles, David Byrne and Brian Eno. around the country. As I honored vintage singers in my last column, I must Booking now: concerts, corporate events, private parties, weddings. here pay homage to teachers, and Jo Estill is certainly one who deserves 818-904-0101 • [email protected] • great appreciation. http://users.adelphia.net/~grlockwood/BUZZWORLD/INDEX.html One of her slogans—which I’ve long had pinned up in my office, for shock value if nothing else—is that SINGING IS AN UNNATURAL ACT. CLADDAGH, an Irish folk music band, is Before the folk police start beating on me with vehement “how dare you/ a lively quintet noted for outstanding everyone can sing/ don’t be a stupid elitist” brickbats, let me hasten to vocals, harmonies and a hefty dash of explain! humor. Instrumentation consists of: aguitar, Singing IS natural as an activity enjoyed since the earliest days of evolu- banjo, bass, pennywhistle, bodhran and oth- tion of the human family and tribe. Absolutely. It is found in nearly every ers... Bookings for concerts, weddings and culture, and is typically learned by osmosis or community experience rather any other special event. 818-363-1526 than as a formal practice. Lullabies, work songs, healing chants, courtship (Creative Spark) www.claddaghband.net songs, and bardic ballads are valued within the folk tradition because of OLD #7 their organic expression of indigenous identity and style. Mississippi native, Cliff Wagner and his But singing as a performance form, done for extended periods of time, band, “The Old #7” are entrenched in at high volume, and/or with elaborate ornamentation, does not come natu- preserving Appalachian Bluegrass, the rally to every human being. From the lumber camps of the Northeast USA very same music played by The Stanley to the healing ceremonies of the Navajo, and in other non-commercial or Brothers, Jimmy Martin, and Larry pre-commercial settings, certain people have been recognized as having spe- Sparks to name a few. Old #7’s sound cial vocal abilities. When labor becomes specialized, singing emerges as a incorporates traditional three part har- discreet skill, something to practice with conscious intent and discipline—a monies and excellent instrumentals influenced by The Delta Blues somewhat UNnatural act. and Honky Tonk which gives Cliff Wagner & The Old #7 their unique Estill’s training system, not surprisingly, felt extremely unnatural at first. sound. 310-831-0055 • cliff@old number 7.net www.oldnumber7.net It was like learning to dance by practicing 15 rigorous, individual steps to perfect mastery, except harder of course because of the difficulty of seeing THE PRATIES what’s going on inside the teacher’s throat, let alone one’s own. The Praties are a high-energy Irish band, I got the hang of some of it, heard other students master the bits I could- possessing versatility with a sense of whim- n’t, and was humbled by the entire experience. But Estill’s wisdom and humor sy, serving up an assortment of jigs, reels, balanced her high standards, and during informal singing sessions there were polkas, and evocative ballads and bar songs moments of drama and deep magic that made the work worthwhile. (with the occasional Beatles song or sea The following week, I met a very different voice expert: Catherine shanty/Pirate tune thrown in for good meas- Fitzmaurice, whose theater-based method uses dramatic body positions and ure.) The Praties line-up features tin whis- powerful transformations of breath to release muscle tension. This “de- tles, fiddle and flute, acoustic guitar, structuring” of habitual patterns throughout the entire body results in bodhran, hand drums and percussion, and increased freedom of sound. The sound is then “re-structured” for perform- vocal harmonies, sprinkled with bits of ance: energy circuits from deep in the pelvis are connected to the language- accordion, harmonica, and the occasional filled mind, creating a spontaneous, organic, yet highly-charged and skillful metal kazoo. vocal expression. Contact: Steve O’Loughlin @ 310-641-6971, or via e-mail: While less musical in orientation than the Estill Voice Training System [email protected] (EVTS), Fitzmaurice Voicework addresses the concerns of many folksingers I’ve met who “just want to feel free and open, not trained.” Although as yet Your band can be listed here! I’ve only glimpsed Fitzmaurice’s work, my years of studying other theater $30/1x • $75/3x • $125/6x • [email protected] • 818-785-3839 methods contributed as much as formal music training, to my singing, song- writing, and teaching. If you, as a folk-oriented singer, still lived in a small, culturally-cohesive and physically-active tribe, where everybody sang the same songs the same way during the same basic-life activities, you probably wouldn’t need to do MUSIC INSTRUCTION much more than mimic your elders. But in a sedentary, post-industrial lifestyle where everyone who hears you has also heard highly processed, Nicolas ferociously amplified singers in a dozen styles, just following your instincts Buckmelter: and copying a few old recordings may not be enough. Especially if you perform professionally, for hours at a stretch and for IRISH FLUTE, days/ weeks/ months on tour, an everyday level of vocal technique won’t protect you from strain. It is natural to worry about a voice teacher chang- TIN WHISTLE, ing your style. But if you’re clever, you can learn basic techniques and then LOW WHISTLE. use them your way. That too is part of the tradition of folk arts. For more information on the two methods I’ve mentioned here, check Nick has been playing and teaching Irish flute and whistle for more than out www.EVTS.com and www.fitzmauricevoice.com. ten years. In 2003 he toured Japan as a traditional musician under the Finally, a correction and profound apology for misnomers in my last col- auspices of the Irish Embassy in Tokyo. Over the years he's had the umn: I managed to mangle both the spelling of Buck Page’s name, and the title of his band, Riders of the Purple Sage. Such errors may be human and good fortune to perform with some of the most respected musicians in “natural,” but in journalism as in singing, getting things right sometimes the Celtic world, including the Chieftains, Dale Russ, Pat O'Connor and takes effort. Carry it on. the Black Family. He hosts a regular session at Finn McCool's in Santa Monica. Joanna Cazden is a singer-songwriter and licensed speech pathologist. Find her online at www.voiceofyourlife.com 760-935-4812 or [email protected] Page 6 FolkWorks March-April 2004

erhaps it’s because the first feature film music biography source saying her life story Pwas a Western. Perhaps it’s because the must be fiction. Southern Pacific Railroad arrived from Michelle Shocked’s days on the punk scene Louisiana and Texas. But the music of the Lone TIED are behind her, as is the exploitation she experi- Star State has always been well received here, enced when her first hit record was a pirated and its multiple influences are strong. Just ask TO THE field recording made at a Kerrville Folk Festival local band Border Radio. campfire in the late 1980’s. That was released in You see the influence in traditional Western TRACKS England and played heavily on the BBC with a music, and in the traditional and new folk mishmash of her song titles, as the Texas sounds of Texas musicians, gifted singer-song- Campfire Tapes, off-speed because the cassette writers like Willie Nelson, Tom Russell, Guy recorder’s batteries were low. Clark, the late Townes Van Zandt, and those BY LARRY WINES At the time, she hadn’t dreamed of becoming remarkably gifted women, Tish Hinojosa and a performing musician, despite some brilliant Michelle Shocked. songwriting. But the experience led directly to We’ll look at both these expressions of Texas the bard of Armaugh. Others, like Ken Graydon, her first stage show, ever, at London’s Queen influences, in music you can enjoy live and own a singer-songwriter, recording artist and musical Elizabeth Hall. Then came her life as a travelling on CD. First is traditional Western music, and historian, weaves Spanish and Mexican roots minstrel, more exploitation, more songwriting, the local festival that celebrates it, then we’ll get into his Western music shows. Paying musical more experience, and eventually to a determina- to the new folk sound of East Texas refugee homage to their origins, each one demonstrates tion to take on the record companies. She won a Michelle Shocked. 150 years of the “folk process” that produced landmark case against Mercury Records, by The 11th annual Santa Clarita Cowboy Poetry dozens of favorite cowboy songs. It’s the roots of invoking the 13th Amendment’s protection and Music Festival, held March 26-28 in and roots music, often an ocean away. against slavery. It brought profound implications around the movie-set Cowtown at Gene Autry’s Festival admission includes dozens of per- for countless artists caught in contract limbo. old Melody Ranch Motion Picture Studio, is a formances. Two evenings and two full days of Today, she is the only major artist to own her must-do. Like all good music and folk festivals, reserved seat shows require additional ticket entire catalogue of songs. it’s the place to explore and discover performers, purchases. Classic Western films are screened. Protest activism that once drove everything is genres and styles, enjoy old favorites, find new A banquet for inductees to the Western Walk of still at the core of her social consciousness. ones, and savor the prevailing spirit. This one Stars and a special train on the Fillmore & Witty and passionate commentary is as much a has the best ambiance anywhere, with riders on Western Railway also feature music. Call the part of her live performance as sharply cogent horseback and narrow, dusty streets of a Western City of Santa Clarita for information and tickets lyrics in the best folk tradition, delivered with Brigadoon, reborn for the weekend, as each toll free hotline is 1-800-305-0755, or call the powerful acoustic guitar statements and a fresh building’s interior come to life. Festival ticket office: 661-286-4021. fusion of Western and blues styles. This year’s performers include, naturally, On to our second theme, a notable example Headlining a benefit at Kulak’s Woodshed in some Texans. Don Edwards is a festival favorite, of Texas influence in new folk music. North Hollywood for striking grocery workers playing one of the premium-ticket concerts. He Michelle Shocked might seem to be at oppo- came three days after sharing a stage in Austin was nominated for a Grammy with Peter Rowan, site poles from the lone prairie, but only to those with Willie Nelson and some all-star friends. Tony Rice and Norman Blake for their 2002 CD, who haven’t treated themselves to a tour of her That was a benefit for Democratic Presidential High Lonesome Cowboy. rich and, yes, often eclectic music. Sometimes, candidate Dennis Kucinich. There, Nelson Katy Moffatt is a world-traveled folk singer- she’s on the cutting edge of new folk, sometimes debuted his protest song, Whatever Happened to songwriter and recording artist with Texas roots. so steeped in traditional roots that a new song Peace on Earth, and Michelle joined Tish She delights audiences with storytelling, fine sounds ancient, or from some other genre alto- Hinojosa for a duet of the latter’s poignant, guitar work, and abiding passion in her music. gether. Something in the Rain, about the tragic conse- All around, it’s an “A” list of entertainers all Most often, her music is marinated in East quences for farm workers of prolonged pesticide weekend, including musicians R.W. Hampton, Texas-Arkansas-Louisiana influences. But her exposure. Each was cited in the magazine, The Sourdough Slim and Dave Stamey and 2001’s music invites mixed metaphors, and the tracks Nation, for their sharp social and political music best-in-the-nation cowboy poet Larry Maurice - on her CDs are as fluid as where land and water and commentary. It’s Michelle Shocked in her all folks with CDs that we’ve favorably reviewed meet in the piney wood swamps, unpredictable element. here. from one place to the next. That’s apparent in her Lately, she’s been adjusting to a divorce, and Simultaneous shows are the rule. You can’t 2002 CD package, Deep Natural. It includes a busy reengineering, remixing, adding songs see everybody, so here are a few suggestions. second disc, Dub Natural, with her sometimes omitted at the time, and re-releasing each of her Each has released CD(s) with fine musicianship inspired alternative instrumental improvisations previous albums. Many had been scarce or and plays just as well live. Joni Harms writes on the first disc’s main titles. unavailable for years. The new packaging charming ballads and has a children’s album. You hear lots of influences in her work. An includes artsy booklets that reveal additional And see Wylie and the Wild West, he of the abundance of blues flows smoothly in and out of dimensions of her highly creative mind. The new Yahoo Internet yodel, the band a high-energy strummed string and bowed fiddle themes, as release of the Texas Campfire Takes (the last favorite of western swing dancers. New West, a Louisiana jazz and Cajun accents push and pull. word subtly changed) is a must for everyone trio of innovative musicians, is award-winning There’s plenty of Western Swing in there, and who enjoys great guitar al fresco (here, it’s com- songwriter Mike Fleming, talented standup bass when she blends the horns on the latest augment- plete with crickets and popping fire) and the player David Jackson, and renowned lead gui- ed re-release, her Captain Swing CD, it’s only songs are delightful. It’s a two disc set, one tarist Raul Reynoso. Raul has solo CDs and surprising because the world abandoned brass in reengineered with amazing sound clarity; the appears on other CDs, including Christina this genre decades ago. You simply need to other the complete original field tape with pre- Ortega’s Vaquero Song, reviewed here last issue. remember that in Texas, all music is dance music. viously unreleased songs and original tape hiss. New West won the Will Rogers Award for best Most of her work is driven by her own acoustic Aficionados of new folk with a bluesy edge Western group. guitar, which she plays with energy, skill and should go for the expanded re-release of Short The Lost Canyon Rangers are completing a often brilliance, on her compositions and cowboy Sharp Shocked. Much of what’s here is brilliant CD in time for their gigs at the festival. They standards, like (Goodbye) Old Paint. and retains its social relevance. And it includes sent a disc with the first nine tracks, still being She says her biggest influences are Clarence her trademark, Memories of East Texas. mixed; the musicianship is there, so make a “Gatemouth” Brown, Doc Watson and Norman The entire catalogue is available on her web point to hear them perform. Blake. Her web site includes a map of the land- site: www.michelleshocked.com. Those wanting Belinda Gail will share the Festival’s prestige scape of her childhood, with built-in bios and to explore the life and career of this fascinating show with Curly Musgrave. They are the hometowns of 22 of her nearby musical heroes, woman and artistic genius can read an extensive Western Music Association’s female and male including Willie Nelson, Leadbelly, Blind biography and countless news stories at an unof- vocalists of the year. Each is a solo act, but their Lemon Jefferson, Lightnin’ Hopkins, T-Bone ficial site: glimbo.cjb.net. 2003 duet CD, When Trails Meet, was quickly Walker, Lefty Frizzell, and the East Texas acclaimed. The two teamed again for a travelling Serenaders. Larry Wines is a writer, songwriter, journalist and cowboy Christmas show. Each released a solo To explain it better, you need to know that columnist, mountain climber, museum founder CD last year, as well. Musgrave’s is The Michelle Shocked, born Michelle Johnson, was and former political pundit. He has restored steam Heritage and Gail’s is Blessed Trails. To hear dragged all over the world as an army brat in a locomotives and enjoys long train rides, good them this time, it’s a $70 ticket for a step into big and poor family, until she left home at age music festivals, moonlight on water, riverboats, history, a show in cowboy movie star William S. 16. Living like a female Jack Kerouac eventual- Shakespeare and great songwriters. His work has Hart’s living room. ly led her back to Texas, where she put herself appeared “in lots of obscure places” throughout David Wilkie & Cowboy Celtic, from Calgary, through the University in Austin. Her degree is America. He writes a column with weekly feature a harpist. Their niche delivers surprises in interpretation of literature, a kind of rebellion entertainment picks and concert and CD reviews, and charm, combining traditional cowboy bal- against the materialism of the Reagan years. including lots of acoustic music offerings, lads with ancient Celtic roots. There are tales of her sleeping each night in an available www.medianetworkgroup.com/index.html. Credit where it’s due, though. Don Edwards Austin bookstore after it closed. She’s known the You can e-mail him at [email protected]. has, for years, performed Streets of Laredo, vagabond life on two continents, homelessness, weaving the song’s original Scottish lyrics about living on a houseboat, and one authoritative March-April 2004 FolkWorks Page 7

INTERVIEW A Conversation with bess lomax hawes - part 3

INTERVIEWED BY ROSS ALTMAN JULY 10, 2003

[For those of you who would like to know more howjado”—it doesn’t get sillier than that. about Bess's work as a folklorist, there is a new BLH: That’s right. Mine were mostly pop song DVD entitled, The Films of Bess Lomax Hawes, parodies. available for $24.95 plus $6.00 shipping from www.media-generation.com. You will discover FW: Oh really? that, even in this longish interview, looking back BLH:Yeah.Just whatever occurred to me. I was more than half a century, we have only scratched just amusing myself. I ran into so many people the surface]. who had written poetry and songs of their own, FW: I know you’ve been asked this a thousand and had them in their own equivalent to a bal- times and you can just tell me to bugger off. What lad book that they were saving. I think it’s is your definition of a folksong? With the emphasis something that Americans do very easily. I on “your.” I’m not asking you to recite the aca- think that’s what most of the cowboy songs demic definitions in the American Heritage were too. They were songs about what the guys Dictionary, but as you see it. were doing and they were written to keep them from being bored, to pass the time, and because BLH: I would probably come closer to that they had something they wanted to say. than to some of the more folky ones. I think that folksongs have to have a history, that they have FW: What were some of the earliest songs that you to have some past. You can have a song that’s actually learned from, that you would still sing, probably going to be a folksong.You can bet on that meant something to you? it. I mean I hear something every once in awhile BLH: “Old Chisholm Trail” was one. We used and say “That’s going to make it.” I do think to sing that in the car, ‘cause that went on for- first job there. Then he went to the Library of that one of the important things about a folk- ever. Congress and they hired me. I was there for song is that it has proved itself through time as FW: [laughs] ‘Cause it was long, as long as the about 20 years. I was there a long time. It was a to having some kind of real importance to the trip. very fascinating job, because technically speak- human spectrum. I don’t know. It’s memorable, BLH: Yeah, yeah. That’s right. In fact, that’s ing what I was supposed to do was to, in the because nobody ever teaches you these things. what an old cowboy told father about. He said first place, take care of every folk group in the They just sing them to you. Then you learn that song is as long as the trail from here to country that was doing something that needed them if you want to. That to me is an essential. Kansas. some money. Well, you know, I could maybe get The topical song I think often becomes a folk- a half a cent out to them. It didn’t make much song, but an awful lot of them don’t. Woody, for FW: I see. sense in those terms. I also was supposed to take example, I think his only song that’s become a BLH: And you don’t ever get through with it. care of all of the kinds of art. Visual art, dance, folksong in any sense is This Land is Your Land He was absolutely right. That’s what they did. storytelling, music, songs, the whole works. and Union Maid the chorus. Everybody on the They just went on and on and on, piling up FW: Folk arts in the broadest sense. picket line sings Union Maid. They don’t know things. It was boring being a cowboy, you know. BLH:Yeah.We spent ten years working terribly the rest of the words at all and they don’t know FW: Would you sing just a verse or two? whoever wrote it either. But the others haven't hard on trying to figure out any way to do it at gone into the public domain in the way that I BLH: [singing] Come along boys and listen to all. We had only a small budget and one of the would have thought, myself. I would have my tale, tell you of my troubles on the old fellows who ran the endowment said one time, thought So Long, It’s Been Good to Know You Chisholm trail. Coma ti yi yippy, yippy yea, “Every time I sign off on a grant, I know I am would have got it, but it didn’t quite. It may yippy yea; ti yi yippy, yippy yea. I started up the making one friend and two hundred enemies.” rd come back. trail October 23 , started up the trail with a I always had this sense that when you worked two ewe herd. Coma ti yi yippy, yippy yea, yippy for the government you were working for the FW: Well, it’s hard to compare other songs to This yea; ti yi yippy, yippy yea. Stray in the herd and Land is Your Land . . . people, and you were supposed to take care of the boss said kill it, so we landed that stray in the people. I didn’t like to tell people no. I final- BLH: That’s right. That was taken over. the bottom of a skillet. Coma ti yi yippy, yippy ly, I finally worked out, by the way, a kind of a FW: . . . because that’s close to a national anthem. yea, yippy yea; ti yi yippy, yippy yea. [not folky description of what we were doing that singing] I don’t have any voice anymore, but BLH: Yeah. satisfied a lot of people. I said, “You know, you that’s the way it goes. sent us this application for money, because FW: But Sam Hinton did collect different versions FW: That’s wonderful. you’re going to do this nice thing.” We get a of Talking Dustbowl some years ago. BLH: It’s just a little verse here and a little number of people together- we get ten, twelve BLH: I wouldn’t be surprised. verse there. people together and they all look at all of the FW: In California, I mean. Well, that’s interesting. things that come in. I said it’s begun to remind FW: It’s a little more of a minor key than I heard it It shows you how hard it is to write a folksong, me of a potluck supper. Everybody has brought off of the record. That’s lovely. Okay. Let me ask because if Woody only got one or two, or one and in the very nicest thing they know how to make. you about winning the National Gold Medal of the a half, what chance do the rest of us have? They make their special chili or their special Arts in 1993. You went to Washington. What was turkey or their whatever. And then the staff BLH: I think it’s terribly hard. I think it does- that like? This was during Clinton’s administra- comes in and we fix it all up so it was like the n’t much matter. You’re writing a song and tion. parsley and the decoration. Then the people you’re writing a song for people to sing it. BLH: Yeah. How did you hear about that? It who are on the board have to come in and say, That’s a little bit different from writing a song was in my vita? “What am I going to eat for supper?” for a rock group or a hip group of some kind. That’s written for commercial purposes. That FW: It mentioned it in passing, yeah. FW: Oh, I see. song that you’re writing is because you want to BLH: Oh well. What I had been doing after I BLH: “Am I going to have turkey or going to say something. I think those are for me just had finished with the Festival on the Mall, I have ham? I can’t eat both of them. I’m going songs. I think a lot of people write songs all the went and got a job over at the office at the to have to pick the things that seem to me like time. I wrote songs for my kids when I was rais- National Endowment for the Arts, which was food that would be a good reason for picking.” ing them, when they were babies. No one will set up by Congress with a specific job of sup- They began to kind of catch on to the fact that ever sing them but me. porting art forms. They were not supposed to they weren't being disgraced when they got FW: Would you consider singing one of them here? do it themselves, but they were supposed to get turned down. They weren't being turned down, Or the part that you remember? money to people who were doing good art. they just didn’t make it that time. They might There had been a great deal of uproar in the have had a perfectly wonderful thing that BLH: They’re kind of silly. folklore community about there should be some everybody felt was great, but we didn’t have the FW: Well, but kid songs are supposed to be silly. folksongs in there, there would be some folklore money. “You stick out your little hand at every woman, material in there, there should be some FW: So was the medal that was- winning the gold kid, and man, and you shake it up and down, how’d folksingers. It hadn't happened. They finally medal- was that in recognition of your work on you do, how’d you do howja, hojee, heegee, higee, put somebody in there. Alan Jabbour got the BESS LOMAX HAWES page 24 Page 8 FolkWorks March-April 2004

Dave Soyars is a bass player and guitarist, a singer/song- syncopated rhythms on accordion are great for listening writer, and a print journalist with over fifteen years expe- or dancing. As the lead male voice in Solas he usually rience. His column features happenings on the folk music only sings a song or two per set, here he sings four, all scene both locally and nationally, with commentary on beautifully. He is only the secondary singer in Solas recordings, as well as live shows, and occasionally films only because their singer Dierdre Scanlan is so good, and books. Please feel free to e-mail him at not because McAuley isn’t up to being a lead singer. [email protected] or write him c/o FolkWorks. The songs are mostly American and English, and the version of The House Carpenter is haunting, and com- pletely different from other versions that have been his is going to be the debut of my new column released lately, like the one by ex-Solas singer Karan Tformat, the first in which I shift the emphasis Casey. It does have a bit of the feel of a Solas record, over to fewer, but longer, reviews. As such I’m particularly with four past and present members guest- going to focus on three releases, all Irish, all with 2003 BY MARIAN KATZ PHOTO ing, but that’s not a bad thing. The original tunes are release dates and all on the same label. Since they all great also, with plenty of diversity, from the Gallician receive the same basic rating, I’m going to list them in styled Colito Fortuso to The Maritime Waltz. It’s the order, from least favorite to favorite. The order will sur- shortest of the three, but also the most consistently prise some people who have read this column for a pleasing. while. So that’s it until next time. I’m not sure what I’ll The Road Less Traveled, the new one by Danú, cover next time, but I do think I’ll stick with this new [Shanachie] (!) probably falls under the category of AVE S format, unless I hear from readers that they liked the old ‘mild disappointment.’ Not that it’s a bad record at all, D ’ way better. As such and as always, I’d love to know what the instrumental tunes still have plenty of fire and new you think. Feel free to contact me. singer Muireann Nic Amhlaoibh has a lovely low alto voice (although I do miss the even lovelier tenor voice RATING SCALE: of departed singer Ciaran O’Gealbhain). The song ORNER [!!!] Classic, sure to be looked back on as such for gen- selection, however, is not the equal of their previous releases. TommyC Sands’ erations to come. Co. Down is probably the best of the lot, and the two Irish-language ones are [!!] Great, one of the year’s finest. If you have even a vague interest in the quite pretty, but the American traditional Peg and Awl is taken too slowly, artist, consider this my whole-hearted recommendation that you go out and their version of Fairport Convention’s Farewell, Farewell is played and purchase it immediately. pretty straight—it’s a great song, they just don’t do anything unique or excit- [!] Very good, with considerable appeal for a fan of the artist(s). If you ing with it. That said, this is still a band of great young players and the purchase it, you likely won’t be disappointed. instrumental sets are well arranged, including a march/jig featuring piper [--] Good/solid, what you would expect. Donnchadh Gough and a great set of hornpipes featuring guest fiddler John [X] Avoid. Either ill-conceived, or artistically inept in some way. Sheahan. In fact, the final track, a set of reels, is as exciting as anything they’ve ever done. It’s not fair to expect them to be brilliant every time and fortunately this is still plenty good. One other change has been made, gui- tarist Noel Ryan has left the band, and is replaced here by Donal Clancy. On the other hand, the new one by Solas, Another Day [Shanachie] (!) is On-going Storytelling Events going to please plenty of people disappointed that their last release featured GREATER LOS ANGELES SUNLAND-TUJUNGA STORYSWAP so few traditional sounds. As a band they have long had a desire to explore LOS ANGELES COMMUNITY 2nd Saturdays • 8:00 pm STORYTELLERS Sunland-Tujunga Library Storytelling Group other, non-Irish and non-traditional forms of music, and it’s hard to really 2nd Thursdays • 7:30 pm 7771 Foothill Blvd. • 818-541-9449 blame them. I imagine being masters of the form that they are, it’s natural Temple Beth Torah STORYTELLING & PERFOMING ARTS 11827 Venice Blvd., Mar Vista TOASTMASTERS for them to want to seek a new challenge. Hence the contemporary sound of Audrey Kopp • 310-823 7482 • [email protected] A Toastmasters Storytelling Group their last CD, which was actually quite tasteful, but disappointed many as FAMILY STORYTELLING 2nd Mondays, 7:00pm Saturdays/Sundays CoCo’s Restaurant the first Solas record ever without that familiar writing credit: “traditional 11:00 am, noon, 1:00 am • Free 15701 Roscoe Blvd., North Hills arrangement.” But here they’re back to their roots, at least to some degree. Storytelling in Spanish on alternating Saturdays. 818-541-0950 • [email protected] The best track on it is the first one, the driving reel set Bird in the Tree, prov- Getty Center Family Room ORANGE COUNTY 1200 Getty Center Drive, L.A. COSTA MESA SOUTH COAST ing that even after their side trips into contemporary song, they are still 310-440-7300 STORYTELLERS GUILD supreme traditional players. This is, unfortunately, the only track on which LEIMERT PARK 3rd Thursdays • 7:00 pm GRIOT WORKSHOP Piecemakers Village Seamus Egan plays flute, but his fine whistle and guitar playing elsewhere 3rd Wednesdays • 7:00 pm 2845 Mesa Verde E. • 909-496-1960 almost makes up for it. There are a few contemporary songs here as well, 3335 43rd Place, across from Leimert Park SOUTH COAST STORYTELLERS and those are chosen wisely, with one each by Dougie MacLean, Kieran 310-677-8099 Saturdays & Sundays • 2:00-3:00 pm SAN GABRIEL VALLEY STORYTELLERS Bowers Kidseum Goss, Dan Fogelberg (Scarecrow’s Dream, one of his better songs) and new 3rd Tuesdays • 7:30 pm 1802 North Main St., Santa Ana guitarist Eamon McElholm. But it’s undeniable that instrumental tunes are Hill Ave. Branch Library 714-480-1520 • www.bowers.org/link3c.htm 55 S. Hill Ave., Pasadena MISSION VIEJO STORYTELLING still where they truly excel. Better than anyone had a right to expect it would 626-792-8512 Wednesdays • 7:00 to 8:00pm be, and their best recording so far this millennium. LONG BEACH STORYTELLERS Borders Books and Music The best of the lot, however, is the solo album by the accordion player in 1st Thursdays • 7:00 pm 25222 El Paseo • 949-496-1960 Long Beach Storytellers will be meeting in a COSTA MESA STORYTELLING Solas, Mick McAuley, An Ocean’s Breadth [Shanachie] (!). First off, while new location BY LAURA BEASLEY it’s all fairly traditionally styled, it is also tastefully contemporized, with Los Altos United Methodist Church at 5950 E Wednesdays • 10:00 am Willow , Long Beach. New contact number: South Coast Plaza • 949-496-1960 extra richness coming from the standup bass of Steve Beskrone and the very 562.961.9366 subtle touch of synthesizer programming (by Seamus Egan!). Also, McAuley is not just a box player who sings- he’s really good at both. His

PRESENTS AN EASTERN EUROPEAN MONTAGE FEATURING NEVENKA & BAKSHEESH BOYS CONCERT • CD RELEASE PARTY • DANCE SATURDAY - APRIL 17, 2004 – 8:00 pm Unitarian Church of Santa Monica • 1260 18th Street, Santa Monica TICKETS: $15 ($13 FolkWorks members/students) SASE to FolkWorks, PO Box 55051, Sherman Oaks, CA 91413 • On-Line: www.FolkWorks.org For Information: [email protected] • 818-785-3839 March-April 2004 FolkWorks Page 9

WORLD ENCOUNTERS Thai Folk Fiddle BY VIOLA GALLOWAY

Artist: USTAD NUSRAT FATEH ALI KHAN & PARTY: PUKAAR Artist: ZARSANGA Title: THE ECHO Title: SONGS OF THE PASHTU Label: NAVRAS Label: LONG DISTANCE Why this one, you may wonder? It is not a new release but I was com- The Pashtu are mountain people in Pakistan and Afghanistan – think pletely enraptured listening to this CD again. Having seen and experienced Peshawar that we have heard much about! Their language is of Iranian ori- Nusrat several times performing to an almost exclusively Pakistani crowd gin and is spoken by about half of the population of Afghanistan. According which hardly ever stopped dancing, it conveys so magically what ecstatic to the liner notes this recording features Zarsanga, the voice of a people, a sufi (Muslim mysticism) singing really means. There are not any of the later female one no less, a shepherdess and mother of many children, whose fusion elements to be found here, just two singers: Nusrat, with Ustad Sultan songs are love poems. The sound is related to folk music from India or Khan (from Rajasthan, on sarangi) and with Ustad Abdul Sattar Tari (on Rajasthan, with the main instrument a sort of metallic-sounding lute and a tabla). Although they met, the two singers never actually performed togeth- drum (dholak or tabla). er live. Nusrat died in 1997 and the recording is actually the result of mod- ern technology. Here they alternate in a seamless blend, starting with Artist: TERUHISA FUKUDA:SHAKUHACHI Title: KINKO SCHOOL Nusrat’s signature song, Allah-hoo, Allah-hoo, Allah-hoo in an emotional Thai Zilophone version. There is only one other song you have to hear in order to understand Label: OCORA the Nusrat magic: Ali Ali Ali Maula Ali Ali, Haq! The shakuhachi is a very difficult to play bamboo flute with six aper- tures. It was originally used for court music in Japan and later by Zen monks Artist: VARIOUS for spiritual research, thereby equating the practice of the instrument as Title: TRADITIONAL INDIA Tamburitza meditation, such as the Kino School. Teruhisa Fukuda has widely collabo- Label: NAVRAS rated with western musicians and therefore this recording differs from tra- One of the few Indian CDs you’ll ever need and one I can listen to every ditional shakuhachi players. day: Soul, sufi, classical, and lots of ghazals (poetry)– it’s all here on 2 CDs in a really great compilation. There are outstanding tracks by Anup Jalota Artist: VARIOUS (bhajans), Shweta Javeri (performing a track from the movie Dance With Title: MUSIC OF INDONESIA - MALUKU AND NORTH MALAKU the Wind), the great Lakshmi Shankar, Rajasthani gypsy music, Abida Label: CELESTIAL HARMONIES Parween (the only female qawwalli singer),, and, of course, the master him- If you have been following the news you may realize that the self, Nusrat Fateh Ali Khan, plus many pleasant surprises by lesser known music on this recording from 1989 may not exist any more due to artists. recent problems in Indonesia (religious fighting, etc). A former Portuguese, Spanish, and Dutch province, the Artist: SUPER RAIL BAND DE BAMAKO area consists of many former spice islands. Djembe Title: KONGO SIGUI As local religions were Catholic, Protestant, Label: INDIGO Muslim, and nature-spirit based, the music became This recording is not groundbreaking but a continuation of their previous Zulu Drum an interesting mix of content and instrumentation. As to be work. The official train station band of the capital of Mali, this is a group expected by this label, this double CD comes packed with which has survived since the 1970’s, mostly thanks to their guitarist informative liner notes and most of all, absolutely interesting Djelimady Tounkara, who has been called Africa’s greatest one. Try the title and unusual music: Bamboo flutes orchestras with brass trombones and track to see whether you agree. This style of music has been called tuba, performing at rice-stamping or weaving dances, martial “Manding swing,” and it now incorporates elements of rock, blues, Cuban, dance songs, “peace-restoring blood-drinking ceremonial reggae, and other types of music. The title track, for example, with its dances,” songs of praise, etc. sweeping, hypnotic sound, makes for great driving music. Also recommended: Artist: FAUDEL Scottish BARBAROS ERKÖSE ENSEMBLE and DEEPAK Title: ANOTHER SUN Bagpipe RAM (Indian crossover flutist) (both on Golden Horn Gadulka Label: WRASSE Records). Attention: Pop album! A few years back Faudel was the wunderkind of rai, the successor of the Voice, Khaled. This is Faudel’s first release in a long time and a fun, pan European release, full of flamenco and reggae influences. Purists will snub this one but if you want to feel like stopping in Paris and Sevilla, this is for VIOLA’S RESOURCE LIST you. All songs are smartly translated into English and there is Faudel’s warm Book: World Music, a Very Short Introduction by Philip V. Bohlman voice, of course. Magazines: Artist: MARCOS VALLE The Beat (American), Songlines (from the UK), and fRoots (formerly Folkroots) Title: CONTRASTS Sitar Websites: Label: FAR OUT www.sternsmusic.com (mostly African music) Marcos Valle is still one of the innovators of Brazilian music: How about www.mondomix.org (all aspects and types of world music) the sound of Nêga do balaio? Like his previous recording on this label, this www.bbc.co.uk (serious musicology plus world music links) www.afropop.org (NY-based radio show with links, information on concerts etc.) one is firmly based in his past and not related to the current sounds we are www.maqam.com (Arab music) used to hearing from that country. Just in case, there are a few remixes for DJs. www.greekmusic.com (Greek music) Artist: IDRISSA SOUMAORO www.piranha.de (WOMEX, world music conference) Title: KÖTE www.canzone-online.de (labels and releases not available in U.S.) Label: WRASSE He’s the guy who was left behind. While the Super Rail Band and Boubacar Traore (from Bamako) worked on their careers, Idrissa Soumaoro stayed behind and taught music to the visually impaired and supported his family. The result is that nobody outside Mali knew about him. That is changing now thanks to a new recording that starts out on a very sweet note. By the second track we know that his groove means busi- ness. The music is laid back and an unusual touch is the added percussion, harmonica, flute and accordion. Idrissa Soumaoro sings, and plays guitar and ngoni for his people, the Bambara.

Artist: VARIOUS Vietnamese Banjo Title: ROUGH GUIDE TO EGYPT Label: ROUGH GUIDE Ever since the great Oum Kalsoum, Egypt has been the center of the Arab music (and film) industry. It was inevitabe that the Rough Guide folks would come up with their own compilation, one conceived for the ears of the western listener (meaning that one would hear a different sound in the streets of Cairo). There are plenty of old and new vibes, performed by Amr Diab, the superstar of the Arab world, from Nubia, Hamza el Din and the sadly underrated Mohamed Mounir (on a very hypnotic track with a drum and bass undercurrent). And yes, there are a couple of classical tracks by Warda, Abdel Halim Hafez, and Mohamed Abdel Wahab, plus a fair meas- ure of new, interesting voices with contemporary instrumentation, such as Nagat El Saghira, and Angham. Page 10 FolkWorks March-April 2004

CD REVIEWS

Artist: VARIOUS Title: COLD MOUNTAIN (MUSIC FROM THE MIRAMAX MOTION PICTURE) Label: DMZ/COLUMBIA/SONY MUSIC SOUNDTRACK REED’S RAMBLINGS Release Date: DECEMBER 2003 over the record. A few of CD REVIEWS BY DENNIS ROGER REED Okay, first let’s get some history and politics the folks from O Brother out of the way. It starts in 1997, with Cold soundtrack return, Mountain by Charles Frazier. Frazier’s first novel including Norman tells the tale of a Confederate soldier in the Civil Blake, Mike Compton, War. After being seriously wounded, he decides to Stuart Duncan, Alison Krauss and Cheryl White. desert rather than be sent back to the front during The Cold Mountain CD features a rich and varied the last days of the war. He ventures through the cast of performers and material. ruined South to return to his beloved on her farm The primary vocalist on the soundtrack is Jack in North Carolina. The book is based on local his- White, of the blues/rock/alternative band the tory and stories told by Frazier’s great-great- White Stripes. Not exactly a name that leaps to the grandfather. forefront of traditional singers, but somewhat sur- Roots musicians John Hermann, Dirk Powell prisingly, he does perform the tunes quite well, and and Tim O’Brien were moved enough by the book also plays a role in the film. The White Stripes to record Songs from the Mountain in 1998. have included traditional blues material in their Comprised primarily of their recordings of Civil repertoire, but his ability with traditional folk War era songs, the disk is a strong project and well material comes as a pleasant surprise. worth seeking out. Some of the same songs are The project opens with Wayfaring Stranger, shared, including Wayfaring Stranger and Fair and White’s craggy vocal suits the arrangement Margaret and Sweet William, included on Cold well. Thankfully, no banks of strings or horns are Dennis Roger Reed is a musician based in Mountain as Lady Margaret. included. The continued sensitive backing of San Clemente, CA. He’s performed and Late in 2003 noted the arrival of a major studio musicians like Blake, Duncan and Powell through- recorded bluegrass, blues, folk and rock; film of Cold Mountain, and a major label sound- out the disk is probably the overall strongest part writes songs; and plays guitar, bass and man- track CD produced by T Bone Burnett, the man of the soundtrack. dolin. He’s also written about music for five behind the O Brother soundtrack. Expectations Next up is Like a Songbird has Fallen by the years for the OC Weekly, and has been pub- were high, and the good news is that they have, for Reeltime Travelers. Although this is a new song lished in a variety of publications including the most part, been met. written by Burnett and the project’s Associate InTune and MOJO. He is not humble. When the average folk aficionado thinks about Music Producer Bob Neuwirth, it blends into the old timey music, it’s unlikely that too many of the old time milieu quite well, and this young group understated yet stunning. Cut 4 is Krauss doing Cold Mountain performers come to mind. There’s does a fine rendition. Watch for the Travelers, The Scarlet Tide, a new number written by Burnett no Mike Seeger, no Doc Watson, no David Holt, no they’re an exceptional band with tons of talent. and Elvis Costello. This tune doesn’t fit the old vintage Clarence Ashley or Dock Boggs. Tim Cut 3 is the number by O’Brien, Eriksen and time mold nearly as well as Songbird, but Krauss’s O’Brien does one number in congress with Tim Baugus, I Wish My Baby Was Born, and it strikes a Eriksen and Riley Baugus, and Dirk Powell is all resonant chord. Backing by Duncan and Powell is REED’S RAMBLINGS page 26 Artist: ORVILLE JOHNSON drawing from his love of Doc Watson, Rev. Gary but I didn't think it would be as well-received as it Title: FREEHAND Davis, Mississippi John Hurt, and Chuck Berry. has. I think it's gotten the most airplay so far.” Label: ORVILLE JOHNSON MUSIC OJM 003 Johnson moved to Seattle, Washington in 1978. There’s a hot bluegrass/swing take on Rocky Road Release Date: JULY 2003 His strong vocals, and his abilities on a variety of Blues with Johnson trading solos with one of his Orville Johnson is a Seattle based multi-instru- stringed instruments have led him to perform on idols, Mike Auldridge. The Rolling Stones As Tears mentalist with a staggeringly expressive singing over 100 albums, appear on Garrison Keillor's A Go By is a laid-back instrumental with Johnson voice, and incredible chops on guitar, Dobro™, Prairie Home Companion® and a featured role in playing Dobro™, 12 string guitar, organ and bass, a mandolin, banjo and several other instruments. He’s the 1997 film Georgia with Mare Winningham. veritable one man band. half of the Kings of Mongrel Folk duo with Mark Freehand had a fairly casual gestation. Says There’s a subtle Latin flavor to some of the Graham, and does session work, movie work and Johnson “I hadn't put anything out in a while, so I recording. “The Latin vibe developed as I picked guitar instruction. booked some studio time and started cutting songs the tunes that flowed together well,” says Johnson. Orville’s done a few solo recordings, 1997’s I love.” The CD opens with a driving take on Pat “I love the way A Lua do Amazonia came out, and Orville Johnson & Scott Weiskopf, 1998’s Blueprint Brayer’s Imitation of the Blues, including a nice I attribute the success of that tune to my getting the for the Blues, and Slide and Joy, in 1999. Last sum- vibraphone break by Susan Pascal. One of the more right guys to play with me on it.” Jovino Santos mer brought Freehand, and this one comes closest unusual cuts is Somewhere, Johnson’s instrumental Neto plays piano, Guil Guimares is on bass and to fully capturing his eclectic taste and talent. take on the West Side Story chest- Mark Ivester does the drums on that cut. Freehand features five vocal numbers and five nut. Somewhere features not only “They did a great job of creating an authen- instrumental pieces. Special guests include his Johnson tuneful resophonic work tic rhythm for me to play off of,” explains Dobro™ dueting buddies Mike Auldridge and but subtle and compelling guitar. Johnson. Stacy Phillips and harmony vocals by Laura Love. Johnson notes “That’s the song I've Freehand is a superior recording, not Johnson was born in 1953 in Edwardsville, gotten the most reaction to: I didn't only capturing Johnson’s skills on stringed Illinois. He had begun singing in the Pentecostal expect that. It’s one of my all-time instruments, but on tracks like his sensitive church as a young boy, and backslid directly into favorite melodies and I loved what take on John Hartford’s Today, showcasing rock and roll as a teen. He picked up the guitar at 17, John Knowles played on guitar, one of the finest vocalists recording today.

Artist: TOM CORBETT Knopf, Greg Leisz, Jonathon McEuen, Herb a nice Cajun flavor behind Tom’s warm vocal. The Title: CLOUDLESS BLUE SKY Pedersen, Phil Salazar, Randy Tico, and Robin and title track is appealing, noting the beauty of the day Label: ROUNDHOLE RECORDS RHR - 51262 Linda Williams. in a simple, sweet ballad. Tom’s homespun vocals Release Date: JANUARY 2004 Like Upstairs, Corbett’s compositions on are particularly appropriate, with Robin and Linda Multi-instrumentalist Tom Corbett is a pretty Cloudless Blue Sky mix bluegrass, country, folk Williams’ harmonies. Tom plays guitar and man- ubiquitous kind of guy in the Southern California and swing, then tip them on their sides a bit. dolin, and his sympathetic backing contributes to acoustic music scene. He cut his teeth in several of There’s a small town, nostalgic feel to much of the soothing, laidback quality of the tune. Mary’s the mandatory bluegrass hotbeds including Sea Corbett’s work. This is a dangerous road to tread, Kissin’ the Quaker is the only instrumental on the World and Disneyland, did stints in the since one false step can slip into the record, and showcases Tom’s guitar, Acousticats, John McEuen’s String Wizards, maudlin. Thankfully, Corbett never ven- mandolin and tenor banjo chops. Border Radio and more. Tom’s commanding tures into that territory. Not only does Art design is a peripheral item on height, grinning visage and seemingly mind-bog- Corbett have a star-studded cast, he’s a CDs, but in Cloudless Blue Sky’s case, gling chops make him a memorable presence. His generous host, allowing his guests to it’s a welcome addition to a fine proj- expertise with guitar and mandolin have made him shine. He delivers twelve tunes, but half ect. Jean Kirkorian is to be applauded a sought after sideman. total over four minutes in length. for an uncluttered, professional look to Tom’s debut solo recording, Upstairs at Something ‘Bout the Blues runs beyond the project, and Dennis Keely’s photos Charlie's was his announcement that he was able to seven minutes, showcasing Santa capture the playful, boyish charm that step into the center of the spotlight quite capably. Barbara harp master Tom Ball and “accompanist to Tom conveys. Additionally, Tom lists the various He returns strongly with Cloudless Blue Sky, a the stars” Greg Leisz’s National slide guitar as well instruments involved in the recording. All this con- twelve song example of his eclectic taste, song- as Corbett’s vocals and guitar. It’s important to note tributes to the polished look of the project. writing ability, vocals, and seamless instrumental that “Blues” doesn’t overstay its welcome. An excellent down-to-earth CD, but down-to- backing. He’s got a Who’s Who of top flight The kick off track When I Get My Wheels is a earth with quite a professional sheen. accompanists, including Tom Ball, Victor Bisetti, clever story based on man’s desire to roll. Phil Bill Bryson, David Ferguson, David Hidalgo, Bill Salazar’s fiddle and David Hidalgo’s accordion add March-April 2004 FolkWorks Page 11 A MUSICALCD REVIEWS JOURNEY

BY BETTO ARCOS uban sacred drums, Peruvian roots music, Venezuelan music, Fado Peru Negro: Jolgorio (Times Square). [Editor’s Cmeets Brazilian and Flamenco. One of the things I enjoy the most note: see FolkWorks Jan/Feb issue for more about this column, is the opportunity to share music with a larger about Peru Negro] Afro-Peruvian music is audience. For this issue, I have selected 10 titles of Latin music that have experiencing a revival and the new recording come my way in the last couple of months. There’s music here for every- by the leading dance and music ensemble Peru one?s taste: Cuban sacred and roots music, Mexican boleros, Afro-Peruvian Negro is a fine example of the vibrancy and rhythms, Venezuelan country music, Fado meets Brazilian music, and the beauty of this tradition. Like most of the musi- latest recording by Flamenco giant Paco de Lucia. cal styles of Latin America, Afro-Peruvian Wemilere: Santeria-Sacred Drums (Long Distance). Wemilere is a sacred music is a confluence of Spanish and African Yoruban word which means “party,” and this ensemble brings all the cultures as well as Indigenous. Among the styles of Afro-Peruvian elements of a Rumba party into this recording of sacred music. Under music are the Festejo, Lando, Alcatraz and Tondero. This CD includes the leadership of Roman Diaz, one of Cuba’s finest rumberos, Wemilere all of them and more. The highlights include Son de los Diablos, a tra- takes you right into the heart of this centuries-old music tradition and ditional carnaval dance; Negrito, an Habanera by one of the legends of proves that the African roots continue to thrive to this day in Cuba. At Afro-Peruvian music Nicomedes Santa Cruz; and De España, a Tondero the center of this music are three sacred Bata drums, called Okonkolo, about the legacy of slavery by the giant of Peruvian song Cesar Calvo. Itotele and Iya. The Bata are double-headed drums considered sacred With more than 30 years of performance behind it, Peru Negro has instruments and played at many of the rituals of the Yoruba religion. The become an institution of music and dance. Under the direction of Rony piece that stands out is a rare and gorgeous version of the classic Campos, son of the founder Ronaldo Campos, this is roots music at its Boleros Pensamiento and Obsesion performed as a “Bata Bolero.” Both best. of these pieces are considered standards and have been recorded over Maria Teresa: O Mar (Le Chant Du Monde). and over by all the great bolero singers, but Wemilere’s treatment makes The ocean that divides Brazil and Portugal us re-imagine the songs, offering us the beauty and simplicity of the serves as a metaphorical link in the songs melody. of this recording by the Paris-based Pancho Quinto: Rumba Sin Fronteras Portuguese singer Maria Teresa. Her selec- (Riverboat/World Music Network). The sec- tion of Portuguese and Brazilian songs, ond recording by one of Cuba’s master percus- her unique approach in singing them, and sionists is an exploration of Rumba and jazz. the band?s treatment offer us a glimpse of This fusion of traditions is backed by none the common thread on both sides of the other than Cuba’s Omar Sosa on piano and Atlantic. But besides the sultry voice of Maria Teresa, the most exciting marimba, Octavio Rodriguez and John Santos aspect of this recording is the wide array of percussion played by Ze on percussion, and Enrique Fernandez on sax- Luis Nascimento. My personal favorites are the Portuguese popular ophone, among others. Unlike Wemilere, songs Fadinho da tia Maria Benta and Laurindinha delivered in a which is all about preserving the Yoruba tradition, Pancho Quinto?s Brazilian Forro style and the Chico Buarque classic Fado Tropical, sung album is all about the driving force of improvisation and opening up the in French by Maria Teresa with lyrics by Georges Moustaki. Rumba to create a new sound, as the title suggests, a Rumba without Paco del Pozo: Vestido de Luces (Harmonia Mundi). Every few years a new borders. flamenco voice emerges, offering a personal approach to this musical El Son de Cuba: various artists (Iris Musique). Cuban music compilations tradition. At the age of 12, Paco del Pozo received his first prize as abound and you probably don’t need another one in your collection. But Mejor Cantaor Revelacion of Madrid. Today, at age 30, Paco del Pozo if you?re interested in listening and dancing to the many styles of Cuban sings with the intensity of an old cantaor. In this recording, a tribute to son, this could be for you. Son is the foundation of all Cuban music, the Ordoñez dynasty of Andalucian bullfighters, del Pozo covers a wide from son came most everything that we know today as Cuban music, range of Flamenco Cantes, including Tangos, Alegrias, Fandangos and including Salsa. This collection has some very good selections and a a Siguiriya. He is accompanied by Jeronimo Maya on guitar; long-time few classics. Among the artists included in this 2 CD set are the leg- Paco de Lucia collaborators Jorge Pardo on flute and alto sax and Carles endary Septeto Nacional de Ignacio Pineiro, Guillermo Portabales and Benavent on bass, and a strong ensemble supporting him on claps, per- Compay Segundo; the classic Cuban orchestras of Cheo Marquetti, cussion and background vocals. This is a remarkable recording of Orquesta Aragon and Beny More; and a few of the bands that helped to Flamenco, by a singer who has had a brilliant beginning and promises revitalize son in the last two decades, Elio Reve y su Charangon, to have a bright future ahead. Adalberto Alvarez y su Son, and Irakere. There are a few songs by four Fosforito, Paco de Lucia: Seleccion Antologica del Cante Flamenco (Iris artists of the Nueva Trova Cubana that do not fit in the son category but Music). Here’s a welcomed reissue of the legendary recording of the you get the sense that their style is certainly influenced by the Son tra- two Flamenco giants: singer Antonio Fernandez Diaz, better known as dition. [Editor’s note: see FolkWorks Nov/Dec issue for more history on Fosforito, and the most important Flamenco guitarist of the second half “son” by Enrico Del Zotto.] of the 20th century, Paco de Lucia. The liner notes offer a good biogra- El Bolero Mexicano: Humanidad-1931-45, various artists (Iris Musique). phy of the masters, but no information on when the music was record- The Bolero style began in Cuba over a century ago. When it came to ed, how the artists came together, nor an explanation of the Flamenco Mexico years later, it was transformed into a very popular style, espe- styles. Still, the value of this 2 CD set is the rich diversity of Palos or cially during the early radio days of the 1930’s and 1940’s. Boleros are styles covered in the 48 tracks. Saetas, Martinetes, Seguiriyas, the equivalent of American standards and like its US counterpart there Fandangos, Granainas, Tientos, Soleas, it’s all here. Now, that?s an is a sort of “Bolero songbook” from which hundreds of artists draw for anthology. their recordings and performances. There are many styles of accompa- Paco de Lucia: Cositas Buenas (Verve/Blue Thumb). Paco is back. After a nying Boleros, with guitars and small percussion; with a small ensem- number of recordings focusing on fast arpeggios ble; and with a big orchestra. This recording is a rare collection of and scales demonstrating his technical ability and Boleros that give you an idea of the popularity of this music and its incredible speed, Paco de Lucia says, “Now, I major figures. The period covered here, 1931-1945, highlights the big want to go to the essence of my music, and I pre- orchestras and some of the great singers of this romantic era: Pedro fer to be less concerned with the appeal that I Vargas, Toña La Negra, Hermanas Hernandez, Amparo Montes, Lupita have worldwide and more concerned about being Palomera and Juan Arvizu. authentic to my musical roots.” And his approach The Rough Guide to Venezuela: various artists is so different in sound that the electric bass and (World Music Network). Venezuela has one of saxophone and flute are missing entirely from the most diverse musical cultures in the this recording. Instead, what he offers is a num- Americas. With a large and varied landscape ber of fabulous singers joining him on a number of Andean mountains, the Caribbean coast and of Cantes. Singers such as Potito, Diego el MONDELO BY RUBÉN PHOTO the Amazon jungle, Venezuelan music is rich Cigala, Montse Cortes and a resurrected Camaron de la Isla. Coming in folk traditions and hundreds of musical from such an iconic figure, Cositas Buenas revitalizes and nurtures the styles. This recording is an exceptional intro- Flamenco tradition. But Paco is still interested in fusing common tradi- duction to the “musica llanera ‘ or music of the tions, and he closes this recording with special guest Jerry Gonzalez on plains, Afro-Venezuelan music, and the many ensembles and artists that trumpet, perhaps hinting at a future collaboration of Latin jazz and have popularized it at home and abroad. Some of my favorite selections Flamenco. are Anselmo Lopez and Saul Vera’s Las Tres Damas; harpist Hugo Blanco’s Moliendo Café; the legendary Simon Diaz and his classic Betto Arcos is an independent music promoter in Los Angeles. He is a for- Caballo Viejo, and the genius Cheo Hurtado y Bandolas de Venezuela’s mer KPFK music director who conceived and created the daily world music Pajarillo Revuelto. One added incentive: you can never go wrong with program Global Village. the Rough Guide, they know how to find good music and how to pres- ent it. Page 12 FolkWorks March-April 2004 Irish Seisiún Rules

© BY CÁIT REED- 2004 Any complaints and other useful comments can be sent to Cáit at caitreed@aol.com. Please see disclaimer at the bottom. 1. No Whining. 15. Accordion and concertina players who 2. There is no rule #2. insist on bringing Eb instruments and who expect everyone to tune up a half-step, or 3. If you don’t know the tune, don’t play unless: to sit there quietly and reverently as the a. You can play really, really quietly. player plays tune after tune in a key that no b. You can clearly hear the tune being played. one else (except guitarists with capos) can c. You respect the music… Otherwise, go feck off. play in. In the former case they should buy 4. If you play guitar or bodhrán, please re-read rules #1 & #3. several rounds for the other players to 5. Flute players, whistle players (and pipers) should refrain from drooling on make up for the wear and tear on strings and causing the whistle players the fiddlers and visa versa. to have to haul extra whistles in funny keys. In the latter case they should 6. Fiddle players should only start tunes in the keys of Bb, C, A, F, E and just feck off and play somewhere else. related minor and modal keys when the woodwind players and/or pipers 16. It is appropriate for a singer to offer a few songs during the evening. This head off to buy a round or go to the bogs. is a signal: 7. Punters should pay attention to the music as well as to each other. a. For the punters and musicians to quiet down. Shushing can really work Dancing, clapping, clogging, hooting (in rhythm) are encouraged, as is due to the guilt factor, especially if the song is unaccompanied. putting money in the hat and/or buying drinks for each other and the NOTE: the shushing trick can only work a few times in an evening musicians. and so should be reserved for emergencies only. 8. Jokes and conversation and good-natured antics, except when someone is b. For the rest of the players to make a mad dash for the bar and the singing, are happily tolerated. bogs. 9. Fiddlers will please endeavor: 17. Guitarists and banjo players should refrain from beating their instruments about the head and shoulders in order to hear themselves, otherwise a. Not to take over by banding together in large groups and playing end- known as Assault and Battery. This type of behavior can be tolerable if less Gm tunes and other obvious fiddle tunes unless they are the only there is only one guitarist playing, but unfortunately mob rule can take ones left because they have already alienated the woodwind players in over when multiple guitarists band together to form a guitar gang. some other fashion. In such a case, they should continue to play until REMINDER: Believe me when I say that everyone else in the room can they are kicked out or the whisky runs out, whichever comes first. hear you better than you can hear yourself! b. Not to speed up the tune. c. Not to kick over other people’s pints of beer in their haste to get to the bogs. 18. BEWARE! Traditional musicians should be on the lookout for counterfeit seisiúin and should make themselves aware of the difference between a 10. All players should strive to play at a speed at which they can successfully seisiún, and a band rehearsal or performance posing as a seisiún. In the EXECUTE, as opposed to MURDER, the tune. case of it being a band rehearsal or performance posing as a seisiún, this 11. Guitarists will kindly pay attention and try very hard not to should be made clear from the outset to avoid offending even more people noodle.[Noodlng- an inedible form of flat, half-baked playing with neither than usual. beginning nor end]. They do enough of that at home. If they must noodle, 19. Some tips on taping and other recording etiquette: they should try to play very quietly, so as not to disturb the delicate silences between sets of tunes or to confuse other players into thinking a. Always ask permission to record, even though most players play much they have just started a tune they intend to finish. worse once they know they’re being recorded. Fortunately, they’ll for- get soon enough if the taping is done in a subtle fashion. 12. Pipers should try to keep their enthusiasm for pipes, popping straps, bore b. The use of handheld overhead mic-booms, fancy multitrack digital measurements, bellows, ivory (and other body parts from endangered programs and other obtrusive equipment are likely to get one labeled species), complicated out-of-rhythm ornamentation and reed-making in as an “ubergeek,” which is not considered a flattering term amongst check and should refrain from playing together in groups of one or more Irish traditional musicians. unless: c. Try not to edit as you go, as this draws attention to the recording a. Their pipes (and drones) are in tune with each other and themselves, process and away from the music. HINT: It is especially offensive to preferably at A-440 concert pitch. (But then one might be worrying make a show of starting and stopping recordings mid-set as it might about the fact that hell has indeed finally frozen over). give impression that you don’t want to waste tape (or digital space) on b. There are only pipers and/or other deaf people listening. someone’s heartfelt performance. Really the best way is to carry a c. Prior arrangements have been made to politely alienate other musi- small recording device and a small mic in a bag that is disguised either cians by playing on flat sets at the other end of the room and therefore as a purse, a whistle-bag or other fashion accessory. having at least appeared to have made allowances for non-piper’s sen- WARNING: These rules are intended as guidelines and the author is not respon- sibilities. sible for any fights that might break out in the enforcement of said rules. 13. Pianists, harpists, flautists, and violinists should watch, listen and learn. 14. Piano, bodhrán and hammered dulcimer players will be not be tolerated Càit has been mad about Irish Traditional Music since she had the good fortune to for long unless: hear and play with Joe Cooley (of Peterswell, County Galway) and Kevin Keegan (of Galway Town) when they and other distinguished guests would come "up the a. Their instrument is in tune. country" to visit her and her friends and coconspirators for weekends at a ranch in b. The player actually knows and likes the music. Cloverdale called Preston. Those were rare seisiúns; lasting entire weekends, c. The player can play quietly and with sensitivity to the fact that they will played by firelight and kerosene lamp in the old wooden church with the old clock most likely be drowning out the other instruments in the session. beating out the hour and the half-hour. Cáit has been playing and teaching since PLEASE NOTE: On certain rare occasions this may be called for if the 1970. Her Web site (www.caitreed.com) is under construction and her first solo band really sucks or if there are severe rhythm or acoustic problems. album, The Rolling Wave will be released any minute now. March-April 2004 FolkWorks Page 13 on-going music happenings MUSIC, MUSIC and more MUSIC HOUSE CONCERTS, etc. BLUE RIDGE PICKIN’ PARLOR BARCLAY’S COFFEE MONROVIA COFFEE HOUSE 17828 Chatsworth St., Granada Hills 8976 Tampa Ave., Northridge • 818-885-7744 425 S. Myrtle, Monrovia 626-305-1377 These are informal, intimate special events that people www.pickinparlor.com • 818-282-9001 BEANTOWN NOVEL CAFE hold in their homes. 212 Pier Ave., Santa Monica 310-396-8566 Some are listed under SPECIAL EVENTS (Page 28). CALTECH FOLK MUSIC SOCIETY 45 N. Baldwin Ave., Sierra Madre 626-355-1596 Call your local hosts for scheduled artists! California Institute of Technology, Pasadena www.folk- BUSTER’S COFFEE AND ICE CREAM PORTFOLIO CAFE music.caltech.edu • 888-222-5832 2300 E 4th St., Long Beach 562-434-2486 CONCERTS AT THE BODIE HOUSE 1006 Mission St., South Pasadena 626-441-0744 [email protected] PRISCILLA’S GOURMET COFFEE Agoura Hills [email protected] COFFEE AFFAIR CAFE CELTIC ARTS CENTER 4150 Riverside Dr., Burbank 818-843-5707 www.BodieHouse.com 5726 E. Los Angeles Ave., Simi Valley 4843 Laurel Canyon Blvd., Valley Village 805-584-2150 • www.coffeeaffaircafe.com SACRED GROUNDS COFFEE HOUSE SCOTT DUNCAN’S • Westchester 310-410-4642 818-760-8322 • www.celticartscenter.com COFFEE CARTEL 399 W 6th St., San Pedro 310-514-0800 NOBLE HOUSE CONCERTS CERRITOS CENTER FOR THE PERFORMING 1820 Catalina Ave., Redondo Beach 310-316-6554 SPONDA MUSIC & ESPRESSO BAR 5705 Noble Ave., Van Nuys 818-780-5979 ARTS COFFEE GALLERY BACKSTAGE 49 Pier Ave., Hermosa Beach 310-798-9204 MARIE AND KEN’S Beverlywood 310-836-0779 12700 Center Court Drive, Cerritos 562-916-8501 • www.cerritoscenter.com 2029 N. Lake, Altadena UN-URBAN COFFEHOUSE RUSS & JULIE’S HOUSE CONCERTS [email protected] 626-398-7917 • www.coffeegallery.com 3301 Pico Blvd., Santa Monica 310-315-0056 Agoura Hills / Westlake Village COFFEE KLATCH www.jrp-graphics.com/houseconcerts.html CTMS CENTER FOR FOLK MUSIC CLUBS/RESTAURANTS 8916 Foothill Blvd., Rancho Cucamonga [email protected] 16953 Ventura Blvd., Encino CAFE LARGO 818-817-7756 • www.ctms-folkmusic.org 909- 944-JAVA RYAN GUITAR’S • Westminster 714-894-0590 432 N. Fairfax Ave., Los Angeles 323-852-1073 FIRESIDE CONCERTS COFFEE KLATCH THE TEDROW’S • Glendora 626-963-2159 806 W. Arrow Hwy., San Dimas 909-599-0452 GENGHIS COHEN Corner of Borchard & Reino, Newbury Park 740 N. Fairfax Ave., Los Angeles 323-653-0653 KRIS & TERRY VREELAND’S Bob Kroll 805-499-3511 [email protected] HALLENBECKS South Pasadena • 323-255-1501 5510 Cahuenga Blvd., North Hollywood CONGA ROOM FOLK MUSIC CENTER 5364 Wilshire Blvd., Los Angeles 323-930-1696 BRIGHT MOMENTS IN A COMMON PLACE 220 Yale Ave., Claremont 818-985-5916 • www.hallenbecks.com hosted by David Zink, Altadena 626-794-8588 909-624-2928 • www.folkmusiccenter.com HIGHLAND GROUNDS CONCERT VENUES FOLKWORKS CONCERTS 742 N. Highland Ave., Hollywood 818-785-3839 • www.FolkWorks.org 323-466-1507 • www.highlandgrounds.com ACOUSTIC MUSIC SERIES BEFORE ATTENDING ANY EVENT [email protected] [email protected] • 626-791-0411 IT’S A GRIND Contact the event producer to verify information www.acousticmusicseries.com THE FRET HOUSE 4245 Atlantic Ave., Long Beach 562-981-0028 before attending any event. (Things change!!!) 309 N. Citrus, Covina CORRECTIONS THE BARCLAY IT’S A GRIND 818-339-7020 • covina.com/frethouse 5933 E. Spring St., Long Beach 562-497-9848 FolkWorks attempts to provide current and accurate 4255 Campus Drive, Irvine information on all events but this is not always possible. www.thebarclay.org • 949-854-4646 GRAND PERFORMANCES KULAK'S WOODSHED California Plaza, 350 S. Grand Ave., Los Angeles LIST YOUR EVENT! BOULEVARD MUSIC 5230-1/2 Laurel Canyon Blvd., North Hollywood 213-687-2159 • www.grandperformances.org 818-766-9913 • www.kulakswoodshed.com To have your on-going dance event listed in FolkWorks 4316 Sepulveda Blvd., Culver City provide the following information: 310-398-2583 • [email protected] LISTENING ROOM CONCERT SERIES LU LU’S BEEHIVE • Indicate if it’s an on-going or one-time event www.boulevardmusic.com Fremont Centre Theatre 13203 Ventura Blvd., Studio City 818-986-2233 • Category/Type of Dance (i.e., Cajun, Folk) 1000 Fremont, South Pasadena • Location Name • Event Day(s) and Time 626-441-5977 • www.listeningroomconcerts.com • Cost • Event Sponsor or Organization www.fremontcentretheatre.com/listening-room.htm • Location Address and City • Contact Name, Phone and/or Email THE LIVING TRADITION 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 MULTICULTURAL ARTS SERIES San Juan Capistrano Public Library KPFK [North Hollywood] (90.7FM) (98.7FM 31495 El Camino Real, San Juan Capistrano Santa Barbara) www.kpfk.org 949-248-7469 • www.musicatthelibrary.com KCSN [Northridge] (88.5FM) www.kcsn.org 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) UCLA PERFORMING ARTS CENTER KXMX [Los Angeles] (1190AM) Royce or Shoenberg Halls, Westwood THURSDAY 310-825-4401 • www.performingarts.ucla.edu 7:00-9:00pm Down Home (KCSN) COFFEE HOUSES Chuck Taggart (variety including Celtic, Cajun, Old-time, New Orleans, 14 BELOW Quebecois) 1348 14th St., Santa Monica • 310-451-5040 11:00pm-1:00am Blues Power (KPFK) ANASTASIA’S ASYLUM 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) JAM SESSIONS / OPEN MIKES / SINGS and more El Guapo Lapo SATURDAY NOTE: NOT ALL SESSIONS ARE VIVA CANTINA OLD TIME JAM SESSIONS SIGNAL HILL HOUSE JAM OPEN, PLEASE ASK SESSION Classic country music throughout the 1st & 3rd Tuesday 6:00pm 6:00-7:00am Around the Campfire (KCSN) LEADER IF IT’S OK TO JOIN IN! week. CAJUN WAY 240 Industry Dr., Signal Hill Marvin O’Dell (Cowboy and Western 900 Riverside Dr., Burbank Wednesdays - 7:00pm Don Rowan • 562- 961-0277 music) BLUEGRASS 110 E. Colorado Blvd., Monrovia 6:00-8:00am Wildwood Flower (KPFK) 818-845-2425 • www.vivacantina.com SONGMAKERS BAKERS’ SQUARE 626-574-0292 Ben Elder (mostly Bluegrass) VINCENZO’S Wednesdays Simi Valley Hoot 7:00-10:00am Bluegrass Express (KCSN) 3rd Tuesdays Saturdays 7:30-10:30pm CTMS CENTER FOR FOLK MUSIC Simi Valley 7:30-11:30pm 17921 Chatsworth St. (at Zelzah), 1st Sundays 4:00-8:00pm Marvin O’Dell (Bluegrass) Grateful Dudes 805-583-5777 8:00-10:00am FolkScene (KPFK) Granada Hills 24500 Lyons Ave., Newhall 16953 Ventura Blvd., Encino 1st Mondays Musical 1st Monday 818-366-7258 or 700-8288 818-817-7756 Roz and Howard Larman (all folk 661-259-6733 Simi Valley 1:00-4:00pm including live interviews, singer-song- Bluegrass Assoc. of Southern California 805-520-1098 members.aol.com/intunenews/bsquare.html DRUMMING IRISH MUSIC SESSIONS writers and Celtic music) 1st Fridays North Country Hoot 10:00-11:00am Halfway Down the Stairs (KPFK) BLUE RIDGE PICKIN’ PARLOR YORUBA HOUSE CELTIC ARTS CENTER Northridge 8:00pm-Midnight Mondays - 9:00pm Uncle Ruthie Buell (Children’s show Bluegrass Jam Tuesdays 7:00pm 818-993-8492 with folk music) 7828 Chatsworth St., Granada Hills 310-475-4440 yorubahouse.net (1st Mondays @ 8:00pm) 1st Saturdays Orange County Hoot Beginners Session: Sundays 4:00-6:00pm 3:00-5:00pm Prairie Home Companion® (KPCC) www.pickinparlor.com • 818-282-9001 OPEN MIKES Anaheim Hills 8:00pm-Midnight Garrison Keillor (Live - variety show) call for schedule 4843 Laurel Canyon Blvd, Valley Village 714-282-8112 818-760-8322 • www.celticartscenter.com 5:00-8:00pm Classic Heartland (KCSN) THE CINEMA BAR BOULEVARD MUSIC 2nd Saturdays Camarillo Hoot George Fair (vintage country) 1st Wednesdays 9:00pm 3rd Sundays - Variety Night THE HARP INN Camarillo 8:00pm-Midnight 6:00-8:00pm Prairie Home Companion® (KPCC) with Cliff Wagner and Old #7 4316 Sepulveda Blvd., Culver City 2nd Sundays 3:00–7:00pm 805-484-7596 Garrison Keillor (Rebroadcast - variety 3967 Sepulveda Blvd., Culver City 310-398-2583 [email protected] 130 E. 17th Street - Costa Mesa 3rd Thursdays Camarillo “Lite” Hoot show) 310-390-1328 FENDI’S CAFÉ www.harpinn.com 949-646-8855 Camarillo 7:00-11:00pm 7:00-8:00pm Canto Sin Frontera (KPFK) 805-482-0029 Fridays 6:00-8:00pm LARRY BANE SEISUN Tanya Torres (partly acoustic, Latin CURLEYS CAFÉ Bluegrass Jam 3rd Saturdays South Bay Hoot 539 East Bixby Rd. (nr. Atlantic), 1st Sundays 4:00-6:00pm political) Mondays 7:00-9:00pm Redondo Beach 8:00pm-Midnight Long Beach • 62-424-4774 Set Dance workshop 2:00-3:00pm 8:00-10:00pm Canto Tropical (KPFK) 1999 E. Willow (at Cherry), Signal Hill 310-376-0222 with Michael Breen of The Los Angeles Hector Resendez (partly acoustic, 562-424-0018 FOLK MUSIC CENTER 3rd Sundays East Valley Hoot Irish Set Dancers. bilingual Latin / Carribbean) 4th Sunday signup 7:00pm, 7:30pm $1 Van Nuys 1:00-5:00pm 818-780-5979 EL CAMINO COLLEGE The Moose Lodge 220 Yale Ave., Claremont • 909-624-2928 4th Saturdays West Valley Hoot SUNDAY Bluegrass Jam 1901 W. Burbank Blvd., Burbank 1st Sundays 1:00-5:00pm THE FRET HOUSE 818-898-2263 • [email protected] Woodland Hills 8:00pm-Midnight 6:00-8:00am Gospel Classics (KPFK) (12:00-4:00pm DST) 1st Saturdays - signup 7:30pm 818-887-0446 Edna Tatum 16007 Crenshaw Blvd., Torrance 309 N. Citrus, Covina FINN McCOOL 4th Sundays West L.A. Hoot & Potluck 6:00-10:00am Bluegrass, Etc. (KCSN) Bill Elliott 909-678-1180 • Ron Walters 626-339-7020 Sundays - 4:00-7:00pm - come listen! West L.A. 5:00-9:00pm 310-203-0162 Frank Hoppe (Bluegrass, Old-time, 310-534-1439 www.covina.com/frethouse Tuesdays - 8:00pm - come play! 5th Saturdays Take The Fifth Hoot many historical recordings) 2702 Main St., Santa Monica Sherman Oaks 8:00pm-Midnight 2:00-3:00pm The Irish Radio Hour (KXMX) ME-N-ED’S HALLENBECKS 310-452-1734 Saturdays 6:30-10:30pm Tuesdays - signup 7:30pm - Free 818-761-2766 Tom McConville (some Irish music) 4115 Paramount Blvd. (at Carson), 5510 Cahuenga Blvd., North Hollywood GROUP SINGING WELSH CHOIR OF SO. 11:00am-1:00pm Prairie Home Companion® (KPCC) Garrison Keillor (Rebroadcast - variety Lakewood • 562-421-8908 818-985-5916 • www.hallenbecks.com SANTA MONICA TRADITIONAL CALIFORNIA Sundays 1:30pm • Rutthy 818-507-0337 show) TORRANCE ELKS LOUNGE HIGHLAND GROUNDS FOLK MUSIC CLUB 10:00-11:00pm Sunday Night Folk (KRLA) Bluegrass Jam Wednesdays - 8:00-11:00pm 1st Saturdays 7:30-11:30pm YIDDISH SINGING (HULYANKE) Jimmy K. (Classic folk music) 4th Sundays 1:00-5:00pm 742 N. Highland Ave., Hollywood Sha'Arei Am (Santa Monica Synagogue) 3rd Thursdays, Sherman Oaks 1820 Abalone Ave., Torrance 213-466-1507 • 1448 18th St., Santa Monica Sholem Community Org. MONDAY-FRIDAY Bill Elliott 909-678-1180 www.highlandground.com [email protected] Lenny Potash 323-665-2908 10:00am-noon The Global Village (KPFK) Bob/Lynn Cater 310-678-1180 KULAK'S WOODSHED Santa Monica Folk Music Club WESTERN MUSIC “Music from around the world and THE UGLY MUG CAFE Mondays - 7:30pm • Free www.santamonicafolkmusicclub.org around the block” 3rd Sundays – 1:00–3:00pm Bluegrass Jam host Kiki Wow SHAPE NOTE/SACRED HARP 4700 Western Heritage Way, Griffith Park ON THE INTERNET 3rd Sundays 7:00-9:00pm Sundays Songwriter showcase Sundays - 3:00pm-6:00pm www.museumoftheamericanwest.org Thistle & Shamrock 261 N. Glassell, Orange Mostly singer-songwriters every night Eagle Rock Mary Rose Ogren O’Leary 323-667-2000 Fiona Ritchie (Celtic Music) 714-997-5610 or 714-524-0597 5230 1/2 Laurel Canyon Blvd., 323-354-7707 Western Music Assoc., So. Cal Chapter www.npr.org/programs/thistle North Hollywood 3rd Sundays - 3:00-5:30pm Museum of the American West Driven Bow / Fiddlin’ Zone 818-766-9913 • www.kulakswoodshed.com West L.A. Pat Keating 310-557-1927 (formerly Autry Museum) Gus Garelick (Fiddle Music) 2nd Saturdays - 4:00-6:00 McCABE’S GUITAR STORE www.krcb.org/radio/ Santa Monica The Learners Group Laura First Sundays - signup 5:45pm • Free Riders Radio Theatre 310-450-3516 3101 Pico Blvd., Santa Monica Riders in the Sky (Cowboy variety 310-828-4403 • www.mccabesguitar.com show) www.wvxu.com/html/riders.html Page 14 FolkWorks March-April 2004 FOLK HAPPENINGS AT A GLANCE MARCH 2004

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Balkan (OGD) JACKSON BROWNE (SE) ARLO GUTHRIE (SE) BHANGRA NIGHT (SE) KINEYA YAKICHI VIII (SE) INTERNATIONAL FOLKDANCE International (OGD) JAN SEIDES, TIM GRIMM (SE) ADRIANNE / SABA BERENJI (SE) BUDDY GUY & JACKIE GREEN (SE) INTERNATIONAL FOLKDANCE WEEKEND (SE) Irish (OGD) Armenian (OGD) Balkan (OGD) African (OGD) WEEKEND (SE) FREEBO AND KENNY EDWARDS (SE) Israeli (OGD) International (OGD) International (OGD) Belly Dancing (OGD) SUSIE GLAZE WITH THE EIGHT HAND JACKSON BROWNE (SE) STRING BAND (SE) Morris (OGD) Israeli (OGD) Irish (OGD) English (OGD) JO ELLEN LAPIDUS THE LAURA CORTESE BAND (SE) Scandinavian (OGD) Scottish (OGD) Israeli (OGD) International (OGD) plus CYNTIA SMITH (SE) FEIS RINCE CONEJO VALLEY (SE) Scottish (OGD) Open Mike (OGM) Scandinavian (OGD) Irish (OGD) STEVE TROVATO (SE) Contra (OGD) Irish Session (OGM) Irish Session (OGM) Scottish (OGD) Israeli (OGD) BUDDY GUY & JACKIE GREEN (SE) Greek (OGD) Open Mike (OGM) Group Singing (OGM) Group Singing (OGM) Scottish (OGD) FEIS RINCE CONEJO VALLEY (SE) International (OGD) Bluegrass (OGM) Drumming (OGM) Open Mike (OGM) DENNIS ROGER REED Scottish (OGD) w/BLUE SOMETHING (SE) Group Singing (OGM) Old Time Jam (OGM) Group Singing (OGM) IRISH SET DANCING WORKSHOP (SE) Bluegrass (OGM) Open Mike (OGM) THE BELIEVERS & RAVEN SADHAKA (SE) Contra (OGD) Bluegrass (OGM) Group Singing (OGM) Open Mike (OGM)

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INTERNATIONAL FOLKDANCE PACO DE LUCÍA (SE) PACO DE LUCÍA (SE) GEORGE WINSTON (SE) African (OGD) MT. BALDY SKIDANCE MT. BALDY SKIDANCE CONTRADANCE WEEKEND (SE) Balkan (OGD) Armenian (OGD) CHILDREN OF UGANDA (SE) Belly Dancing (OGD) CONTRADANCE WEEKEND (SE) WEEKEND (SE) GOLDEN BOUGH (SE) International (OGD) International (OGD) Balkan (OGD) International (OGD) CALAVERAS CELTIC FESTIVAL (SE) CALAVERAS CELTIC FESTIVAL (SE) CRAICMORE (SE) Irish (OGD) Israeli (OGD) International (OGD) Irish (OGD) FLOGGING MOLLY LA COUNTY IRISH FAIR plus DENVER HARBOR (SE) & MUSIC FESTIVAL (SE) FEIS RINCE CONEJO VALLEY (SE) Israeli (OGD) Scottish (OGD) Irish (OGD) Israeli (OGD) LUCY KAPLANSKY (SE) WILLY CLAFLIN (SE) IRISH SET DANCING WORKSHOP (SE) Morris (OGD) Open Mike (OGM) Israeli (OGD) Scottish (OGD) CHILDREN OF UGANDA (SE) VICTORIAN GRAND BALL (SE) RICHARD ESPINOZA & Scandinavian (OGD) Irish Session (OGM) Scandinavian (OGD) BUDDY ZAPATA (SE) ST. PATRICK’S DAY SCHWUMP (BARRY SCHWAM) (SE) Scottish (OGD) Drumming (OGM) Scottish (OGD) International (OGD) CELEBRATION BANQUET (SE) TOM BALL & KENNY SULTAN (SE) Irish Session (OGM) Group Singing (OGM) Polish (OGD) JANET KLEIN & HER PARLOR BOYS (SE) CHRIS STUART & BACKCOUNTRY (SE) Open Mike (OGM) Open Mike (OGM) Scottish (OGD) Cajun (OGD) SUSIE GLAZE WITH THE EIGHT HAND Bluegrass (OGM) Old Time Jam (OGM) Israeli (OGD) Contra (OGD) STRING BAND (SE) Bluegrass (OGM) Greek (OGD) STEVE GILLETTE & CINDY MANGSEN (SE) Old Time Jam (OGM) Hungarian (OGD) GEORGE WINSTON (SE) Group Singing (OGM) International (OGD) BERNIE PEARL plus BOB JONES & MR. PETE (SE) Irish Session (OGM) Israeli (OGD) Scottish (OGD) Contra (OGD) Bluegrass (OGM) Open Mike (OGM) Open Mike (OGM) Group Singing (OGM) 14 15 16 17 18 19 20

MT. BALDY SKIDANCE CON- ANTARA & DELILAH (SE) THE HARRISES (Greg, Jesse and ST. PATRICK’S DAY PARADE (SE) ST. PATRICK’S DAY INTERNATIONAL JACKSON BROWNE (SE) TEMECULA BLUEGRASS FESTIVAL (SE) TRADANCE WEEKEND (SE) ST. PATRICK'S DAY Graham Harris) (SE) ST. PATRICK’S DAY FOLKDANCE PARTY (SE) DANNY O'KEEFE (SE) KELLY JOE PHELPS (SE) CALAVERAS CELTIC FESTIVAL (SE) FOLKDANCE PARTY (SE) FES FESTIVAL OF WORLD SACRED CELEBRATION DANCE (SE) African (OGD) BORDER RADIO (SE) STEVE GILLETTE & CINDY MANGSEN LA COUNTY IRISH FAIR ST. PATRICK’S DAY FESTIVAL (SE) MUSIC (SE) Balkan (OGD) Belly Dancing (OGD) MERLIN SNIDER with PRETTY plus LOU & PETER BERRYMAN (SE) & MUSIC FESTIVAL (SE) Balkan (OGD) Armenian (OGD) International (OGD) English (OGD) GOOD ACQUAINTANCES (SE) ERIC GARRISON and ROBERT MORGAN FISHER (SE) STEVE GILLETTE / CINDY MANGSEN (SE) International (OGD) International (OGD) Irish (OGD) International (OGD) Contra (OGD) BANSHEE IN THE KITCHEN (SE) BARNEY SALTZBERG (SE) Irish (OGD) Israeli (OGD) Israeli (OGD) Irish (OGD) Greek (OGD) MIKA'ELE McCLELLAN (SE) JOAN BAEZ (SE) Israeli (OGD) Scottish (OGD) Scandinavian (OGD) Israeli (OGD) International (OGD) PHIL BOROFF plus EVAN MARSHALL (SE) CHRIS STUART / Morris (OGD) Bluegrass (OGM) Scottish (OGD) Scottish (OGD) Scottish (OGD) TOM & PATRICK SAUBER (SE) PALM WINE BOYS and BUDDY Scandinavian (OGD) Open Mike (OGM) Group Singing (OGM) Group Singing (OGM) Open Mike (OGM) Contra (OGD) GREENBLOOM (SE) Scottish (OGD) Irish Session (OGM) Open Mike (OGM) International (OGD) CLIFF WAGNER AND OLD # 7 (SE) Irish Session (OGM) Group Singing (OGM) Old Time Jam (OGM) Israeli (OGD) Polish (OGD) MARCIA BALL Open Mike (OGM) Drumming (OGM) DENNIS ROGER REED BAND (SE) Scottish (OGD) Bluegrass (OGM) Contra (OGD) Group Singing (OGM) International (OGD) Irish Session (OGM) Bluegrass (OGM) Open Mike (OGM) Group Singing (OGM) 21 22 23 24 25 26 27

STEVE GILLETTE & CINDY MANGSEN (SE) Balkan (OGD) Armenian (OGD) Balkan (OGD) CHRISTENE LEDOUX (SE) CAMP BON TEMPS ZYDECO DANCE CAMP BON TEMPS ZYDECO DANCE TEMECULA BLUEGRASS FESTIVAL (SE) International (OGD) International (OGD) International (OGD) MARY BLACK (SE) WEEKEND (SE) WEEKEND (SE) DAVID KRAKAUER'S Irish (OGD) Israeli (OGD) Irish (OGD) THE IRISH ROVERS (SE) SOURDOUGH SLIM SANTA CLARITA COWBOY POETRY & with THE SADDLE PALS (SE) MUSIC FESTIVAL (SE) KLEZMER MADNESS (SE) Israeli (OGD) Scottish (OGD) Israeli (OGD) African (OGD) MARY BLACK (SE) WICKED TINKERS (SE) PALM WINE BOYS (SE) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) Belly Dancing (OGD) BILL MIZE (SE) LESLIE PERRY, BLUES MAN BROTHER LOU AND PETER BERRYMAN (SE) Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) International (OGD) DENNIS ROGER REED (SE) YUSEF & THREE PEACE ENSEMBLE (SE) International (OGD) Scottish (OGD) Drumming (OGM) Group Singing (OGM) Irish (OGD) Greek (OGD) BILL MIZE (SE) Israeli (OGD) Irish Session (OGM) Open Mike (OGM) Israeli (OGD) Hungarian (OGD) STEVE GILLETTE & CINDY MANGSEN (SE) Polish (OGD) Open Mike (OGM) Old Time Jam (OGM) Scottish (OGD) International (OGD) WYLIE & THE WILD WEST SHOW (SE) Scottish (OGD) Bluegrass (OGM) LAUREL CANYON RAMBLERS with Group Singing (OGM) Israeli (OGD) SUZIE GLAZE and the Eight Hand Scottish (OGD) Irish Session (OGM) String Band (SE) Open Mike (OGM) Western Music (OGM) TAJENDRA MAJUMDAR (SE) Bluegrass (OGM) LOS ANGELES CEILI (SE) Open Mike (OGM) Contra (OGD) Bluegrass (OGM) Group Singing (OGM) 28 29 30 31

CAMP BON TEMPS ZYDECO DANCE CHRISTENE LeDOUX (SE) DAVID CROSBY & CPR (SE) DAVID CROSBY & CPR (SE) WEEKEND (SE) Balkan (OGD) Armenian (OGD) Balkan (OGD) FOLK HAPPENINGS AT A GLANCE SANTA CLARITA COWBOY POETRY & International (OGD) International (OGD) International (OGD) MUSIC FESTIVAL (SE) Irish (OGD) Israeli (OGD) Irish (OGD) JUSTIN ROBERTS (SE) Israeli (OGD) Scottish (OGD) Israeli (OGD) Check out details by STEVE GILLETTE & CINDY MANGSEN (SE) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) International (OGD) following the page references: Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) Israeli (OGD) Scottish (OGD) Drumming (OGM) Group Singing (OGM) Polish (OGD) Irish Session (OGM) Open Mike (OGM) OGM: On-going Music - page 13 Scottish (OGD) Open Mike (OGM) Old Time Jam (OGM) Group Singing (OGM) Bluegrass (OGM) OGD: On-going Dance - page 16 Open Mike (OGM) Irish Session (OGM) SE: Special Events - page 28 Bluegrass (OGM) Open Mike (OGM) March-April 2004 FolkWorks Page 15 FOLK HAPPENINGS AT A GLANCE APRIL 2004

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SHOGHAKEN FOLK ENSEMBLE (SE) DAVID WILCOX (SE) KENNY ENDO AND SEMBA KIYOHIKO African (OGD) MARIZA (SE) DRUM SUMMIT (SE) FOLK HAPPENINGS AT A GLANCE Belly Dancing (OGD) NA LEI HULU I KA WEKIU (SE) NA LEI HULU I KA WEKIU (SE) English (OGD) MUSICàNTICA (SE) MUSIC HEALS (SE) Check out details by International (OGD) Contra (OGD) CLADDAGH (SE) Irish (OGD) Greek (OGD) GRACE plus ANNA VARNON (SE) following the page references: Israeli (OGD) International (OGD) Contra (OGD) Scottish (OGD) Scottish (OGD) Bluegrass (OGM) OGM: On-going Music - page 13 Group Singing (OGM) Group Singing (OGM) Open Mike (OGM) Open Mike (OGM) OGD: On-going Dance - page 16 SE: Special Events - page 28

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JIM CURRY JOHN DENVER Balkan (OGD) Armenian (OGD) Balkan (OGD) African (OGD) COUNTRY JOE BAND (SE) COUNTRY JOE BAND (SE) TRIBUTE SHOW (SE) International (OGD) International (OGD) International (OGD) Belly Dancing (OGD) RONNY COX (SE) ADRIAN LEGG (SE) RICK SHEA & BORDER RADIO (SE) Irish (OGD) Israeli (OGD) Irish (OGD) International (OGD) ADRIAN LEGG (SE) LARRY BULAICH (SE) International (OGD) Israeli (OGD) Scottish (OGD) Israeli (OGD) Irish (OGD) TERRY BAILEY, SHIMMER , DON & Contra (OGD) Polish (OGD) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) Israeli (OGD) JEANIE, LARRY BULAICH (SE) Bluegrass (OGM) Scottish (OGD) Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) Scottish (OGD) Cajun (OGD) Group Singing (OGM) Israeli (OGD) Scottish (OGD) Group Singing (OGM) Group Singing (OGM) Contra (OGD) Bluegrass (OGM) Irish Session (OGM) Drumming (OGM) Open Mike (OGM) Greek (OGD) Old Time Jam (OGM) Open Mike (OGM) Old Time Jam (OGM) Hungarian (OGD) Group Singing (OGM) Bluegrass (OGM) Bluegrass (OGM) International (OGD) Irish Session (OGM) Group Singing (OGM) Israeli (OGD) Open Mike (OGM) Scottish (OGD) Open Mike (OGM)

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Contra (OGD) Balkan (OGD) RITA CHIARELLI (SE) KINGSTON TRIO (SE) African (OGD) STACEY EARLE & MARK STUART (SE) NEVENKA and International (OGD) International (OGD) Armenian (OGD) NERISSA & KATRYNA NIELDS (SE) Belly Dancing (OGD) Contra (OGD) BAKSHEESH BOYS (SE) Israeli (OGD) Irish (OGD) International (OGD) Balkan (OGD) English (OGD) Greek (OGD) KATE MacLEOD plus KAT EGGLESTON (SE) Polish (OGD) Israeli (OGD) Israeli (OGD) International (OGD) International (OGD) International (OGD) TIM TEDROW & Scottish (OGD) Morris (OGD) Scottish (OGD) Irish (OGD) Irish (OGD) Scottish (OGD) TERRY VREELAND (SE) Group Singing (OGM) Scandinavian (OGD) Open Mike (OGM) Israeli (OGD) Israeli (OGD) Open Mike (OGM) STACY EARLE & MARK STUART (SE) Irish Session (OGM) Scottish (OGD) Irish Session (OGM) Scandinavian (OGD) Scottish (OGD) DAVE STAMEY (SE) Open Mike (OGM) Irish Session (OGM) Drumming (OGM) Scottish (OGD) Group Singing (OGM) Contra (OGD) Open Mike (OGM) Group Singing (OGM) International (OGD) Bluegrass (OGM) Open Mike (OGM) Bluegrass (OGM) Old Time Jam (OGM) Group Singing (OGM)

18 19 20 21 22 23 24

PURBAYAN CHATTERJEE and Balkan (OGD) THE SPIKEDRIVERS (SE) ROGER McGUINN (SE) African (OGD) TROUT FISHING IN AMERICA (SE) RAMBLIN JACK ELLIOT ANEESH PRADHAN (SE) International (OGD) Armenian (OGD) BAABA MAAL (SE) Belly Dancing (OGD) MICHAEL CHAPDELAINE and MARIA MULDAUR (SE) WESTWOOD CO-OP’S Irish (OGD) International (OGD) Balkan (OGD) International (OGD) DANA COOPER (SE) SCANDINAVIAN FESTIVAL (SE) INTERNATIONAL DANCE FESTIVAL (SE) Israeli (OGD) Israeli (OGD) International (OGD) Irish (OGD) ANNY CELSI (SE) TROUT FISHING IN AMERICA (SE) STACEY EARLE & MARK STUART, Morris (OGD) Scottish (OGD) Irish (OGD) Israeli (OGD) KATHY MATTEA (SE) LISA FINNIE AND DAN JANISCH (SE) THE ATTENTION HOGS (SE) Scandinavian (OGD) Bluegrass (OGM) Israeli (OGD) Scottish (OGD) Greek (OGD) International (OGD) NATHAN JAMES & BEN HERNANDEZ (SE) Scottish (OGD) Open Mike (OGM) Scandinavian (OGD) Hungarian (OGD) Israeli (OGD) BAKSHEESH BOYS (SE) Irish Session (OGM) Irish Session (OGM) Scottish (OGD) International (OGD) Polish (OGD) BUONG SUONG (SE) Open Mike (OGM) Group Singing (OGM) Group Singing (OGM) Israeli (OGD) Scottish (OGD) ZAKIR HUSSAIN WITH Bluegrass (OGM) Drumming (OGM) Open Mike (OGM) Scottish (OGD) Group Singing (OGM) MASTERS OF PERCUSSION (SE) Old Time Jam (OGM) Open Mike (OGM) Irish Session (OGM) BRYAN BOWERS (SE) Western Music (OGM) IRISH HOUR RADIO SHOW Bluegrass (OGM) FUNDRAISER (SE) Open Mike (OGM) Contra (OGD) Bluegrass (OGM) Group Singing (OGM) 25 26 27 28 29 30

POLKA-PALOOZA/JIMMY STURR Balkan (OGD) Armenian (OGD) QUETZALCOATL/ VILLAGE OF TALES (SE) DAVE STAMEY (SE) ORCHESTRA (SE) International (OGD) International (OGD) BALLET FOLKLORICO DE VERACRUZ (SE) African (OGD) GREG & STEVE (SE) MARTYN JOSEPH (SE) Irish (OGD) Israeli (OGD) Balkan (OGD) Belly Dancing (OGD) ORCHESTRA BAOBAB (SE) International (OGD) Israeli (OGD) Scottish (OGD) International (OGD) International (OGD) DENNIS ROGER REED (SE) Israeli (OGD) Morris (OGD) Open Mike (OGM) Irish (OGD) Irish (OGD) Greek (OGD) Polish (OGD) Scandinavian (OGD) Irish Session (OGM) Israeli (OGD) Israeli (OGD) International (OGD) Scottish (OGD) Scottish (OGD) Drumming (OGM) Scandinavian (OGD) Scottish (OGD) Scottish (OGD) Group Singing (OGM) Irish Session (OGM) Scottish (OGD) Open Mike (OGM) Open Mike (OGM) Open Mike (OGM) Group Singing (OGM) Irish Session (OGM) Bluegrass (OGM) Open Mike (OGM) Bluegrass (OGM) Old Time Jam (OGM) Open Mike (OGM) Page 16 FolkWorks March-April 2004

ON-GOING DANCE HAPPENINGS DANCING, DANCING and more DANCING

AFRICAN DANCING HUNGARIAN DANCING WESTWOOD CO-OP FOLK DANCERS SCOTTISH DANCING Thursdays 7:30-10:45pm $4 YORUBA HOUSE HUNGARIAN CLASS (BEGINNING) Felicia Mahood Senior Club AMERICAN LEGION HALL 310-475-4440 2nd & 4th Fridays 8:30-10:30pm $7.00 11338 Santa Monica Blvd. (at Corinth), L.A. Sundays Highland - 5:00-7:00pm [email protected] • yorubahouse.net Gypsy Camp 3265 Motor Ave., Los Angeles Tom Trilling • 310-391-4062 Advanced - 7:30 - 9:30pm Jon Rand 310-202-9024 • [email protected] 412 South Camino Real, Redondo Beach ARMENIAN DANCING WEST VALLEY FOLK DANCERS Fred DeMarse 310-791-7471 [email protected] INTERNATIONAL FOLK DANCING Fridays 7:30-10:15pm $4 OUNJIAN’S ARMENIAN DANCE CLASS SAN GABRIEL BRANCH - RSCDS Tuesdays 7:45-10:00pm ALTADENA FOLK DANCERS Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park Jay Michtom 818-368-1957 • [email protected] Wednesdays Beginner/Intermediate - 8:00-10:30pm 17231 Sherman Way, Van Nuys Wednesdays 10:30-11:30am St. Luke's Episcopal Church Susan Ounjian 818-845-7555 Thursdays 3:00-4:00pm IRISH DANCING 122 S. California Ave., Monrovia Altadena Senior Center • 560 E Mariposa St., Altadena Doug MacDonald 909-624-9496 [email protected] BALKAN DANCING Karila 818-957-3383 CLEARY SCHOOL OF IRISH DANCE www.irish-dance.net • 818-503-4577 COLUMBUS-TUSTIN GYM CAFE DANSSA ANAHEIM INTERNATIONAL 11533 W. Pico Blvd., Los Angeles CELTIC ARTS CENTER Wednesdays Beginner - 7:00-8:30pm FOLKDANCERS Intermediate - 8:30-10:00pm Wednesdays 7:30-10:30pm Wednesdays 7:30-9:30pm • 511 S. Harbor, Anaheim Irish Ceili Sherrie Cochran [email protected] Mondays 8:00-9:00pm (ex. 1st Mondays) 17522 Beneta Way, Tustin 626-293-8523 CALTECH FOLK DANCERS Wednesdays - 7:30-9:00pm Shirley Saturensky 949-851-5060 hometown.aol.com/worldance1/CafeDanssaHome Tuesdays 8:00-11:55pm 4843 Laurel Canyon Blvd., Valley Village DANCE STUDIO, VALLEY COLLEGE Pagephoto.html Throop Memorial Church 300 S. Los Robles, Pasadena 818-752-3488 Mondays Beginner - 7:00-8:30pm Nancy Milligan 626-797-5157 Intermediate - 8:00-10:00pm SAN PEDRO BALKAN FOLK DANCERS [email protected] LOS ANGELES IRISH SET DANCERS Mondays 7:30-9:30pm Mondays 7:30 - 9:30pm Ethel at Hatteras St., Van Nuys Dalmatian American Club CONEJO VALLEY FOLK DANCERS The Burbank Moose Lodge Aase Hansen 818-845-5726 • [email protected] 17th & Palos Verdes, San Pedro Wednesdays 7:30-9:30pm $1-2 1901 W. Burbank Blvd., Burbank EDISON COMMUNITY CENTER Dorothy Daw (562) 924-4922 Hillcrest Center (Small Rehearsal Room) Thursdays 7:30 - 9:30pm Thursdays Beginner - 7:30-9:00pm 403 West Hillcrest Drive, Thousand Oaks The Columbian Fathers BELLY DANCING Intermediate - 7:30-9:30pm Jill Lundgren 805-497-1957 • [email protected] 2600 North Vermont Ave., Los Angeles Renee Boblette Bob Patterson 714-731-2363 Call for schedule/locations DUNAJ INT’L DANCE ENSEMBLE MARTIN MORRISEY SCHOOL GOTTA DANCE II DANCE STUDIO Mésmera, (323) 669-0333 • www.mesmera.com Wednesdays 7:30-10:00pm OF IRISH DANCE Thursdays - Intermediate/Advanced - 8:00-10:00pm CAJUN DANCING Wiseplace 1411 N. Broadway, Santa Ana 818-343-1151 Sonia’s Dance Center [email protected] 8664 Lindley Ave., Northridge 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm Richard Duree 714-641-7450 O’CONNOR-KENNEDY SCHOOL South Pasadena War Memorial Hall OF IRISH DANCE Deanna St. Amand 818-761-4750 • [email protected] FOLK DANCE FUN 435 S. Fair Oaks Ave., South Pasadena 818-773-3633 • [email protected] LINDBERG PARK RECREATION BUILDING 3rd Saturdays 7:30-9:30 pm 2nd Sundays except April, May, October Tuesdays 6:30-7:30pm children; 7:30-10:15pm adults 8648 Woodman Ave., Van Nuys THOMPSON SCHOOL OF IRISH DANCE 3rd Sundays 5:00-9:00pm 5041 Rhoda Way, Culver City • 310-820-1181 Ruth Gore 818-349-0877 Cecily Thompson 562-867-5166 • [email protected] VFW Hall ISRAELI DANCING LUTHERAN CHURCH OF THE MASTER 1822 W. 162nd St., Gardena INTERNATIONAL FOLK DANCE CLUB 1st & 3rd Fridays Beginner/Intermediate 7:00-9:00pm 562-427-8834 AT UCLA ARCADIA FOLK DANCERS 725 East Ave J Lancaster Mondays 9:00-11:00 pm Free LALA LINE (626) 441-7333 Tuesdays 7:30-9:00pm Aase Hansen 818-845-5726 UCLA Ackerman Student Union Building For additional Cajun/Zydeco dancing: Shaarei Torah, 550 N 2 St., Arcadia Room 2414 • 2nd Floor Lounge Westwood NEWPORT-MESA BALLET STUDIO users.aol.com/zydecobrad/zydeco.html David Edery 310-275-6847 310-284-3636 • [email protected] Fridays Beginner - 7:30-9:30pm CONTRA DANCING COSTA MESA ISRAELI DANCERS Intermediate - 7:30-9:30pm LA CANADA FOLKDANCERS Wednesdays 7:00-11:30pm Shirley Saturensky 714-557-4662 CALIFORNIA DANCE CO-OPERATIVE Mondays 7:30-9:30 pm JCC of Orange County • 250 Baker St., Costa Mesa www.CalDanceCoop.org • Hotline 818-951-2003 La Canada Elementary School Yoni Carr 760-631-0802 [email protected] RANCHO SANTA SUSANA COMM. CTR. Mondays 1st Fridays - Lesson 8:00 Dance 8:30-11:30pm 4540 De Nova St., La Canada Lila Moore 818-790-5893 LA CRESCENTA DANCERS Children - 6:30-7:30pm Kathy Higgins 805-581-7185 South Pasadena War Memorial Hall Wednesdays 7:00-8:30pm Beginners - 7:30-9:00pm Mary Lund 818-996-5059 435 S. Fair Oaks Ave., South Pasadena LAGUNA FOLK DANCERS Church of Religious Science 5005-C Los Angeles Ave., Simi Valley Dennis 626-282-5850 • [email protected] Wednesdays 8:00-10:00pm 4845 Dunsmore Ave., La Crescenta Sundays 8:00-10:00pm Karila 818-957-3383 ROYAL SCOTTISH COUNTRY DNC. SOC. 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm Knights of Columbus Hall Brentwood Youth House Laguna Community Center 384 Legion Ave & Glenneyre, Laguna ISRAELI FOLK DANCING AT UCLA Tuesdays Beginner - 7:00pm Intermediate - 8:15pm 731 So. Bundy, Brentwood Mondays 9:00pm UCLA Ackerman Union 2414 224-1/2 S. Sepulveda Blvd., Manhattan Beach Jeff 310-396-3322 • [email protected] Richard Duree 714-641-7450 [email protected] James Zimmer [email protected] • 310-284-3636 Wilma Fee 310-546-2005 310-378-0039 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm ISRAELI DANCE WITH JAMES ZIMMER [email protected] All Saints Epoiscopal Church LEISURE WORLD FOLK DANCERS Tuesdays 8:30-11:00am Saturdays 8:30-11:00am Tuesdays 8:00-11:00pm SCOTTISH COUNTRY DANCE 3847 Terracina Drive, Riverside West Valley JCC, Ferne Milken Sports Center Wednesdays 562-916-8470 Meg 909-359-6984 • [email protected] Club House 1, Leisure World, Laguna Hills Florence Kanderer 949-425-8456 22622 Vanowen Street, West Hills Jack Rennie • [email protected] Thursdays 8:00-9:30pm 2nd Saturdays - Lesson 7:30 Dance 8:00-11:00pm SOUTH PASADENA WAR MEMORIAL Sierra Madre Masonic Temple MOUNTAIN DANCERS Sundays 2:00-3:00pm Tuesdays 7:00-9:30pm Encino Community Center, LA Recreation & Parks Sundays Beginner - 7:00-9:00pm 33 E. Sierra Madre Blvd., Sierra Madre 435 Fair Oaks Ave., South Pasadena Frank 818-951-4482 • [email protected] Oneyonta Congregational Church 4935 Balboa Blvd, Encino 818-995-1690 1515 Garfield Ave., South Pasadena 2nd Fridays 9pm Free Alfred McDonald 626-836-0902 [email protected] 2nd Sundays Rick Daenitz 626-797-16191 4th Fridays 9 pm Free ST. PAUL’S EPISCOPAL CHURCH Slow Jam 2:00pm Lesson 3:30 Dance 4:00-7:00pm NARODNI FOLKDANCERS Maltz Center, Temple Emanuel-Beverly Hills Thursdays Beginner - 7:30-9:30pm La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne 8844 Burton Way, Beverly Hills Intermediate - 7:30-9:30pm Gretchen 909-624-7511• [email protected] Thursdays 7:30-10:30pm $3 Dance America, 12405 Woodruff Ave., Downey [email protected] 310-284-3638 Don Karwelis 714-730-8124 3rd Fridays - Lesson 8:00 Dance 7:30-11:30pm John Matthews 562-424-6377 • [email protected] UNIVERSITY OF JUDAISM THE DANCE ACADEMY South Pasadena War Memorial Hall PASADENA FOLKDANCE CO-OP Wednesdays 7:30-10pm Mondays Intermed - 8:00-10:00pm 435 S. Fair Oaks Ave., South Pasadena 5600 Mulholland Dr., Los Angeles 24705 Narbonne at 247th St., Lomita Marie 626-284-2394 • [email protected] Fridays 7:45-11pm Teaching to 9pm $2 Throop Unitarian Church Natalie Stern 818-343-8009 Jack Rennie 310-377-1675 [email protected] 3rd Saturdays 300 S. Los Robles, Pasadena VINTAGE ISRAELI TORRANCE CULTURAL CENTER Throop Memorial Church Marshall Cates 626-792-9118 Anisa’s School of Dance Fridays Beginner - 7:00-8:30pm 300 S. Los Robles Ave, Pasadena [email protected] 14252 Ventura Blvd., Sherman Oaks Intermediate - 8:00-10:00pm Barbara 310-957-8255 • [email protected] RESEDA INT’L FOLK DANCERS [email protected] Between Torrance & Madrona, Torrance 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Jack Rennie 310-377-1675 [email protected] Thursdays 3:00-4:45pm MORRIS DANCING Brentwood Youth House Reseda Senior Center • 18255 Victory Blvd., Reseda VENTURA COLLEGE DANCE STUDIO 731 South Bundy Drive JoAnne McColloch 818-340-6432 PENNYROYAL MORRIS Fridays Beginner - 7:00-8:30pm Peter 562-428-6904 • [email protected] Mondays 7:00pm ROBERTSON FOLK DANCE Intermediate - 8:00-10:00pm 5th Saturday - Dance 7:00-11:00pm (Experienced) Debi Shakti & Ed Vargo 818-892-4491 4667 Telegraph Road, Ventura Mondays 10:00-11:30am Sunset Morris • Santa Monica Throop Memorial Church 1641 Preuss Rd., Los Angeles 310-278-5383 Mary Brandon 818-222-4584 300 S. Los Robles Ave, Pasadena Jim Cochrane 310-533-8468 [email protected] Chuck 562-483-6925 • [email protected] SIERRA MADRE FOLK DANCE CLASS SUNSET MORRIS Mondays 8:00-9:30pm Clive Henrick 310-839-7827 [email protected] THE LIVING TRADITION Sierra Madre Recreation Building www.thelivingtradition.org 611 E. Sierra Madre Blvd., Sierra Madre WILD WOOD MORRIS Ann Armstrong 626-358-5942 6270 E. Los Santos Drive, Long Beach 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm Julie James 562-493-7151 Rebekah Hall, 406 East Grand Ave., El Segundo SOUTH BAY FOLK DANCERS [email protected] • wildwoodmorris.com Diane 310-322-0322 • [email protected] 2nd Fridays 7:45-9:45pm Torrance Cultural Center POLISH DANCING 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm 3330 Civic Center Dr., Torrance GORALE POLISH FOLK DANCERS Downtown Community Center Beth Steckler 310-372-8040 250 E. Center St.@Philadelphia, Anaheim Sundays 6:00-8:00pm Bea 562-861-7049 [email protected] TUESDAY GYPSIES Pope John Paul Polish Center Tuesdays 7:30-10:30pm $7.50 3999 Rose Dr., Yorba Linda ENGLISH COUNTRY DANCING Culver City Masonic Lodge Rick Kobzi 714-774-3569 • [email protected] 9635 Venice Blvd., Culver City CALIFORNIA DANCE CO-OPERATIVE PERSIAN DANCING www.CalDanceCoop.org Gerda Ben-Zeev 310-474-1232 [email protected] Millicent Stein 310-390-1069 SHIDA PEGAHI BEFORE ATTENDING 1st & 3rd Thursdays 8:00-10:00pm Tuesdays 6:00pm • 310-287-1017 First United Methodist Church TROUPE MOSAIC ANY EVENT 1551 El Prado, Torrance Tuesdays 6:30-8:30pm SCANDINAVIAN DANCING Giovanni 310-793-7499 • [email protected] Gottlieb Dance Studio • 9743 Noble Ave., North Hills Contact the event producer to verify information Mara Johnson 818-831-1854 SKANDIA DANCE CLUB FLAMENCO DANCING Wednesdays 7:30-10:00pm $5 before attending any event. (Things change!!!) VESELO SELO FOLK DANCERS POINT BY POINT DANCE STUDIO Lindberg Park • 5401 Rhoda Way, Culver City CORRECTIONS Thursdays, Fridays 7:30-10:30pm (intermediate class) Sparky 310-827-3618 1315 Fair Oaks, Suite #104, South Pasadena Saturdays 8:00-11:00pm FolkWorks attempts to provide current and accu- Katerina Tomás 626-403-7489 Ted Martin [email protected] Hillcrest Park Recreation Center led by Cameron Flanders & John Chittum rate information on all events but this is not [email protected] 1155 North Lemon & Valley View, Fullerton always possible. LE STUDIO Lorraine Rothman 714-680-4356 SKANDIA SOUTH 100 W. Villa, Pasadena Mondays 7:30-10:30pm Please send corrections to: WESTCHESTER LARIATS (Youth Group) Downtown Community Center Tuesdays 6:30pm Mondays 3:30-9:30pm $30 or $40/10-wk session [email protected] or 818-785-3839 Marcellina de Luna 626-524-6363 [email protected] 250 E. Center, Anaheim Westchester United Methodist Church Ted Martin 714-533-8667 [email protected] LIST YOUR EVENT! GREEK DANCING 8065 Emerson Ave., Los Angeles Diane Winthrop 310-376-8756 [email protected] To have your on-going dance event listed in KYPSELI GREEK DANCE CENTER FolkWorks provide the following information: Fridays 8:00-11:30pm $5.00 WEST HOLLYWOOD FOLK DANCERS Wednesday 10:15-11:45am • Indicate if it’s an on-going or one-time event Skandia Hall 2031 E. Villa St., Pasadena • Category/Type of Dance (i.e., Cajun, Folk) Dalia Miller West Hollywood Park, San Vicente & Melrose 818-990-5542 • [email protected] West Hollywood • Tikva Mason 310-652-8706 • Location Name • Event Day(s) and Time [email protected] WEST L.A. FOLK DANCERS • Cost • Event Sponsor or Organization Joyce Helfand: 626-446-1346 Mondays Lesson 7:45-10:45pm • Location Address and City Louise Bilman: 323-660-1030 Fridays 7:45-10:45pm Brockton School • 1309 Armacost Ave., West L.A • Contact Name, Phone and/or e-mail Beverly Barr 310-202-6166 Send to: [email protected] [email protected] or 818-785-3839 March-April 2004 FolkWorks Page 17

MARY BLACK continued from page 1 Carpenter’s Moon and St. surprising use of salsa, Breton folk Christopher. She has joined Joan cadences, and even American coun- No Frontiers, which went triple some of her songs almost seem like Baez for Ring Them Bells, which try. Her influences range from platinum. It is an artistic tour de a musical missing link, a perfect they performed together live at New Fairport Convention to Billie force, with arresting instrumenta- blend between Celtic and American York’s Bottom Line Club. Holiday and the Beatles. The tion and crisp production emphasiz- folk, with more than a nod to The topics addressed on Black’s instrumentation she employs is ing the well-chosen and beautifully American country and swing. songs tend toward the intellectual. refreshing and unique, with simple delivered lyrics. The exceptional Perhaps the nearest term you could Some are political, others heartfelt. bodhran and a light folk guitar, Waiting for Columbus, written by use is Pan Celtic. She broaches difficult subjects with often synthesized with whimsical master lyricist Noel Brazil, show- Her songs do, however, often a straightforward delivery. Much to clarinet and sparingly used Celtic cases Black’s stunningly her credit, the choice of fiddles in the background. controlled and impas- songs expresses a polit- Mary Black’s current tour brings sioned voice. Like Joan ically active sensibility, her to Los Angeles for two shows in Baez, she has a long, and in the folk tradi- March. So, open your daytimer, and cello-like vibrato ending tion, strives to educate circle March 25th for Carpenter her lines like a last long by the lyrics she sings. Center in Long Beach and March draw across the strings What sets her apart is 26th for UCLA’s Royce Hall. of a violin. Also highly that she does so with- Whether or not you’re familiar with successful, Black’s next out seeming preachy or Mary Black’s work, seeing her per- album, Babes in the heavy. On songs like form live is sure to be a satisfying Woods came two years The Shadow, which experience. later, with several beauti- laments the horror and If you can’t go to her shows, go ful songs by Australian waste of religious to www.mary-black.net and check poet Howard Shane, and entanglements in out last year’s Mary Black Live for the title track by Noel Northern Ireland, Mary an excellent overview of her career. Brazil. It was Ireland’s avoids any overt dra- Along with the CD, you receive number one album for matics. Instead, her video clips on VHS or DVD. Also six weeks that summer. delivery is straightfor- available at the website is a limited With Black’s 1993 ward and expository. It edition of Women’s Heart Trilogy. A release, The Holy is annunciated calmly nice feature of this website is that at Ground, Billboard fea- and directly to the lis- checkout, there is a space provided tured her on the cover, tener, so that you are free to derive for the purchaser to choose whether hailing her as “a firm favorite to deal with traditionally Celtic any meaning and conclusion on or not they would like Ms. Black to join the heavy-hitting ranks of such themes like mysticism and the your own. A key element of Mary autograph their purchase. artists as Enya, Sinead O’Connor magic found in nature. For exam- Black’s success is her ability to find and Clannad’s Maire Brennan in ple, in Bright Blue Rose, the Jimmy the heart of the song, that elusive J.J. Ryan has been a features writer the international marketplace.” McCarthy song on Babes in the quality of making you feel it just by for 30 years and has been published Unfortunately, none of the songs Woods, she sings: closing your eyes and listening. in Little Bit Magazine, The Reader, received much airplay, as they never And it is a holy thing, and it is Mary Black has 18 solo albums City Pages, Mpls./St Paul magazine got onto the ever-elusive Abrams a precious time — 9 platinum — and has performed and Sweet Potato Magazine in top-play rotation (a fate so many And it is the only way. with the groups DeDannan, The Minneapolis. She has also performed fine folk artists have long endured). Forget-me-nots in the snow, Black Family, Arcady and as lyricist and lead singer for her Mary Black did, however, receive It’s always been and so it goes General Humbert. Her albums own band. awards for Best Irish Female To ponder his death and his life typically borrow from diverse Vocalist and Best Irish Album that eternally. sources and rhythms, with some year at the Irish Recorded Music Awards. This lovely delicate dirge, part In 1994, she was featured in the jazz and part Celt in flavor, is not groundbreaking women’s compila- haunting in the Celtic sense. tion A Woman’s Heart, which also However it stays with you, and you included performances by Maire find yourself thinking about it long Brennan, Eleanor McEvoy, Dolores afterwards. It’s not surprising that Keane, Sharon Shannon, and her Babes in the Woods was voted one sister, Frances Black. The album of the top 10 albums of the year by was a huge success, and sales were Britain’s Today Newspaper. What is strong – enough for each household surprising is that such an excellent in Ireland to own at least one copy. work received so little airplay in the Mary Black has worked very United States. hard to not be described as a Celtic Throughout her career, Mary or Irish singer. On her website Black has drawn from a pool of www.mary-black.net, she is quoted amazing lyricists, including Noel as saying, “I started in folk music, Brazil, Thom Moore, Jimmy but never felt there should be any McCarthy, and Howard Shane. Her boundaries in music. Fortunately, choice of covers encompasses an here in Ireland there’s an openness eclectic range of female songwrit- about music that allows you to step ers, and includes Joni Mitchell’s outside the categories.” Indeed, Urge for Going, and Mary Chapin Page 18 FolkWorks March-April 2004 WHAT YOU SAY IS WHAT YOU GET

ears ago, at my third or fourth con- time for more education. My partner in a lively Ytradance, a man approached me smiling Scandinavian dance kept a good tempo through- and holding out his hand. He said out but finally began slowing down. I stepped out something, too, but, with all the between-dance firmly to keep up the speed. He dragged. I chatter and tuning noises, I couldn’t hear it. “It’s tugged. He muttered something that sounded like okay,” I thought, “he’s obviously asking me to ‘retarded!’ so I turned on him furiously and said, dance” so I smiled brightly and said “Yes.” “I’m not quick but I’m certainly not retarded!” His hand dropped and his smile faded. “Too “True,” he said, smoothly and unapologeti- bad,” he said, and walked away. cally, “you’re just ignorant. Ritard is an Italian I was stunned – was it my sweaty tee shirt? My musical term meaning ‘slow down at the end of peach shampoo? The garlic? Could he tell I was a piece’.” directionally disabled? I knew instinctively I should words. I have caught onto a lot of other non-verbal Scandinavian dancers, even though the normal have taken that proffered hand though, so, when the cues, though. I’ve learned, for instance, to snag a hold allows comfortable conversation, usually next man appeared and shouted “Wanna dance?” I partner at thirty feet just by catching his eye. It does- dance silently, concentrating on technique and on snatched up his hand lest he, too, be a tease. n’t matter who’s got a hand on him, if your eyes the elusive beat. Contra dancers, however, change We joined a set just one couple away from the meet, he’s yours; it’s that simple. Conversely, if you positions often and would do well to maintain a first man. That was bad, but it got worse. The dance don’t make eye contact, you may not be invited to similar silence, but conversation’s so tempting. had a shadow swing and my shadow was this man dance at all, a fact equally worth remembering. Besides, it’s a challenge to read lips that twirl away who had so clearly found me unacceptable at close We get things going with the smile and the in mid-sentence and to reconstruct mangled phras- range. We swung silently, inexorably, once a meas- inviting hand, then keep them going with other es. I met this challenge on a recent Saturday night. ure, he eyeing me sternly and I wondering how he simple, wordless signals: the slightly tilted head “How have you been?” [allemande left] was dealing with the garlic. indicating the passing side, the receptive hand “Chicago; did you miss me?” [ladies’ chain] Afterwards he took me aside and said “I know raised and waiting in contra corners, and, of course, “Why Mississippi?” [hey for four] you’re new so you probably don’t know that it’s giving weight. We trust these signals so well that, if “Hip’s better but no hikes for awhile.” [swing] considered rude to refuse one person and then we reach for a chain instead of going into a hey, we “Four miles? Good news.” [circle left] dance with another.” create chaos because everyone will follow us. “Yeah, great musicians.” [final swing] “But I said ‘yes’,” I protested, “and you walked More esoteric gestures can be misconstrued if “Nice dance!” away. I call that rude.” not augmented with words. For example, while “Thanks, [music stops; silence] I got them at He looked a little puzzled, then asked, “What dancing a schottische to painfully lethargic music, Walmart.” did you think I said?” I saw the dancer in front of me make what looked “Huh?” “Do you want to dance?’ What else?” like a rude thumb gesture to the fiddler. But the basics were there – eye contact, warm “I asked ‘do you have a partner?’You said ‘yes’ “What’s that about?” I asked my partner. smiles, love of the dance – so who’s to say we so I left.” “He thinks he’s telling them ‘faster’, but he’s didn’t understand each other? We laughed and became friends, but it was a actually saying ‘louder’. Watch.” near thing. I’d always thought that communication Sure enough, the musicians leaned earnestly Valerie Cooley lives in West Los Angeles and loves was just about words but now it seemed that in into their instruments, the music got louder but no folk music, dancing, and crafts. She co-chairs the dancing, with all the motion and ambient noise, faster, and the now irate dancer stomped off the Banner Committee for the CTMS Summer Solstice body language was as powerful as words and often floor, tired of trying to do the fast turn in slow Festival where she is able to indulge her love of more so. motion. Had he called out ‘faster’ with his garbled pretty colors, fabrics, and the enthusiasm of the I was astounded by the art of leading and to this signal, he could have kept dancing. people who put them together day can’t fathom how men work their magic without Then, too, sometimes nothing works and it’s

New Album from Kathy Buys! Dragonsdance Records proudly announces the debut release of San Francisco fiddler,Kathy Buys. Mapless Journey combines tradition with cutting edge arrangements and the artist’s unique and fiery style.Enjoy many favorite tunes,lesser known gems from the traditional repertoire and original tunes,all arranged creatively and with variety.The album features such musicians Marla Fibish on mandolin,Tim Hart on Irish whistles and bodhran,Calvin Lai on didgeridoo and Debbie Shaeffer on piano as well as several other talented friends. Order direct from www.dragonsdance.net for the best price of $15.00. Also available at Tower Records in the Castro district of San Francisco [email protected] and www.cdbaby.com March-April 2004 FolkWorks Page 19

FOLKWORKS FOLK BULLETIN BOARD AS OF JANUARY, 2004 Send us your community news, musical instruments for sale, non profit organization announcements, weddings, births, etc. May be edited for space available. ANGEL Anonymous AUDITIONS for NEW VOCAL-BASED FOR SALE OLD VIOLIN with following BENEFACTOR Ruth C. Greenberg • Kathy Qualey • Dave Stambaugh GROUP – I seek two to three SUPERB, printed inside Violin “Antonius Stradiurius PATRON UNUSUAL VOCALISTS (Male or Female) Cremonensis-Facisisbat -Anno 1774” -Case Frieda & Bob Brown • Christa Burch who know world-music or folk-music holds rosin box with Inscription” Scott Duncan • Kay & Cliff Gilpatric stylings, are able to sight read, sing right-on Caldophane Number 5131” Asking $1,500. Don Green/Barbara Weismann • Chris Gruber harmony, and like to move. It is important Given as gift 50 years ago in Argentina Aleta Hancock • Dorian Keyser • Sheila Mann that each vocalist knows how to be part of a advised probably was made in Germany. Mary Anne McCarthy • Santa Monica Folk Music Club • Jim Westbrook creative team, as well as a strong soloist. Also Serious Buyers Only. 310-276 5547 seeking a BANJO player who is willing to do FRIENDS unusual styles.Also seeking a CELLIST or ARGENTINIAN SINGER-SONG- Anonymous James Morgenstern WRITER Professional Singer-Songwriter Robin & Tom Axworthy /Linda Dow ACOUSTIC BASS player. I AM A VERSA- TILE, DYNAMIC VOCALIST/COMPOS- seeking musicians from different musical Carvel Bass Gitta Morris/Gee Martin backgrounds (guitar, percussion, bass, accor- Aubyn & Doug Biery Rex Mayreis ER who puts together incredible vocals, and Henrietta Bemis Judy & Jay Messinger writes music that is deeply informed by Irish, dian or any other instrument) to create a Barbara Brooks Gretchen & Chris Naticchia Balkan and Appalachian traditional singing unique music project to record and perform Doug Brown Molly Nealson (L.A. and O.C.). Have original songs and Valerie Brown/Jerry Grabel Melanie Nolley styles - as well as old Gospel, old Country and Southern African vocal traditions. I've arrangements. My background: Jazz, Pop, Bob & Melody Burns Norma Nordstrom Tango, Brasilian & South American. E-mail: Coffee Affair Café Dave Ogden toured extensively with world-class ensem- Chris Cooper Gabrielle O’Neill bles, and led my a cappella group, VIDA into [email protected] Jim Cope Stephen/Susan Parker the top performing circuits - Lincoln Center, Darrell Cozen Peter Parrish GUITARISTS WANTED Mandolin player Lisa Davis Lenny Potash UCLA Live, Knitting Factory, and critical — mostly Irish — hoping to find guitar play- Winifred Davis Mattias F. Reese acclaim (Billboard, Village Voice, Dirty er(s) for occasional get togethers and learn- Enrico Del Zotto Barbara Richer Linen). THE ESSENTIAL SOUNDS of this ing new tunes. In North Orange County, Dave Dempsey Suzie Richmond group: complex and playful rhythm, vocal Irvine area. Call Tavo at 714-731-7080, or Mary Dolinskis Steve Rosenwasser grit as well as polish, humor, and lyrics that email at [email protected] Bonita Edelberg /Kelli Sager mean it! I want this group to move people. Joy Felt Tom Schulte NEVENKA FOLK CHORUS SEEKING Joel Garfield Diane Sherman This group will tour. A few influences I see John & Judy Glass Miriam & Jim Sidanius coming out in this group: Bobby McFerrin, SOPRANO Nevenka, a L.A.-based Roger Goodman/Monika White Mark S. Siegel Zap Mama, Ani Difranco, Steve Reich, Billy women’s folk chorus, is seeking a soprano. Diane Gould Jeff Spero/Gigi DeMarrais Holiday, Bjork, Baaba Maal, Gillian Welch Previous experience and familiarity with Alan & Shirley Hansen Fred Starner Eastern European folk music and vocal style Mimi Tanaka This is posted as of February, 2004 Please Jim Hamilton contact: 818-985-0331, 818-259-4460 is preferred. Chris Hendershot Barry Tavlin Fron Heller/Bill Mason Doug Thomas [email protected] To audition, call Trudy Israel at Sue Hunter Vivian Vinberg PIANO FOR SALE 1923 Schulz Upright 818-907-7340 or [email protected] Ken Waldman Trudy & Peter Israel with bench. Good condition. Recently tuned. Dodi & Marty Kennerly Donald Wood Ann & Jim Kosinski John Wygonski/Mary Cynar Call Terry at 818-908-8902 Brian McKibbin Ron Young/Linda Dewar Nancy MacMillan Page 20 FolkWorks March-April 2004

PASSING THROUGH UNCLE RUTHIE ON THE PICKET LINE “I saw Adam leave the garden with an apple in his hand, Two lovely young strikers come I said, ’Now you’re out, what are you gonna do?’ up to me, smiling. ‘Plant my crop and pray for rain, maybe raise a little Cain. “Join in on the chorus,” I beg, I’m an orphan now, and I’m only passing through!’” and they do! I sing a verse about Jesus hav- here’s a phone message from Eric Gordon, the dynamic director of ing no time to hate because there is TThe Workmen’s Circle, on Robertson Boulevard, right here in our so little time and he’s only passing neighborhood. The Workmen’s Circle is a cultural Jewish organiza- through. The chorus has grown to tion, focusing on the arts, political issues, and always, social action. seven, and Stan has joined us and I This call is definitely for social action. can actually hear him singing! “We want you to bring your guitar to Pico and Fairfax on Monday night Then we sing a favorite old from six to seven, and sing with the grocery strikers, while we bring them strike song. sandwiches, and picket with them.” “If you want a raise in pay, all “Sing what?” you have to do “Those old union songs you know so many of….You know—Roll the Is go and ask the boss for it, and he will give it to you……” Union On, Union Maid…you know—we’ll sing with you!” I sing all the verses—everyone joins in on the chorus! “But the strikers won’t. They’ll think I’m nuts!” “Put it on the ground, spread it all around, “No, they won’t. They’ll love it! See you there!” Dig it with a hoe—it will make your flowers grow!” So here I am, at six o’clock walking around the entrance of Vons, play- We sing Roll the Union On. We sing We Shall Not be Moved in English ing my guitar, and singing. and Spanish…and when it’s time to leave, they invite me to come back next “Passing through…passing through, Monday and sing. I promise I will, but I still think they are just being friend- Sometimes happy, sometimes blue, ly and polite, and appreciative of the sandwiches. Sure glad I ran into you, The next week I am silenced by laryngitis. Eric tells me everyone was Tell the people that you saw me passing through!” asking for me. I can’t believe it, but when I show up the following Monday As I feared, most of the strikers are chewing away on their sandwiches I am greeted by cheers from a huge group of the strikers. and starring at me. Eric is singing with me, and two other members of the I launch right into Union Maid…oops! a problem! One verse tells the Workmen’s Circle are singing with me. My husband, Stan, is many feet away “girls” to “marry a man with a union card and join the Ladies Auxiliary.” I from me, holding a picket sign and pretending not to see me. make the world’s fastest change: I try another verse and chorus. “Now, sisters , if you wanna be free, “Oh, I spent the night with George Just take a tip from me. And his boys at Valley Forge, Get yourself a union card “Why do the men all shiver like they do?” ‘Cause there’s no more Ladies Auxiilary!” He said, “Folks will freeze and fight, Eric sings The International and the growing group asks for song sheets Even die for what is right, next time. We print them and after a few weeks we have a real informal cho- Even though they know they’re only passing through!” rus that sounds great. Shoppers who support the strike are joining us. One I have been adapting and changing the words to folk and political songs has a singing dog that joins in. since I was sixteen…I have just changed “men” to “folks,” and it is the first We talk to shoppers who are about to enter the store. We ask them not to of many, many Monday night musical modifications! cross the picket line and a few actually turn and leave, accompanied by our cheers. By now I am writing new verses to all the old songs: “I used to shop at Vons a lot, but lately I do not, They don’t treat their workers in a way I like— So, if you’re a friend of mine, you won’t cross that picket line, Until these strikers all have won their fight!” The strikers give us hugs and home -made cookies. The song sheets have over twenty songs, including a round written by Eric. When was the last time you heard strikers singing three part rounds! When we leave each week at seven, they all thank us. “We thank you, too,” we reply, “It is an honor for us to be here with you.” We are singing old folk songs with new words, old hymns with new words and updated union songs of the thirties and forties. All are welcome to join us every Monday evening from six to seven at Pico and Fairfax. “Passing through, passing through, Sometimes happy, sometimes blue, Sure glad I ran into you! Tell the people that you saw me passing through!”

Uncle Ruthie is a singer, songwriter, storyteller, recording artist, Special Education music teacher for blind children and a poet. Her radio show Halfway Down The Stairs can be heard every Sunday morning at 10:00 am on KPFK 90.7 FM. In her spare time she will be writing this column and sharing her thoughts on music and life with our readers. KEEP UP TO DATE! JOIN THE FOLKWORKS YAHOO GROUP Keep up with current folk / trad happenings. Get reminders of what is happening the upcoming weekend (the FolkWorks Calendar). Share information. Are you looking for a music teacher-post it here. Is your band playing-post it here. Do you want to know where you can purchase a digereedoo? Yup-post it here. Surf over to groups.yahoo.com. If you are a new Yahoo user, click on “new users” (click here to register). Create a Yahoo ID. You will be asked to submit your email address, first and last name and zip code along with your preferences. After you sign in, search for FolkWorks. Click on the FolkWorks hyperlink. That’s all there is to it. March-April 2004 FolkWorks Page 21

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CALIFORNIA, TIM STEINMEIER, YIDDISH SINGING (HULYANKE(HULYANKE),), JEFF SPERO/GIGISPERO/GIGI DEMARRAIS, L. A. COMMUNITY STORYTELLERS,ST FAMILY STORYTELLING,, LEIMERT PARK GRIOT WORKSHOP, ALAN & SHIRLEY HANSEN, SAN GABRIEL VALLEY STORYTELLERS, JAMES MORGENSTERN/LINDA DOW, LONG BEACH STORYTELLERS, NANCY MACMILLAN,MA SUNLAND- TUJUNGA STORYSWAP,RYSWAP, BARRY TAVLIN, COSTA MESA SOUTH COAST STORYTELLERS GUILD, RUTH C. GREENBERG, SOUTH COAST STORYTELLERS, MISSIOMISSIONN VIEJO STORYTELLING,STORYTELLING, YORUBA HOUSE,HOUSE DAVE STAMBAUGH, OUNJIAN'S ARMENIANMENIAN DANCE CLASS, ALAN STONE, CAFE DANSSA, SAN PEDRO BALKAN FOLK DANCERS, CALIFORNIA DANCE CO-OPERATIVE, DORIAN KKEYSER,EYSER, THE LLIVINGIVING TRADITION, KYPSELI GREEKGR DANCE CENTER, ALTADENA FOLKK DANCERS, GABRIELLE O'NEILL, ANAHEIM INTERNATIONAL FOLKDANCERS, CAL TECH FOLK DANCERS, CONEJO VALLEY FOLK DANCERS, MARY ANNE MCCARTHY,MCCARTHY, DUNAJ INT'L DANCE ENSEMBLE,ENS FOLK DANCE FUN, HOLLYWOODOOD PEASANTS OF CULVER CITY, CITY INTERNATIONAL FOLK DANCE CLUB AT UCLA, UCLA MARIE BRUNO, BRUNO LA CANADA FOLKDANCERS, FOLKDANCERS LAGUNA FOLK DANCERS, DANCERS LEISURE WORLD FOLK DANCERS, DANCER MARK S. SIEGEL, MOUNTAIN DANCERS, NARODNI FOLKDANCERS, PASADENA FOLKDANCE CO-OP, RESEDA INT'L FOLK DANCERS, ROBERTSON FOLK DANCE, FRED STARNER, SIERRA MADRE FOLK DANCE CLASS, SOUTH BAY FOLK DANCERS, TUESDAY GYPSIES, JIM HAMILTON, TROUPE MOSAIC, VESELO SELO FOLK DANCERS, WESTCHESTER LARIATS, WEST HOLLYWOOD FOLK DANCERS, WEST L.A. FOLK DANCERS, WESTWOOD CO-OP FOLK DANCERS, WEST VALLEY FOLK DANCERS, JIM WESTBROOK, CLEARY SCHOOL OF IRISH DANCE, LOS ANGELES IRISH SET DANCERS, SHEILA MANN, MARTIN MORRISEY SCHOOL OF IRISH DANCE, O'CONNOR-KENNEDY SCHOOL OF IRISH DANCE, THOMPSON SCHOOL OF IRISH DANCE, ARCADIA FOLK DANCERS, COSTA MESA ISRAELI DANCERS, NAN MCKINLEY, LA CRESCENTA DANCERS, ISRAELI FOLK DANCING AT UCLA, DONALD WOOD, ISRAELI DANCE WITH JAMES ZIMMER, VINTAGE ISRAELI, PENNYROYAL MORRIS, SUNSET MORRIS, WILD WOOD MORRIS, GORALE POLISH FOLK DANCERS, SHIDA PEGAHI, SKANDIA DANCE CLUB, SKANDIA SOUTH, ROYAL SCOTTISH COUNTRY DANCE SOCIETY

FolkWorks is a non profit 501(c)(3) organization. dedi- THE FOLLOWING ARTISTS AND RECORD LABELS cated to promoting Folk and Traditional arts (music, dance, HAVE DONATED CDS FOR MEMBER PREMIUMS. PLEASE JOIN THEM WITH YOUR SUPPORT. storytelling and folk art) throughout the greater Los Angeles (SEE BELOW FOR MEMBER BENEFITS) area. This is accomplished in a variety of ways, but foremost Caroline Aiken, Unshaken Michael Mendelson, through the publication of this newspaper. FolkWorks also Ara G, Let’s Party A Fiddler’s Notebook presents concerts and produces an annual weekend dance Baksheesh Boys, The Baksheesh Boys Katy Moffatt, Greatest Show on Earth festival and has formed partnerships with many like-minded Randal Bays, Out of the Woods Katy Moffatt, Midnight Radio organizations in support of the entire community. Blarney Rubble, Blarney Rubble Bruce Molsky, Lost Boy Kathy Buys, Mapless Journey NEW Bruce Molsky, Poor Man’s Trouble WHY BECOME A FOLKWORKS MEMBER: Liz Carroll, Lake Effect Old Mother Logo, Branching Out • You love FolkWorks concerts Rodney Crowell, The Huston Kid Kristina Olsen, The Truth of a Woman • You love the FolkWorks newspaper and want to keep it Lila Downs, Border The Privy Tippers, going. FolkScene V3 Under the Crescent Moon • You want to support the Folk/Traditional Arts For Old Times Sake, Dolly Parton, Little Sparrow • You need a tax deduction For Old Times Sake Dennis Roger Reed, • You want discount tickets to FolkWorks concerts Green Linnet, 25 Years of Celtic Music Little King of Dreams • You want to get a gift CD Green Man, Green Man Round the House, Round the House • You want a business or tribute ad in the paper Richard Greene, Hands Across the Pond Round the House, • You want to come to the FolkWorks annual party Kate and Katy, Sleepless Nights ‘til the wee hours Do it now. We need you to support the Folk/Traditional Jim Lauderdale & Ralph Stanley, Chris Stuart, Angels of Mineral Springs communities in our city. We hear every day how important I Feel Like Singing Today Sol Y Canto, En Todo Momento a niche we fill. Please make sure we will be able to be here Yuval Ron Ensemble, Under the Olive Tree for you! MEMBERSHIP

Become a MEMBER today - It’s tax-deductible Name (please print) $25 – Basic $200 – Benefactor Subscription to Newspaper Benefits above PLUS $65 – Friend 2 tickets to one concert annually Street Address th Benefits above PLUS 1/16 page business or tribute ad (birthdays, anniversaries, special occasion) Discounts at FolkWorks Concerts City Recognition in Newspaper $500 – Sponsor Premium CD Gift Benefits above PLUS UPGRADE Annual Recognition Event 2 tickets to all concerts annually State ZIP 1 th $125 – Patron /8 page business or tribute ad (birthdays, anniversaries, special occasion) Benefits above PLUS email Reserved Seating at $1,000 – Angel FolkWorks concerts Benefits above PLUS UPGRADE Gift Certificate for Basic Membership Phone th 1/4 page business or tribute ad I pick it up locally - don’t mail the paper. (birthdays, anniversaries, special occasion) Thank you for making it possible! SELECT YOUR PREMIUM CD GIFT Please make check payable to: 1st Choice: ______2nd Choice: ______FolkWorks • P.O. Box 55051 • Sherman Oaks, CA 91413 Your contributions are tax-deductible. FolkWorks is a non-profit 501(c)(3) organization! Page 22 FolkWorks March-April 2004 Music and Movement PART THREE: UP IN ARMS ABOUT WRIST PAIN

BY JERRY WEINERT, R.N., NCTMB arpal Tunnel Syndrome affects millions of WHAT TO DO ABOUT IT Cpeople and it runs close to back pain as one Probably the easiest and best option is to take frequent of the leading causes of lost productivity breaks from any sustained activity in order to minimize or and decreased quality of life. It is a totally pre- prevent wrist discomfort. Remember to keep your wrist in ventable disorder! Most maladies of the a neutral position whenever possible. Avoid extreme for- wrist are due to repetitive motion. ward or backward bending of the wrist, especially with Vocational and leisure activities both pressure or weight behind it. If a medical practitioner has contribute to problems of the wrist and prescribed a wrist brace for an overuse injury, it is usually hand. better to wear this while sleeping to avoid extreme posi- In the last issue we discussed the shoulder. WRIST FLEXOR STRETCHES tions. There is abundant research that suggests light move- Starting Position: Standing straight, let your arms Many problems with the wrist begin with shoulder hand freely at your sides. Inhale. ment involving full range of motion during the day can pre- dysfunction whereby the arm and hand need to Action: While exhaling, raise your straight arm for- vent atrophy of the forearm muscles. work harder when there’s an ailing shoulder. Most ward and up to shoulder level, palm down. Move the The following stretches are effective for the prevention of hand up into a “stop” position (palm out). Assist the directly related, however, is the condition of the stretch by using your opposite hand. Stretch to light wrist pain: muscles of the forearm. Hand movement is con- irritation and hold for two seconds. Inhale while you In general, repetitive use of the hands and arms creates trolled by the forearm flexors and extensors. If return to the starting position. Repeat four to ten overly tight forearm muscles. Once the flexor and extensor times. Repeat for other arm. these muscles are tight or over used, then there is muscles of the forearm tighten, there is considerable pull greater stress in the wrist and muscle attachments on the fingers and wrist. Daily flexibility exercises before, in the hand. The more you repeatedly use your during, and after the repetitive activity can totally prevent hand, the tighter your forearm becomes. In and/or rehabilitate most cumulative trauma disorders of the essence, tight forearm muscles compress wrist. For example, if you notice that your fingers spend the wrist and affect the passage on the time in a bent or closed position (as in keyboard work), palm side of your wrist where tendons, then do more Wrist Flexor Stretches (see below). If you blood vessels, and the median nerve hold a pick long periods with strong rhythm, then you may pass. This compression creates friction with need to do more of the Wrist Extensor Stretches. repetitive use and leads to inflammation, which Remember, activities and stretches that are a varied or results in pain and loss of function. WRIST EXTENSOR STRETCHES opposite movement patterns from the repetitive movement Musicians are particularly prone to wrist and Starting Position: Standing straight, let your arms will keep you playing and moving with more comfort and hand problems because of fine motor movements, hand freely at your sides. Inhale. ease. Action: While exhaling, raise your straight arm for- holding a pick or bow for prolonged periods, odd ward and up to shoulder level, palm down. Move your hand positions coupled with various forces, and fingertips down so the palm faces back. Assist this Jerry Weinert is a health educator, nurse massage therapist playing for long periods. Combine this with work stretch by using your opposite hand. Stretch to light and string bass player from Tucson, AZ. He is co-author of irritation and hold for two seconds. Inhale while you related activities that stress the arm/hand (com- return to the starting position. Repeat four to ten times. two health and wellness books. The stretching illustrations puter work) and sleeping postures which place the Repeat for your other arm are from his first book, Head To Toe: A Manual of Wellness & wrist in extreme flexion or extension, and your Flexibility. Southwest Wellness Educators: 1-888-527-2200. wrist will scream that it has had enough abuse.

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he Pacific Asia Museum in Pasadena has a Tshow opening in March entitled, Kampai! The Arts of Japanese Sake. Sake, brewed from a special variety of rice, is a 2,000 year-old factor in Japanese social and religious rituals. “Kampai!” is a traditional Japanese toast meaning, “to the bottom of the cup,” and the museum will be launching their exhi- bition of sake-related objects and art with a lecture and sake-tasting led by the foremost non-Japanese authori- ty on sake, John Gaunter (who writes a weekly column on sake for the pop- BY BROOKE ALBERTS ular Japanese newspaper, Yomuri Shimbun, is the author of several books on the subject, and runs the website, www.sake-world.com). The exhibit itself Brooke Alberts is a (containing items from the collections of the Pacific Asia Museum, member of the Irish LACMA, Scripps College, Claremont, and several local private collections) band, The Praties, and covers three general themes, according to the curator, Meher McArthur the has a Masters degree in museum’s curator of East Asian Art. The first part serves as an introduction Medieval Studies. to sake - how it is produced, marketed and presented. Brewing sake is a more complicated process than making wine or beer in that it employs a double system of breaking down the rice starch into glucose with the use of a microbe known as koji, as well as fermentation with yeast and water. Now, if you’re more interested in wine tasting and Traditionally, the process is presided over by a Toji, or brewery master, who would like to bid on Navajo rugs, the Southwest Museum’s lives on-site and manages every area of the process, including the well-being third annual Navajo rug auction will be held at the Museum and morale of the workers. There are some examples of the equipment used of the American West (formerly the Autry Museum) in Griffith Park on in its production (including a sake bag for squeezing and filtering the mash), Friday March 26 and Saturday March 27. That Friday, from 5:00 to 7:00pm, and a modern ceramic model illustrating the process of sake production. there will be previewing of the rugs and memorabilia to be sold and a tast- Additionally, there are shop signs, labels, and other marketing devices. A ing of wine from Fess Parker’s Los Olivos winery. Selected rugs and mem- special feature of the show is the inclusion of Dr. James Roorda’s large pri- orabilia will be auctioned from 7:00 to 11:00pm, and then on Saturday, from vate collection of sake-related ceramics. 10:00 to 3:00pm, the remaining rugs will be auctioned. [FolkWorks has a The second theme is that of sharing sake, either with gods and supernat- limited number of Museum Passes. Call 818-785-3839 or email ural beings or with friends. Sake has traditionally been used in Japan as an [email protected] to receive your pass for two]. offering in household or public shrines, and as a component of ceremonies, And across town, the Craft and Folk Art Museum) is having two over- celebrations and festivals. This includes weddings, New Year’s, Cherry lapping shows involving handmade signs. The first, Hand-Painted Signs Blossom and Girls’ Day From Ghana begins in February and goes until early May. The actual signs festivals to name a few. from shops in Ghana will be on display and will give the flavor of the streets The New Year’s sake- of West Africa. The other, Signs of Our Time: Sign Painting of Los drinking custom Angeles, begins in March and runs until June. This one is a photograph involves steeping the exhibit drawing on signs hand-painted on buildings locally. This will pro- sake in a mixture of vide an interesting comparison. specified herbs. The PACIFIC ASIA MUSEUM sake cups for this are 46 No. Robles Ave., Pasadena - 626-449-2742 stacked in graduated Kampai! The Arts of Japanese Sake March 5-June 20. size, with smaller ones • All About Sake- Friday March 5, 7:00-9:00pm. Reservations ext.40. on top, and everyone in Lecture, book signing and sake tasting with John Gauntner $35 ($25 for the family drinks the members of the Pacific Asia Museum, the Japan America Society and the special sake to ensure Asia Society). good health through the • Curator’s Tour- Saturday March 13, 2:00pm. Free with museum admis- coming year. Lest you sion Reservations ext.19. thought that this show • Slide lecture: Introduction to Japanese Decorative Arts- Saturday was completely pro- April 10, 11:00am Free with museum admission. Reservations, ext.40. boozing, the last sec- Hollis Goodall, Associate Curator of Japanese Art, LACMA. tion is devoted to salu- tary warnings against MUSEUM OF THE AMERICAN WEST (formerly the Autry overindulgence. One of Museum) the images portrays an 4700 Western Heritage Way, Los Angeles 323-221-2164 www.museu- energetic demon play- moftheamericanwest.org ing the shamisen (a ref- Navajo Rug Auction Friday March 26 and Saturday March 27 -For infor- erence to geisha) with mation, contact Jo Valiulis ext.226 -Catalogue available online after Feb. 25 a sake cup at its feet, Otsu-e Painting of a Cat and Mouse at www.southwestmuseum.org. Japan, late 18th-early 19th C. CRAFT & FOLK ART MUSEUM which Ms. McArthur Ink, color on paper playfully termed a Pacific Asia Museum Collection 5814 Wilshire Blvd., L.A. 323-937-4230 www.cafam.org warning against the Museum Purchase, 1997.56.5 Open Wed.-Sun. 11:00-5:00 - Ages 12 and under, free -First Wed. of the evils of “sex, drugs 2004 PAM Image month free admission and rock & roll.” On Saturday, March 13, the curator will be leading an informative walk- Brooke Alberts is a member of the Irish band, The Praties, and has a Masters through of the galleries, and on Saturday, April 3rd Hollis Goodall, Associate degree in Medieval Studies Curator of Japanese Art at LACMA, will be giving a slide lecture, Introduction to Decorative Arts of Japan. Page 24 FolkWorks March-April 2004

BESS LOMAX HAWES continued from page 7 behalf of the endowment, the NEA? BLH: Oh yeah. BLH: We had the best show in Washington, I BLH: Uh-huh. It was pretty widespread. We FW: They were just in the L.A. Times. think. funded projects in every state, in every one of BLH: Right. We had…I think I might have a FW: Anglo-American Ozark fiddler. Asian- the islands of Puerto Rico, Hawaii, and all of book here that had a little bit on that. I could American singer. Laotian. Wow, this really is a the islands out further in the Pacific that still show you if you want to. melting pot when you look at it through these eyes had American interests there or some relation- here. FW: Okay. ship with the government. We figured out one BLH: That’s right. That’s right. Each one of time that we had funded grants in 282 different BLH: Just a second. You can see how compli- these people are just as different.They get along languages. cated it all was. Sorry, I’ve been stiff. I have to beautifully. They love each other. We have a FW: Wow. lean on things. Here we go. [inaudible, not into great time in Washington when we bring them microphone] This is an exhibit of cowboy cul- all in. BLH: I didn’t think there were that many. ture from Hawaii. They have their own cowboy FW: This is all within the continental U.S.? culture, their own songs, their own costumes FW: When you bring them in. And there’s Bessie Jones, the last one in the book. BLH: Yeah. and things that they use, their own way of mak- ing saddles. BLH: There is Bessie.We had her the first time. FW: Wow. And Alaska? FW: Oh. I see. Oh, gee whiz. She was one of the first ones. She and Sonny BLH: Alaska. Terry. BLH: It’s very complex—sort of flip through it, FW: And Hawaii. because it’s got beautiful pictures in it. This was FW: Oh, Sonny Terry. BLH: Hawaii and so on. People would come in done by one of the state programs that we got BLH: We managed to get him in it. See. It to me, come into the office and say, “You know, going. comes with $5,000 so it’s nice to get. I’m a ” What were some of the terms they gave FW: I see. FW: I was just listening to him this morning. me? I can’t think. “I’m some kind of an Italian and I’m just fed up with being pushed in BLH: Historical pictures. BLH: Yeah. together with all of those folks from Napoli. We FW: This is extraordinary. FW: Did you know him before you met him there? don’t have anything like each other. We’re dif- BLH: It was—it absolutely knocked my eye out BLH: Oh yeah.Yeah, I met him. He was in New ferent. We want to have our own thing. We want when I first saw it. I want you to see the cow- York. He came up to the hoots all the time. to show you what we do.” They had their own boys. The saddles are beautiful. thing, indeed. They wanted to have that record- FW: This was during the Almanac days? ed, or they wanted to do it, or they wanted to FW: Hawaiian cowboys with Hawaiian cowboy BLH: Uh-huh. We had hootenannies, which just have somebody know it was there. It was a hats with leis on them. were Sunday afternoon concerts. You paid at fascinating job. I never did anything so interest- BLH: That’s right. the door a variable amount and you could go in ing in my life. FW: Who would have thunk it? and out. When we got to the end of it, we put all of the money in a bundle and dealt it out to the FW: Were the choices that you had, did they reflect BLH: Who would have thunk it? some of your deepest interests as a folklorist? Did people who had played. FW: Not in a John Wayne movie. you find people doing stuff out in the country that FW: Oh. So you didn’t pay the rent with that you thought was worth putting money into? BLH: That’s right. There was just all this kind money. of stuff was lying around and they were just BLH: Oh yeah. Oh yeah. Absolutely. We set up BLH: No. delighted to show it. a program called the National Heritage FW: That wasn’t a rent party or something. Foundation and gave awards to representatives FW: Wow. BLH: No. Every once in awhile we had to, but of all these different kinds of art forms. BLH: Most of us didn’t have any idea it was most of the time we tried to get it back to the FW: They’re still getting awards today. there. singers. FW: These are beautiful instruments, too. FW: So Sonny and Brownie played there, too. Family Events BLH: Yeah. BLH: Yeah. Josh White had played there, too. FW: This was something that was created and Josh was a little sophisticated for us, though. I at the Autry funded through the NEA while you were working think he thought we could do it a little better. www.autrynationalcenter.org with the NEA? FW: Was there any connection or association you Mt. Washington Campus BLH: Yes. Well, the people who put that book had in the late ‘40’s with People’s Songs and the 234 Museum Drive together. investigations coming out of Washington with the Los Angeles, CA 90065 FW: Oh, I see. Sponsors—National Endowment House Committee on un-American activities? Did 323-221-2164 for the Arts. So you must be concerned today about that affect the work going on? Griffith Park Campus the de-funding of state and federal arts programs. BLH: I was in Boston by that time and then out 4700 Western Heritage Way BLH: I sure am. We’re going to lose a lot. This here. I was kind of out of the big arenas where Los Angeles, CA 90027 book is the history of this program. things were taking place. It’s impossible to say how much that affected things. I think it affect- 323-667-2000 FW: Oh, I see. Masters of Traditional Arts, volume The Autry National Center is a multicultural his- ed things a great deal, because it scared people. 1, A to J; and Masters of Traditional Arts, volume tory center that includes the Southwest Museum It scared people about their kids. They were 2, K to Z; a biographical dictionary. of the American Indian, the Museum of the scared that their kids might suffer. They’ve American West (formerly the Autry Museum of BLH: Yeah. always kind of tried to keep the kids out of Western Heritage), and the Institute for the FW: And these came out of the NEA? things. Study of the American West. BLH: No. The material came out of the NEA. FW: I see. SUNDAY, MARCH 21 Cradleboard and Ribbon Work Demonstration This was funded by an educational company. BLH: I don’t think that’s good for children not 1:00 p.m.–3:00 p.m., Griffith Park They sell it to libraries. to be in on everything. Yvonne Swan, from Washington State's FW: Oh, I see. FW: I see. Sinixt/Arrow Lakes Nation, demonstrates cradleboard making and ribbon work. Free with BLH: Especially high school libraries, where BLH: But in terms of the specific damages, you museum admission. it’s apparently been very successful. know, different people lost their jobs and some WEDNESDAY APRIL 14 FW: It’s beautiful. “To Bess Lomax Hawes, friend didn’t. It’s hard to tell on that kind of thing. It Soaring Adventures: Dragonfly's Tale and colleague, who encouraged me early on and was a disgraceful period. Absolutely disgrace- 11:00 a.m.–12:00 noon, Mt. Washington has continued to inspire me through the years with ful, because it’s all for money. It wasn’t for any- We'll read Dragonfly's Tale by Kristina immense gratitude and deep appreciation” – Al thing but money. Rodanas, a wonderful book that reveals the Govenar. He’s the author … original Zuni storytellers' kindness and respect FW: Oh. for nature's gifts. Free to the public. BLH: Yeah. He did all the work. Horrible work. BLH: Nothing but the money. Same thing that SUNDAY,APRIL 18 Very difficult. If you look, you can just see how is going on now, frankly.This is all about money, Native Pottery Making Demonstration many different kinds of folks there were. this war. 1:00–3:00 p.m., Griffith Park FW: Of art forms. FW: The war in Iraq? Miranda Morales (Laguna) demonstrates the art of Native pottery making. Free with museum BLH: And art forms are just endless. You can BLH: Yeah, yeah. We just found out that the admission. tell…. president lied over and over to tell us we should FW: Irish-American step dancer. African- go in there.And now he’s admitting that he lied. A LIMITED NUMBER OF American Piedmont blues guitar singer and I don’t think he’s going to sleep one bit less FREE MUSEUM PASSES dancer. soundly for it. ARE AVAILABLE TO BLH: Yeah. Just on and on and on. End of Part 3 FolkWorks MEMBERS. FW: Anglo-American Appalachian musician, sto- [email protected] • 818-785-3839 ryteller and instrument maker. March-April 2004 FolkWorks Page 25 Phil Ochs: Folk HOW CAN I KEEP Singer at the FROM TALKING Barricades

Texas cowboy in the White House cavalry charged, the Indians fell/But I learned to Alaunches a huge military build–up to accept it, accept it with pride/Cause you don’t wage an all-out controversial war in a dis- count the dead when God’s on your side.” Phil tant land with no end in sight. The country is divid- came up to the plate and hit I Ain’t Marching ed down the middle, antiwar demonstrations in the Anymore: “For I killed my share of Injuns in a streets, and Russia and China are against us. We thousand different fights/I was there at the Little are invading a tiny country ruled by a tin-horn dic- Big Horn/I heard many men a lying, saw many tator we helped install, once supported and have more a dying/And I ain’t marching anymore.” now decided it is time to depose. We claim to want When Bob wrote Only a Pawn In Their Game to export democracy there, but some of us know for the assassinated civil rights leader Medgar better. We are trying to build a democracy here at Evers, Phil responded with Too Many Martyrs, home. and when Blowing In the Wind went sailing out of It is 1965, the war is in Vietnam, and I am in the park, Phil dug in deep and hit What’s That I By Ross Altman San Francisco at an antiwar demonstration, listen- Hear?. ing to Phil Ochs sing I Ain’t Marching Anymore, Behind Dylan, though, loomed a larger shad- and Cops of the World. If Dylan was the King of ow, and Phil kept his eyes on the prize, Woody Francisco’s Golden Gate Park, to protest the Protest, Phil Ochs was the Crown Prince, Lou Guthrie’s This Land Is Your Land, composed a Vietnam War. Of all the words I listened to that Gehrig to Bob’s Babe Ruth. We needed both of quarter century before at the tail end of the Great day, including those of Zen philosopher Alan them, and Bob would soon be moving on, reject- Depression, “with the wheat fields waving, and Watts, the only ones I remember are Phil’s plain- ing the “finger-pointing songs” of his Woody the dust clouds rolling.” That’s the song Phil was tive question: “For it’s always the old to lead us to Guthrie period. chasing when he added the words to the melody the wars/Always the young to fall/Look at all Phil became the poet of the antiwar movement, Sonny had heard him composing on his bed, to we’ve won with a saber and a gun/Tell me was it who summed up his aesthetic in one memorable create The Power and the Glory. “Come and take worth it all?” phrase: “Ah, but in such an ugly time, the true a walk with me, through this green and growing Forty years later—and there is another Texas protest is beauty.” With a gift for melody as well as land…” cowboy in the White House, another war of words he created songs that both pointed the fin- Bob had written Song to Woody for his first aggression with imperial ambitions masked by ger and touched the heart. album; Phil wrote, Bound for Glory, his own trib- humanitarian rhetoric, and we can still turn to Phil When he was writing The Power and the Glory, ute to Guthrie. Now he wanted a song to match Ochs’ songs for illumination and inspiration. For for example, his sister Sonny overheard him sitting Woody’s finest: “Here is a land full of power and four decades they have stood like sentinels at the on his bed playing one chord progression over and glory/Beauty that words cannot recall/But her barricades of struggles for peace and social justice over—C-Em-Am-G7. “What are you doing?” she power shall rest on the strength of her here and abroad. asked. “I’ve just written my greatest song,” he freedom/Glory shall rest on us all.” When songs really mattered, he told it like it answered. “What’s it called?” she asked. “I don’t For all the protest songs, however, and a patri- was, and his songs still tell it like it is. Like the know yet,” he said, “I haven’t written the words.” otic anthem that even Anita Bryant would eventu- Lone Ranger, Phil Ochs rides again. Try to imagine a protest singer-songwriter ally record, Phil never lost sight of his credo: “The With a word of appreciation to Dorian Keyser, for today coming up with that answer. I can’t. For Phil, true protest is beauty.” His most powerful songs many years the head of The Topanga Banjo Fiddle the music was not just the medium for his mes- may ironically be his quiet secular hymns—There Contest, who called and left me a message that it sage; as McLuhan proclaimed, the medium was But for Fortune, a hymn to compassion, Changes, was time to start listening to Phil Ochs again. the message. It was part of the statement—“The a hymn to a lost love, and When I’m Gone, a hymn Thanks, Dorian, and I hope you like this column. true protest is beauty.” to a committed life in the here and now: “No, and For a time it seemed like he was matching I won’t be laughing at the lies when I’m gone/And Ross Altman has a Ph.D. in English. Before becom- Dylan song for song, like two great home run hit- I can’t question how or when or why when I’m ing a full-time folk singer he taught college English ters, folk music’s Mantle and Maris, or the afore- gone/Can’t be living proud enough to die when and Speech. He now sings around California for mentioned Ruth and Gehrig. Dylan wrote With I’m gone/So I guess I’ll have to do it while I’m libraries, unions, schools, political groups and folk God On Our Side, tracing America’s propensity to here.” festivals. credit God for its wars back to the very beginning: Phil has been gone now for twenty-seven years, “The history books tell it, they tell it so well/The and it’s nearly forty years since I heard him in San

LEARN IRISH MUSIC continued from page 3 your instrument who they’d recommend. But most of all have fun! Here’s a list of tunes SUPPORT Find recordings with tunes that are being that you can use as a starting point: learned at the session you aspire to play • JIGS with. Listening is half of learning, especially The Cook in the Kitchen • Kesh Jig FolkWorks with Celtic music. The Lark in the Morning • My Darling Asleep • Go to or form a slow session where learners Humours of Ennistymon • Blarney Pilgrim Become A Member. are welcomed and challenged to play by ear. Out On the Ocean Try to just get a sense of the shape of the • REELS [email protected] tune, when it goes up, when it goes down Castle Kelly • Cup of Tea etc., close your eyes and see how much you Maid Behind The Bar • Merry Blacksmith or call 818-785-3839 can follow. Once you get centered in the key, Morning Dew • Sligo Maid • Star of Munster you’ll be amazed at how much you can get. Toss the Feathers • Cooley’s Reel • Even if you get just one note, that’s great. • WALTZES • Pick an instrument that fits your abilities. Ashokan Farewell • Sourgrass and Granite www.FolkWorks.org Spend time learning basic technique and Margaret’s Waltz • Si Beag, Si Mor posture on the instrument. Get a book of • SLIP JIGS basic scales/exercises. This foundation will The Butterfly • The Swaggering Jig help you tremendously when you try to The Snowy Path learn tunes. • SET DANCES, SLIDES AND HORNPIPES • Dance to the music you want to learn. Your King of the Fairies (set dance) whole body needs to learn how to play it! Off to California (hornpipe) The Road to Lisdoonvarna (slide) These should definitely get you started! Good luck and enjoy!

Kathy Buys is a fiddler and music therapist in San Francisco, CA. She recently released her debut album entitled, Mapless Journey. To read more about Kathy and to hear samples of the album, visit www.drag- onsdance.net. Page 26 FolkWorks March-April 2004 JohnnyPASSINGS Cunningham AUGUST 27, 1957 - DECEMBER 15, 2003

Celtic world mourns at passing of Johnny resided in New Bedford, Mass. He is survived by his Scottish fiddle great mother Mary, his sister Laura, his brother Phil, and his grandmother Green Linnet Records joins the Martha Knowles, all of Scotland. Our sympathies are with his family Celtic music world in mourning the and loved ones. passing of Scottish fiddler Johnny Remembrances may be sent in care of: Green Linnet Records P.O. Cunningham, who passed away last Box 1905 Danbury, CT 06813 USA night, December 15, 2003, in New www.johnnycunningham.com www.greenlinnet.com. Contact: Judith York City, of a heart attack. He was Joiner Green Linnet Records Danbury, CT USA 203-730-0333 x15 46 years old. Johnny leaves behind [email protected] a great body of work and a huge legacy in Scottish and Celtic music JOHNNY CUNNINGHAM REST IN PEACE of the late 20th century. He was a founding member of many seminal BY JOHN CUTLIFFE (WWW.JIGTIME.COM) Celtic groups, including Silly It was Liverpool in the late 1970’s or early 1980’s and I was a Wizard, Relativity, Nightnoise and The Celtic Fiddle Festival. teenager on one of my first voyages abroad. At least it seemed Johnny played a large role at Green Linnet, appearing on more than a abroad. It was just across the channel to England but for me it was dozen albums including his solo Fair Warning (SIF 1047) as well as a huge city and the home of the Beatles and was exciting and won- producing albums by Cherish the Ladies, Orealis and Brooks derful. For March the weather was still cold I remember for St. Williams." Johnny was a huge life force, and a brilliant musical intel- Patrick's Day as we headed to the Liverpool Irish center to break ligence," says Green Linnet owner Wendy Newton. "He was a friend all the rules and listen to some Scottish band with the odd name for more than 20 years. A great light has gone from our lives." Silly Wizard. Johnny will be remembered for his musicianship, his compositions, That was a show that still sticks in my mind as one of the and for his larger-than-life personality. He was beloved on both sides best and most exciting things I have ever heard in the of the Atlantic for his exquisite musicianship as well as for his music world. The band was incredible. I had no idea that renowned wit and warmth. An outrageously funny man and a gifted traditional music could be played with such fun and fervor storyteller, he held audiences either rapt in attention at his virtuosic or even that music like this came out of Scotland. I was total- playing, or falling over in laughter at his stories. ly blown away. I became a long time fan of Silly Wizard and was Born in Scotland on August 27, 1957, Johnny began playing fiddle sad to see the day they went their separate ways. at age seven. He was a founding member of legendary Scottish band Of course I was happy to see that the various members of Silly Wizard, along with his brother Phil on accordion and singer the band went on to wonderful solo careers and the sweet fid- Andy M. Stewart. The band is credited with playing a strong role in dle sounds of Johnny Cunningham wasn't too far away. He Scotland's traditional music revival. Johnny and Phil also founded would pop up in various projects over the years. He toured Relativity, an acclaimed group with Irish brother-and-sister as a duo with his brother and fellow wizard Phil and they musicians Tríona and Míchaél Ó Domhnaill of The Bothy both played with the amazing Relativity with Micheal Band. He and the Ó Domhnaills later formed the new age group O'Domhnaill and Triona Ni Dhomhnaill of The Bothy Nightnoise. Johnny was a member of the renowned Celtic Band. Fiddle Festival with Irish fiddler Kevin Burke and Breton Johnny was also in great demand as a producer and also musician Christian Lemaitre, who made three albums together. even played with such unlikely souls as Hall and Oates. He (The group was scheduled for an American tour in February also collaborated with bands like Solas and Cherish the 2004.) Most recently, Johnny had worked with Irish singer Ladies. In recent years he has been part of the amaz- Susan McKeown on a seasonal album called A Winter ing The Celtic Fiddle Festival with fellow fiddlers Talisman. The two had just finished an American tour this Kevin Burke (Ireland) and Christian Le Maitre week. (Brittany). For many, this is seen as one of the most A widely-read man, Johnny's skills and interests were important music collaborations in traditional music. far-ranging. He wrote the music and lyrics for a theatrical The sad news came in today that Johnny passed version of Peter Pan, Peter and Wendy, produced by New away yesterday at his apartment in New York's East York City's Mabou Mines Theater Company. The musical Village. This is a huge loss to all who loved music. Johnny was a critical and popular success, winning two OBIE was by all accounts was one of the nicest people in the business awards and touring America as well as Ireland. He founded the rock and to people like myself a great musical inspiration. He will be group The Raindogs in the 1980’s, releasing two albums on greatly missed. Atlantic/Atco, and toured with such artists as Bob Dylan, Don Henley, So wherever you are tonight Johnny, we will raise a glass in Warren Zevon, Hall & Oates, and Bonnie Raitt. He collaborated with toast to someone who gave us all so much beautiful music. best-selling author Thomas Moore on a CD and book set, The Soul Of Slainte. Christmas, a spiritual exploration of Celtic culture and the Christmas Thanks to Alice Farrell who also pointed me to these video clips tradition. He also produced such artists as award-winning Irish band of Johnny from shows at the Kennedy Center one as recently as Solas. December 3rd this year.

REED’S RAMBLINGS continued from page 10 vocals, with harmony by Cheryl White of the the Sacred Harp Singers at Liberty Church. The Powell, and is followed by a strong a cappella ver- country stalwarts the Whites, are fine. Eriksen and impact of shape note singing is amazing, and this sion of Lady Margaret by Cassie Franklin, anoth- Baugus return for cut 5, a nice call and response soundtrack will no doubt spur interest in this style er tune that is missing from the film. White returns take on the old chestnut The Cuckoo, again with of a cappella vocals. Drawing from a tradition that with Great High Mountain, then Gabriel Yared’s lively backing by Duncan and Powell. Sittin’ on dates back to the English parish countryside, four orchestral pieces from the score, and The Top of the World is cut 6, with Jack White singing. shape note’s four part harmony was a part of New Sacred Harp Singers at Liberty Church close out Part of this tune’s lyrics can arguably be traced England culture in the 1700’s, but the tradition the CD with Idumea. back to a pop tune done by Al Jolson in the 1920s, took hold and rooted in Appalachia, the Piedmont It’s a great, sprawling piece of work. Questions and the melody to Carr and Blackwell’s How Long and other parts of the South, where it remains do arise. Why the dependence on White, why the from 1928. It’s a big stretch to take White’s ver- today. Largely supplanted by the development of new songs when so many excellent period pieces sion, that owes most to the Mississippi Sheik’s ver- gospel music, shape note has a haunting, other- exist? Why Sting? Obviously, the movie business, sion from 1930, back to the Civil War, but this is worldly quality. like the music business, is dependant on sales. Hollywood, not a Lomax field recording docu- Jack White’s original Never Far Away follows. Now, the O Brother soundtrack sold well without mentary. This doesn’t fit the traditional music boundaries White, Sting or tunes by Costello, but perhaps Cut 7 is a fine duet between Duncan’s fiddle too well, though it’s not a bad song. It’s not fea- insurance is in order. The project might have been and Eriksen’s voice on Am I Born to Die?. Next up tured in the film, but possibly on the cutting room a bit more rewarding by incorporating the type of is Sting’s contribution, You Will Be My Ain True floor. White, Riley Baugus and Brendan Gleeson blend Burnett used on O Brother, mixing a few Love. It’s the least traditional song on the record- follow with Christmas Time Will Soon Be Over, recordings from 1920’s and 1930’s. But these are ing, both from a compositional sense and from with spirited backing from Powell, Blake and minor criticisms of a recording that utilizes some Sting’s jazz-tinged harmonies to Krauss’s lead Duncan. Cut 12 is Ruby With The Eyes That important talents performing traditional and tradi- vocal. Cut 9 is the powerful I’m Going Home by Sparkle, an instrumental duet between Duncan and tional influenced music to a very wide audience. March-April 2004 FolkWorks Page 27 FolkWorks PICKS MARCH APRIL ARLO GUTHRIE • Wednesday March 3 MARY BLACK • Thursday March 25 & Friday March 26 SHOGHAKEN FOLK ENSEMBLE • Thursday April 1 Arlo Guthrie's career exploded in 1967 with the release of "Alice's Restaurant," Mary Black has become Ireland’s best-selling pop vocalist, and has crossed Skirball Cultural Center (Cotsen Auditorium) whose title song premiered at the Newport Folk Festival helped foster a new international borders, gaining legions of fans and performing with the likes of These are the sounds of a people with great sorrow to be sure, given the mas- commitment among the '60s generation to social consciousness and activism. Emmylou Harris, Mary Chapin Carpenter, Joan Baez and Van Morrison. sacres they have endured through even recent history, but they are also the Arlo went on to star in the 1969 Hollywood film version of "Alice's Restaurant," Mary Black’s distinguished career has spanned over 20 years from her early sounds of a people determined that their history not be eradicated or disap- directed by Arthur Penn. With songs like "Alice's Restaurant", too long for radio days in Dublin folk clubs through ever-escalating success with nine platinum pear. Haunting, elegant, deeply spiritual, and moving. - Thom Jurek, All Music airplay; "Coming into Los Angeles," banned from many radio stations (but a solo albums. With “a voice to die for” – New York Post Guide favorite at the 1969 Woodstock Festival); and the definitive rendition of Steve WICKED TINKERS • Saturday March 27 NEVENKA FOLK ENSEMBLE • Saturday April 17 Goodman's "City of New Orleans," Guthrie was no One-Hit-Wonder. An artist of There's something to be said for the approach to Scottish music that consists Nevenka's repertoire includes songs from Bulgaria, Macedonia, Croatia, international stature, he has never had a hit in the usual sense. of pipes and percussion; it's definitely FHL (Faster Harder Louder), and it's Albania, Russia, Greece, and Georgia, as well as Ladino Sephardic songs. PACO DE LUCÍA • Monday March 8 & Tuesday March 9 quite listenable… This is not Celtic rock, but rather is pumped up traditional Like the haunting voices on …"Les Mystere Des Voix Bulgares" (The Mystery For the time being, nobody has surpassed him and today´s guitar-playing would Celtic music. T. J. McGrath in Dirty Linen said of Hammered that "[there's of Bulgarian Voices by the Bulgarian State Radio and Television Female Vocal be incomprehensible without him. He revolutionised the way of accompanying nothing subtle, or serious, about these guys -- just three smiling lads from choir), this group renders exquisite harmonies and lilting melodies that intox- and of understanding flamenco guitar playing -www.esflamenco.com/ California with a set of Highland bagpipes and assorted drums, having a lot icate. - Jody Leader, Los Angeles Daily News of fun blasting away on an assortment of traditional and modern Scottish jigs, FES FESTIVAL OF WORLD SACRED MUSIC • Tuesday March 16 reels, hornpipes, and marches. -Cat Eldridge, Green Man Review BAKSHEESH BOYS Style, creed and era aside, the music presents itself with something that has Baksheesh is a Persian word used throughout the Balkans to refer to the “tips” almost disappeared from the arts. Humility before the power of God(s) inspi- SANTA CLARITA COWBOY POETRY & MUSIC FESTIVAL • Saturday March 27 & that fans give to musicians. Fronted by singer Angela Rodel, The Baksheesh Sunday March 28 ration and time. Even for skeptics, the music itself is something to believe in. Boys perform traditional songs and dances from the ethnic Slavs and Roma The 11th annual Santa Clarita Cowboy Poetry and Music Festival, held -The New York Times (Gypsies) living in present day Macedonia and Bulgaria as well as from various March 26-28 in and around the movie-set Cowtown at Gene Autry’s old Every spring, the ancient city of Fès, Morocco hosts one of the world’s great ethnic groups living in adjacent areas of Greece, Albania, Serbia, Romania, and Melody Ranch Motion Picture Studio, is a must-do. Like all good music and musical events, a Festival of World Sacred Music featuring an array of the most Turkey. The band performs on a number of traditional Balkan instruments such folk festivals, it’s the place to explore and discover performers, genres and revered artists from around the globe representing myriad musical traditions as the darabuka (goblet shaped hand drum), tambura (long necked lute) and styles, enjoy old favorites, find new ones, and savor the prevailing spirit. This including Moroccan Sufi, Sephardic Jewish, Gospel, and more. Represented kaval (end-blown flute) as well as Western instruments such as violin, guitar, one has the best ambiance anywhere, with riders on horseback and narrow, are: Jewish-Algerian singer Françoise Atlan from France, Gospel ensemble the and bass. dusty streets of a Western Brigadoon, reborn for the weekend, as each build- Anointed Jackson Sisters from North Carolina, and an ancient tribal dance and ing’s interior come to life. – Larry Wines, FolkWorks music performance by Hadra des Femmes de Taroudant of Morocco.

7:30pm STACEY EARLE & MARK STUART, DAN JANISCH 10:00am SCANDINAVIAN FESTIVAL 7:30pm MARTYN JOSEPH $12/$10 TLT members SPECIAL EVENTS [www.staceyearle.com] $10/$6 students, seniors/free children [www.martynjoseph.com] Folk Music Center Traditional food, ethnic merchandise, folk dances, vocalists Welsh singer-songwriter continued from page 28 California Lutheran University (Kingsmen Park) The Living Tradtion TUESDAY APRIL 20 60 West Olsen Rd., Thousand Oaks • www.clunet.edu WEDNESDAY APRIL 28 SATURDAY APRIL 17 8:00pm THE SPIKEDRIVERS [www.spikedrivers.com] 11:00am & 1:00pm TROUT FISHING IN AMERICA $8 Bluegrass see April 23 8:00pm QUETZALCOATL/ $25-50 8:00pm NEVENKA and BAKSHEESH BOYS $15 Bluegrass Association of Southern California BALLET FOLKLORICO DE VERACRUZ /$13 FolkWorks members 8:00pm LISA FINNIE and THE ATTENTION HOGS Cerritos Center for Performing Arts CD Release party/concert/dance WEDNESDAY APRIL 21 Bean Town Unitarian Church of Santa Monica * BAABA MAAL 8:00pm NATHAN JAMES & BEN HERNANDEZ $15 THURSDAY APRIL 1260 18th St., Santa Monica Senegalese singer [www.nathandjames.com] 10:00am & 12:00pm VILLAGE OF TALES The El Rey Theatre • 5515 Wilshire Blvd., L. A. • 323-936-6400 Fret House Storytelling Concert www.FolkWorks.org • 818-785-3839 with Bill Harley, Len Cabral, Dovie Thomason and Jim Cogan 8:00pm ROGER McGUINN [www.ibiblio.org/jimmy/mcguinn] 8:00pm BAKSHEESH BOYS $8 7:30pm KATE MacLEOD $12/$10 TLT member Theater On High Street Thousand Oaks Civic Arts Center (Fred Kavli Theatre) [www.waterbug.com/eggleston.html] Hillcrest Park Recreation Center Performances to Grow On plus KAT EGGLESTON [www.katemacleod.com] FRIDAY APRIL 23 1155 N. Lemon St., Fullerton • Veselo Selo FRIDAY APRIL 30 The Living Tradition 7:00pm TROUT FISHING IN AMERICA $8 8:00pm RAMBLIN JACK ELLIOT and MARIA MULDAUR 8:00pm TIM TEDROW & TERRY VREELAND Orange County Performing Arts Center (Founders Hall) [www.ramblinjack.com][www.mariamuldaur.com] 8:00pm & 10:15pm DAVE STAMEY [www.davestamey.com] $18 [www.trough.com/Tedrow-Vreeland] Costa Mesa • 714-556-2787 x240 • www.ocpac.org Theater On High Street Coffee Gallery Backstage Bean Town 8:00pm ANNY CELSI [annycelsi.com] 8:00pm BUONG SUONG $20-23/$17 JACCC members 9:30am & 11:30am GREG & STEVE $7 8:00pm STACY EARLE & MARK STUART $15 Bean Town Cambodian Ritual through Dance and Song [www.younghrt.com/gregsteve.html] The George & Sakaye Aratani Japan America Theatre Conejo Valley Children's Concert Series [www.staceyearle.com] 8:00pm KATHY MATTEA [www.mattea.com] $24-28 Fret House 213-680-3700 • www.jaccc.org Thousand Oaks Civic Arts Center El Camino College Center for the Arts (Marsee Theatre) (Janet and Ray Scherr Forum Theatre) 8:00pm DAVE STAMEY [www.davestamey.com] 16007 Crenshaw Blvd.,Torrance • 310-660-3748 8:00pm ZAKIR HUSSAIN WITH MASTERS OF PERCUSSION Walt Disney Concert Hall Conejo Valley Adult School Altadena House Concert 8:00pm MICHAEL CHAPDELAINE Acoustic Music Series • www.acousticmusicseries.com 8:00pm BRYAN BOWERS[bryanbowers.com] 8:00pm ORCHESTRA BAOBAB [www.orchestrabaobab.com] $25 with DANA COOPER Fusion of traditional Senegalese music and rhythms with the Coffee Gallery Backstage Caltech (Beckman Institute Auditorium (Little Beckman)) SUNDAY APRIL 18 888-2-CALTECH or 626-395-4652 seductive music of Cuba 11:00am PURBAYAN CHATTERJEE and ANEESH PRADHAN SATURDAY APRIL 24 The Caltech Folk Music Society Cerritos Center for Performing Arts Sitar and tabla 8:30 pm DENNIS ROGER REED * IRISH HOUR RADIO SHOW FUNDRAISER SUNDAY APRIL 25 Occidental College (Herrick Chapel), L.A. Des Regan’s Irish American Showband & Irish Dancers Acoustic roots music Music Circle • 626-449-6987 • [email protected] 515 N. Vega St., Alhambra • 626-284-6747 5:00pm POLKA-PALOOZA/JIMMY STURR ORCHESTRA $40 Alta Coffee 1:30pm WESTWOOD CO-OP’S INTERNATIONAL DANCE FESTIVAL Ireland’s Own Social Club [www.jimmysturr.com] Polka party 506 31st St., Newport Beach • 949-675-0233 Culver City Memorial Auditorium, Culver City Cerritos Center for Performing Arts

TOPANGA BANJO • FIDDLE SINCE 1961, SOUTHERN CALIFORNIA’S PREMIER OLD TIME/BLUEGRASS CONTEST & FOLK FESTIVAL MUSIC EVENT! WWW.TOPANGABANJOFIDDLE.ORG

Over 100 Contestants, Folk Singing, International Dancing, Folk Arts Booths, Children’s Activities & Jamming Musicians! • 4 STAGES • WESTERN MOVIE SETS • SINGING/PLAYING CONTESTANTS • 3 PROFESSIONAL BANDS: KELLY McCUNE & BORDER RADIO (Western String Band) DESERT SAGE (Bluegrass Band) HEART OF ‘GRASS (Bluegrass, that is!) • INTERNATIONAL DANCING - All live music! Watch or join in? • JAMMING, BRING YOUR INSTRUMENTS! FOOD AVAILABLE OR BRING A PICNIC! • FREE PARKING AND SHUTTLE BUS Sunday, May 16 • 2004 • 9:00 a.m. to 6:00 p.m. Paramount Movie Ranch, Agoura Hills

TICKETS: $10 CHILDREN UNDER 10 FREE VOLUNTEERS NEEDED - GET IN FREE! EMAIL: [email protected] HOTLINE: 818-382-4819 Page 28 FolkWorks March-April 2004

SPECIAL EVENTS

TUESDAY MARCH 2 7:30pm VICTORIAN GRAND BALL $26.50 7:30pm PALM WINE BOYS $10/$8 students FRIDAY APRIL 9 with Philadelphia Quadrille Band; www.palmwineboys.com 8:00pm JACKSON BROWNE [www.jacksonbrowne.com] $45-55 callers: Jeff Bissiri and Athene Kovaci Folk Music Center * ADRIAN LEGG [www.adrianlegg.com] Solo acoustic Pasadena Masonic Hall McCabe's Guitar Shop The McCallum Theatre 7:30pm LOU AND PETER BERRYMAN $12 Social Daunce Irregulars Noble House Concerts 8:00pm RONNY COX [ronnycox.com] $15 8:00pm JAN SEIDES, TIM GRIMM $10 www.lahacal.org/sdi.html or 818-892-3454 with Matt Margucci and Travis Parker [www.janseides.com] [www.timgrimm.com] 8:00pm SCHWUMP (BARRY SCHWAM) THURSDAY MARCH 25 Coffee Gallery Backstage Singer/songwriters Bean Town * CHRISTENE LEDOUX [www.christeneledoux.com] 8:00pm TERRY BAILEY,SHIMMER , $5 Coffee Gallery Backstage 8:00pm TOM BALL & KENNY SULTAN $15 Coffee Gallery Backstage DON & JEANIE, LARRY BULAICH WEDNESDAY MARCH 3 Acoustic blues * THE IRISH ROVERS Borchard Community Center, Newbury Park Bob Kroll 805-499-3511 • [email protected] 7:00pm ARLO GUTHRIE [www.arlo.net] $55 Fret House Downey Theater Theatre On High Street 8:00pm CHRIS STUART [www.chrisstuart.com] $15 8345 Firestone Blvd., Downey • 562-861-8211 8:00pm COUNTRY JOE BAND [www.countryjoe.com] & BACKCOUNTRY Bluegrass 8:00pm MARY BLACK $25-45 ($20 students) (with former members of The Fish) 8:00pm ADRIANNE / SABA BERENJI [www.adrimusic.com] $5 Theater On High Street Genghis Cohen Cantina Blue Ridge Pickin' Parlor www.mary-black.net 17828 Chatsworth St., Granada Hills • 818-282-9001 UCLALive! THURSDAY MARCH 4 SATURDAY APRIL 10 8:00pm SUSIE GLAZE [www.susieglaze.com] $12.50 FRIDAY MARCH 26 * ADRIAN LEGG [www.adrianlegg.com] 6:00pm BHANGRA NIGHT free with THE EIGHT HAND STRING BAND San Juan Capistrano Library Northern Indian dance Coffee Gallery Backstage * CAMP BON TEMPS ZYDECO DANCE WEEKEND UCLA Fowler Museum • Fowler Out Loud Julian (near San Diego) 8:00pm COUNTRY JOE BAND 8:00pm STEVE GILLETTE & CINDY MANGSEN $15 Camp 858-492-8748 [email protected] see April 9 8:00pm BUDDY GUY $32.50-35 [www.compassrosemusic.com] ACOUSTIC ENSEMBLE with JACKIE GREEN Russ and Julies House Concerts Peter Parrish [email protected] 8:00pm LARRY BULAICH $12 House of Blues 8:00pm SOURDOUGH SLIM [www.sourdoughslim.com] $15 Noble House Concerts 1530 S. Disneyland Dr., Anaheim • 714-778-BLUE 8:00pm GEORGE WINSTON [www.georgewinston.com] $40 Pepperdine University Center for the Arts with THE SADDLE PALS TUESDAY APRIL 13 Coffee Gallery Backstage FRIDAY MARCH 5 8:00pm BERNIE PEARL plus BOB JONES & MR. PETE 7:30pm RITA CHIARELLI [www.ritachiarelli.com] $20 * GRAND MASTER KINEYA YAKICHI VIII Boulevard Music 8:00pm MARY BLACK [www.mary-black.net] Blues singer/guitar Shamisen $100 VIP/$40 adults/$35 for seniors, students, CSULB ID Cerritos Center SUNDAY MARCH 14 Carpenter Performing Arts Center (Japanese traditional three-stringed instrument Workshop) WEDNESDAY APRIL 14 Japanese American Cultural and Community Center * MT. BALDY SKIDANCE CONTRADANCE WEEKEND 8:00pm BILL MIZE [www.billmize.com] 310-378-3550 or [email protected] see March 12 National fingerstyle guitar champ 7:30pm KINGSTON TRIO [www.kingstontrio.com] Thousand Oaks Civic Arts Center (Fred Kavli Theatre) Japanese Traditional Performing Arts Organization (JTPAO) * CALAVERAS CELTIC FESTIVAL Boulevard Music * INTERNATIONAL FOLKDANCE WEEKEND see March 12 8:30 pm DENNIS ROGER REED 8:00pm NERISSA & KATRYNA NIELDS [www.nields.com] Westwood Co-op Acoustic roots music Singer/songwriters * LA COUNTY IRISH FAIR & MUSIC FESTIVAL Hotel Cafe, Hollywood • 323-461-2040 Camp Hess Kramer, Malibu • 310-391-7382 see March 13 Alta Coffee 506 31st St., Newport Beach • 949-675-0233 * FEIS RINCE CONEJO VALLEY * ST. PATRICK’S DAY FESTIVAL FRIDAY APRIL 16 Irish Dance competition hosted by O’Connor School of Irish Dance 7820 Bolsa Avenue, Midway City • 714-897-8181 SATURDAY MARCH 27 * STACEY EARLE & MARK STUART Glendale Hilton Hotel 805-278-2472 * STEVE GILLETTE & CINDY MANGSEN * CAMP BON TEMPS ZYDECO DANCE WEEKEND [www.staceyearle.com] 8:00pm SUSIE GLAZE [www.susieglaze.com] Free [www.compassrosemusic.com] see March 26 McCabe's Guitar Shop WITH THE EIGHT HAND STRING BAND The Russell's, Lucerne Valley • 760-248-2118 Bean Town * WICKED TINKERS 10:00am L.A. COUNTY IRISH FAIR & MUSIC FESTIVAL [www.wickedtinkers.com] SPECIAL EVENTS Continued on page 27 8:00pm THE LAURA CORTESE BAND see March 13 J. Paul Getty Museum • www.getty.edu [www.yellowcarmusic.com/lauracortese] Fiddle, dance, song 11:00am BARNEY SALTZBERG [www.barneysaltzberg.com] $6/$3 10:30am- SANTA CLARITA COWBOY POETRY Coffee Gallery Backstage Matinee Kids' Show & MUSIC FESTIVAL McCabe’s Guitar Shop www.santa-clarita.com/cp/2004/main.asp] SATURDAY MARCH 6 8:00pm JOAN BAEZ [baez.woz.org] $37.50 - $42.50 Ken & Phee Graydon, Larry Maurice, Prairie Flower & * INTERNATIONAL FOLKDANCE WEEKEND The Grove of Anaheim Cactus Bob, Dave Stamey, New West, Katy Moffatt, VENUE LOCATIONS see March 5 Sourdough Slim and the Saddle Pals, The Burson Family, 7:30pm CHRIS STUART $8 students / $10 general ACOUSTIC MUSIC SERIES * FEIS RINCE CONEJO VALLEY [www.chrisstuart.com] David John and the Comstock Cowboys, David Wilkie & see March 5 TOM & PATRICK SAUBER Cowboy Celtic , R.W. Hampton, Don Edwards, Joni Harms, 626-791-0411 • www.acousticmusicseries.com 1:00pm IRISH SET DANCING WORKSHOP $15 [www.tombradalice.com/tom.html] Wylie and the Wild West, New West, , Sourdough Slim and BEAN TOWN with PATRICK O’DEA from IRELAND Folk Music Center the Saddle Pals! plus poets Doris Daley and Paul Zarzyski. Western Swing Dance featuring the Lucky Stars. 45 N. Baldwin Ave., Sierra Madre The Moose Lodge, 1901 W. Burbank Blvd., Burbank MONDAY MARCH 15 626-355-1596 www.IrishDanceLosAngeles.com 800-305-0755 661-286-4021 7:30pm ST. PATRICK'S DAY FOLKDANCE PARTY BLUEGRASS ASSOCIATION OF SO. CAL. 2:00pm DENNIS ROGER REED w/BLUE SOMETHING 12:30pm & 3:30pm LESLIE PERRY, BLUES MAN BROTHER YUSEF, West L.A. Folk Dancers AND THREE PEACE ENSEMBLE Baker’s Square Restaurant DANA POINT WHALE FESTIVAL STREET FAIRE Brockton School, West L.A • Beverly Barr 310-202-6166 La Plaza, Dana Point • 949-496-1555 with Charles Carter, Robert S. Hilton, and Paul Morehouse 17921 Chatsworth St. (at Zelzah), Granada Hills 8:00pm ANTARA & DELILAH [www.antdeli.com] $15 with Karen Golden 818-366-7258 • members.aol.com/intunenews 8:00pm FREEBO AND KENNY EDWARDS $15 Bodie House Storytellers www.freebo.com www.kennyedwards.com J. Paul Getty Museum Lecture Hall • www.getty.edu BODIE HOUSE CONCERTS Bodie House, Agoura Hills TUESDAY MARCH 16 7:00pm LOS ANGELES CEILI $10 Agoura Hills • www.jrp-graphics.com/bodiehouse 8:00pm JACKSON BROWNE [www.jacksonbrowne.com] $43-53 7:00pm THE HARRISES (Greg, Jesse and Graham Harris) Set, Ceili & Step Dancing, Music and Song BOULEVARD MUSIC Solo acoustic [www.harrismusic.net] The Moose Lodge with LUZ CASAL [www.luzcasal.es] The Bluegrass Association of Southern California 1901 W. Burbank Blvd., Burbank 4316 Sepulveda Blvd., Culver City UCLALive! 8:00pm FES FESTIVAL OF WORLD SACRED MUSIC www.IrishDanceLosAngeles.com 310-398-2583 • www.boulevardmusic.com 8:00pm JO ELLEN LAPIDUS plus CYNTIA SMITH International traditions:Moroccan Sufi, Sephardic Jewish, 8:00pm BILL MIZE [www.billmize.com] $15 CALTECH FOLK MUSIC SOCIETY Dulcimer greats Gospel, and more Finger style Guitar UCLALive! California Institute of Technology Boulevard Music Fret House Beckman Institute (Little Beckman), Pasadena 8:00pm STEVE TROVATO [www.stevetrovato.com] WEDNESDAY MARCH 17 8:00pm STEVE GILLETTE & CINDY MANGSEN 626-395-4652 • 888-222-5832 Blues, country, jazz guitar * ST. PATRICK’S DAY CELEBRATION DANCE [www.compassrosemusic.com] www.its.caltech.edu/~folkmusi Bean Town Music by Des Regan’s Irish American Showband Beckman Institute Auditorium (Little Beckman) 8:30pm BUDDY GUY $32.50-35 Irish Dancers Caltech Folk Music Society CARPENTER PERFORMING ARTS CENTER ACOUSTIC ENSEMBLE with JACKIE GREEN 515 N. Vega St., Alhambra • 626-284-6747 8:00pm WYLIE & THE WILD WEST SHOW 6200 Atherton St., Cal State Long Beach House of Blues Ireland’s Own Social Club [www.wylieww.com] 562-985-7000 • www.carpenterarts.org 8430 Sunset Blvd., West Hollywood • 323-848-5100 11:00am ST. PATRICK’S DAY PARADE Boulevard Music THE CELTIC ARTS CENTER 7:00pm THE BELIEVERS [www.thebelieversusa.com] $12.50 Downtown Los Angeles 8:00pm LAUREL CANYON $15 adv/$18 door/$12 children 4843 Laurel Canyon Blvd., Studio City (Craig Aspen and Cynthia Frazzini) RAMBLERS with with RAVEN SADHAKA THURSDAY MARCH 18 SUZIE GLAZE and the Eight Hand String Band. 818-760-8322 www.celticartscenter.com Coffee Gallery Backstage 7:30pm ST. PATRICK’S DAY INTERNATIONAL Encino Community Center • 4935 Balboa Blvd.,Encino CERRITOS PERFORMING ARTS CENTER FOLKDANCE PARTY with Narodni 12700 Center Court Dr., Cerritos SUNDAY MARCH 7 714-932-2513 or [email protected] 8:00pm TAJENDRA MAJUMDAR * FEIS RINCE CONEJO VALLEY www.musicalnirvana.com/hindustani/tejendra_majumdar.html 562 916-8501 or 800- 300-4345 see March 5 FRIDAY MARCH 19 SHUBHANKAR BANERJEE www.cerritoscenter.com [www.westbengal.com/shubhankar] * INTERNATIONAL FOLKDANCE WEEKEND 8:00pm JACKSON BROWNE [www.jacksonbrowne.com] $42-72 COFFEE GALLERY BACKSTAGE Thousand Oaks Civic Arts Center (Fred Kavli Theatre) Sarod and tabla see March 5 Occidental College (Herrick Chapel), L.A. 2029 N. Lake Ave., Altadena 12:00pm IRISH SET DANCING WORKSHOP $15 8:00pm DANNY O'KEEFE [www.dannyokeefe.com] $17.50 Music Circle 626-449-6987 • [email protected] McCabe’s Guitar Shop 626-398-7917 • [email protected] see March 6 www.coffeegallery.com 8:00pm BORDER RADIO[www.border-radio.com] SUNDAY MARCH 28 1:30pm GOLDEN BOUGH [www.goldenboughmusic.com] FOLK MUSIC CENTER Thousand Oaks Library Theatre Bean Town * CAMP BON TEMPS ZYDECO DANCE WEEKEND 1401 E. Janss Road, Thousand Oaks • 805-496-3530 8:00pm MERLIN SNIDER [www.merlinsnider.com] $12.50 see March 26 220 Yale Ave, Claremont 7:00pm CRAICMORE [www.craicmore.com] $20 with Pretty Good Acquaintances (Mark Indictor, fiddle, Tom 10:30am- SANTA CLARITA COWBOY POETRY 909-624- 2928 • www.folkmusiccenter.com Lancaster Performing Arts Center Corbett, mandolin, Deborah Snider, backup vocals) & MUSIC FESTIVAL see March 27 FRET HOUSE Coffee Gallery Backstage 6:00pm RICHARD ESPINOZA [www.richardespinoza.com] $10 11:00am JUSTIN ROBERTS $6 / $3 309 N. Citrus, Covina Matinee Kids' Show with BUDDY ZAPATA LISTING UPGRADE NOW AVAILABLE 626-339-7020 • www.frethouse.com Coffee Gallery Backstage McCabe’s Guitar Shop 7:30pm STEVE GILLETTE & CINDY MANGSEN $12 GHENGHIS COHEN CANTINA MONDAY MARCH 8 Have your Special Event listed in larger font and highlighted in BOLD FACE. www.compassrosemusic.com 740 N. Fairfax Ave., L.A. 8:00pm PACO DE LUCÍA $28-50 / $20 Students Noble House Concerts 323-653-0640 • www.genghiscohen.com www.flamenco-world.com/guitar/pacodelucia/pacodelucia.htm ONLY $20 per event. UCLALive! MONDAY MARCH 29 THE GROVE OF ANAHEIM Call 818-785-3839 7:00pm CHRISTENE LeDOUX [www.christeneledoux.com] 2200 East Katella Ave., Anaheim TUESDAY MARCH 9 or email - [email protected] for details. Genghis Cohen Cantina 714-712-2700 • www.thegroveofanaheim.com 8:00pm PACO DE LUCÍA $28-50 / $20 see March 8 TUESDAY MARCH 30 LANCASTER PERFORMINIG ARTS CENTER 8:00pm DAVID CROSBY & CPR [www.crosbycpr.com] $35-65 750 W. Lancaster Blvd., Lancaster WEDNESDAY MARCH 10 SATURDAY MARCH 20 The McCallum Theatre 661-723-5950 • www.lpac.org 8:00pm GEORGE WINSTON [www.georgewinston.com] $25-40 11:00am TEMECULA BLUEGRASS FESTIVAL Free 73000 Fred Waring Dr., Palm Desert The McCallum Theatre with Bluegrass Etc., Kanes River, The Silverado Bluegrass THE LIVING TRADITION WEDNESDAY MARCH 31 Downtown Community Center 8:00pm CHILDREN OF UGANDA $35 Band, Grateful Dudes, Witcher Brothers, Lilies of the West, Pepperdine University Center for the Arts The Andy Rau Band, Lost Canyon Rangers, Older Than Dirt, 8:00pm DAVID CROSBY & CPR [www.crosbycpr.com] $25-60 250 E. Center St., Anaheim Smothers Theater, Malibu Susie Glaze and the 8-hand String Band and much more! Cerritos Center 949-646-1964 • www.thelivingtradition.org Old Town Front Street, Temecula FRIDAY MARCH 12 909-678-0831 for camping reservations THURSDAY APRIL 1 McCALLUM THEATRE * MT. BALDY SKIDANCE CONTRADANCE WEEKEND 909-678-1456 • [email protected] 8:00pm SHOGHAKEN FOLK ENSEMBLE 73000 Fred Waring Dr., Palm Desert Harwood Lodge, San Gabriel Mountains www.temeculacalifornia.com $25/$20 Skirball Members/$15 Students 866-889-ARTS • www.mccallumtheatre.com Caller: Warren Blier from Monterey 7:00pm PALM WINE BOYS [www.palmwineboys.com] $12.50 [www.road-to-armenia.com/music/music.html] Folk Music from Armenia McCABE’S GUITAR SHOP Band: Outre Limitz (Christa Burch, Dave Allen, Jeff Spero, John Light) and BUDDY GREENBLOOM 3101 Pico Blvd., Santa Monica [www.thelivingtradition.org/SkiDance.html] Coffee Gallery Backstage Skirball Cultural Center (Cotsen Auditorium) 310-828-4497 • www.mccabesguitar.com Barbara 818-951-8255 [email protected] 7:30pm & 9:30pm KELLY JOE PHELPS $17.50 FRIDAY APRIL 2 Lance 909-624-9185 [email protected]. [www.kellyjoephelps.com] 8:00pm MUSICàNTICA $12.50 NOBLE HOUSE CONCERTS * CALAVERAS CELTIC FESTIVAL McCabe’s Guitar Shop (Roberto Catalano and Enzo Fina) Van Nuys 818-780-5979 [www.calaverascelticfaire.com] 7:30pm STEVE GILLETTE & CINDY MANGSEN traditional / experimental Folk Music of Mediterranean Italy PEPPERDINE UNIVERSITY CENTER for the ARTS with Wolfstone, Tempest, Molly's Revenge, Golden Bough, [www.compassrosemusic.com] Coffee Gallery Backstage Black Irish Band Smothers Theater, Malibu plus LOU & PETER BERRYMAN 8:00pm DAVID WILCOX $33 Frogtown Fairgrounds in Angels Camp The Living Tradition 310-506-4522• www.perpperdine.edu/cfa/ Gun Club Road, off Highway 49 • 209-532-8375 Pepperdine University Center for the Arts 8:00pm ERIC GARRISON and ROBERT MORGAN FISHER $15 Smothers Theater, Malibu RUSS AND JULIE’S HOUSE CONCERTS 6:00pm ST. PATRICK’S DAY CELEBRATION BANQUET $50 Bodie House 8:00pm MARIZA with L.A. Philharmonic Oak Park (Agoura Hills/Westlake Village area) Des Regan’s Irish Showband, The Celtic Pipes and Drums Agoura Hills, California The Cleary School of Irish Dance, The Los Angeles Irish Set Dancers Portuguese Fado 818-707-2179 Hilton Hotel, 100 W Glenoaks Blvd., Glendale 8:00pm BANSHEE IN THE KITCHEN $15 Walt Disney Concert Hall www.jrp-graphics.com/houseconcerts.html 626-337-0075 or 818-238-0445 • www.irishcenter.org [www.bansheeinthekitchen.com] 8:00pm NA LEI HULU I KA WEKIU [www.naleihulu.org] SKIRBALL CULTURAL CENTER Traditional Irish music 8:00pm FLOGGING MOLLY[www.floggingmolly.com] $20 $30 adults; $25 seniors, students, CSULB ID Fret House Hula mua traditional & contemporary hula 2701 North Sepulveda Blvd., Los Angeles plus DENVER HARBOR 310-440-4578 • www.skirball.org The Grove of Anaheim 8:00pm MIKA'ELE MCCLELLAN $15 Carpenter Performing Arts Center Hawaiian slack-key guitar THEATER ON HIGH STREET 8:00pm JANET KLEIN & HER PARLOR BOYS $15 SATURDAY APRIL 3 Blueridge Pickin’ Parlor 45 High St., Moorpark [www.janetklein.com] 17828 Chatsworth St., Granada Hills * KENNY ENDO & SEMBA KIYOHIKO DRUM SUMMIT Coffee Gallery Backstage $25-30, $22 JACCC Members 805-529-8700 • www.theateronhighstreet.com 8:00pm PHIL BOROFF plus EVAN MARSHALL The George & Sakaye Aratani Japan America Theatre 8:00pm LUCY KAPLANSKY [www.lucykaplansky.com] $17.50 Boulevard Music THOUSAND OAKS CIVIC ARTS CENTER McCabe's Guitar Shop 213-680-3700 2100 Thousand Oaks Blvd. 8:00pm CLIFF WAGNER AND OLD # 7 [www.oldnumber7.net] 8:00pm NA LEI HULU I KA WEKIU 8:00pm CHILDREN OF UGANDA $30 adults/$25 sr., Bean Town 805-449-2787 www.toaks.org/theatre Carpenter Performing Arts Center students, CSULB ID. see April 2 8:00pm MARCIA BALL $16.50 8:00pm MUSIC HEALS [www.musicheals.tv] $15 UCLA FOWLER MUSEUM OF CULTURAL HISTORY * MT. BALDY SKIDANCE CONTRADANCE WEEKEND DENNIS ROGER REED BAND 310-825-4361 • www,fmch.ucla.edu see March 12 Benefit concert Acoustic roots music Russ and Julies House Concerts * CALAVERAS CELTIC FESTIVAL COACH HOUSE UCLA LIVE! see March 12 33157 Camino Capistrano, San Juan Capistrano 8:00pm CLADDAGH UCLA Campus, Royce Hall, Westwood Beantown 10:00am L.A. COUNTY IRISH FAIR & $14/$10student/senior 949-496-8930UNDAY MARCH 21 310-825-2101 or 310-825-4401 MUSIC FESTIVAL 7:00pm GRACE [www.gracesings.com] $12.50 www.uclalive.com SUNDAY MARCH 21 4 women a cappella Dublin Four, Twilight Lords, Des Regan Band, Wrath of WALT DISNEY CONCERT HALL McGrath, Finn McCool, The Mulligans, Criacmore, Sally’s * STEVE GILLETTE & CINDY MANGSEN plus ANNA VARNON Gap and many more. Irish Dance Performances and [www.compassrosemusic.com] Coffee Gallery Backstage 111 S. Grand Ave., L.A. Duncan House Concert, Westchester 323-850-2000 • www.musiccenter.org/wdch Workshops w/ Michael Patrick Breen and the Los Angeles Irish Set SUNDAY APRIL 4 Dancers. Royal Scottish Dancers – Cripple Creek Cloggers. 310-410-4642 Fairplex, Pomona 11:00am TEMECULA BLUEGRASS FESTIVAL Free 6:30pm JIM CURRY JOHN DENVER TRIBUTE SHOW FOR UP-TO-DATE INFORMATION www.pageantryproductions.com/L.A.%20Irish%20Fair.html see March 20 Candlelight Pavilion 310-537-4240 455 West Foothill Blvd., Claremont • 909-626-1254 Mary Katherine Aldin - Alive and Picking Calendar 7:00pm DAVID KRAKAUER'S KLEZMER MADNESS Claremont Folk Festival Concert 7:00pm WILLY CLAFLIN [willyclaflin.com] adults $14, kids $12 25 /$20 Skirball Members/$15 Students www.aliveandpicking.com/calendar.html Puppeteer, Storyteller, Musician Skirball Cultural Center (Magnin Auditorium) 7:30pm RICK SHEA & BORDER RADIO $10/$8 students Jay and Judy Michtom - Folk Dance Scene Calendar 818- Thousand Oaks Civic Arts Center [rickshea.net] [www.border-radio.com] 368-1957 • [email protected] (Janet and Ray Scherr Forum Theatre) Folk Music Center FolkWorks thanks these folks for providing information. Performance to Grow On • ptgo.org