Volume 38, No. 4 April 2012

Charlie Parr trucking into Madison April 21 at The Brink f you ever listened to ancient field re- which he describes as “...grief, poverty, death, ger picking and plaintive but wry songs have Icordings of eerie mountain music or social justice and hopefully a little humor once made him one of the most important contem- early scratchy recordings or the more stark in a while...” The humor is not hard to find, as porary protagonists of the American folk tradi- cuts of Harry Smith’s Anthology of American his website advertises him as “One Man, One tion.” , or felt moved by some of the odder , One Foot In The Grave.” He has been - Bath International Music Festival pieces in the film Oh Brother, Where Art Thou, compared to , and he does have and wondered where the spirit of that earthy some of Van Ronk’s characteristics, like the Charlie has trucked this great raw show all mournful music has gone, well, look no further. rough hewn persona and vocal delivery over a around the world, from Australia to England It has found a home in the performances and rock solid but unassumingly complex accom- back to Duluth, and now, on Saturday, April 21 recordings of Charlie Parr. paniment. Piedmont style fingerpicking -- the to the Brink Lounge in Madison. Charlie Parr, currently based in Duluth, thumb alternating on bass strings while the Minnesota, is one of those rare performers fingers play melody and embellishments, some- who is gaining a worldwide reputation for thor- what like stride piano -- is his instrumental forte, Mad Folk Concert Tickets oughly understanding and assimilating the won- his heroes of the guitar being such as Reverend When you see this symbol – ee derful and strange things that were happening Gary Davis, , Mance Lipscomb, in folk, pre-country, and blues music, particu- Charlie Patton and Lightnin’ Hopkins, and – you’ll know that you’re read- larly in the south eastern part of America, back more recent blues style artists like fellow Min- ing about a Mad Folk sponsored when recordings were first being made in the nesotan Spider John Koerner. He also plays a event. Advance tickets for Mad field and for a few decades thereafter. This be- mean slide guitar. The banjo playing fits right Folk shows are available online gan for Charlie as an obsession instilled in him in somehow too though, bringing in the mood at www.madfolk.org and at these to a great degree by his father’s passion for such of old rural folksong wailers halfway drunk and music. As a boy in Austin Minnesota, Charlie being recorded in a chicken coop on a wire re- outlets: grew up listening to recordings his father had corder hooked to a truck battery. bought from the Smithsonian Folkways collec- As a matter of fact, Charlie Parr has made • Orange Tree Imports, 1721 Mon- tion and other sources of early country, folk, a number of his recordings in non-studio situa- roe Street and blues performances, from back in the days tions, like garages, store fronts, and the like. In when those genres were not very far removed an interview with Chris Mateer of Uprooted from each other at all, and in fact overlapped Music Review, Charlie said, “ I usually pick a • Spruce Tree Music, 851 East quite a bit in their raw and plaintive qualities. place based on how I feel first, then I’ll sit down Johnson Charlie’s father bartered for his son a Gibson and play there to see if the sound is good. If it 12-string guitar in exchange for a 9.9 horse- sounds like my kitchen, it’s a keeper...For me, Purchase tickets ONLINE for Mad power Johnson outboard when the boy was 7 it feels like a very honest way of recording.” Folk concerts via Brown Paper years old, and Charlie immediately began trying That kind of humble and genuine sentiment is to play like Lightnin’ Hopkins and Mance Lip- what adds so much to Charlie Parr’s recordings, Tickets: scomb. He picked up a banjo somewhere along but also to his live stage presence. “I’m prob- https://www.brownpapertickets. the way, and also, in his late teens, acquired a ably not playing good music,” Parr says, “but com/producer/10879 National . The resonator guitar I know I’m playing music that’s raw.” But the You can also purchase advance and the banjo seem like naturals for him, but very “rawness” of the music is what makes it tickets by mail. Send a stamped the 12-string guitar is his first love, and it shows. good. And the fact that he says it isn’t good Charlie Parr would be worth every penny only speaks well of his humility, because it’s not self-addressed envelope with just to hear play instrumentally, but when he only good music, it’s great music. your check payable to Mad Folk, sings, his wild, weird, haunted, and heartbreak- For further inspiration, check out Charlie PO Box 665, Madison, WI 53701. If ingly genuine vocals and vintage songwriting on YouTube (search for Charlie Parr), and have all else fails, call 608-846-9214 for skills can send shivers up and down your back- a look at his website, www.charlieparr.com. information. bone, intensified by his ominous subject matter, “... [Charlie Parr’s] raw voice, lightning fin- Mad Folk News is published monthly by the Madison Folk Music Society, a non- Michael Cooney profit, volunteer-led society dedicated to fostering folk music in the Madison coming Wed. May 30th to play with area. Contact us at [email protected]. Learnaboutconcerts,membership, scho larships,andvolunteeropportunities at Lou & Peter Berryman www.madfolk.org. at The Brink banjo, 12-string guitar, and sometimes Madison Folk Music Society Board even ukulele or concertina, and with the Michael Cooney, born in 1943 and on knowledge of an ethnomusicologist, he DarleneBuhler...... President,Concerts, one of his now almost unheard of for- can take an audience on a spellbinding Advertising ays out of the rocky perch of his home trip through the marvels of folk and 846-9214 ~ [email protected] in Maine, is making a special detour to folk-like songs old and new. PegMichel….…...... Treasurer Madison to share an evening on stage Michael is winding down his tour- 831-1876 ~ [email protected] with his old pals Lou and Peter Berry- ing drastically; you may never have the Tracy Comer ...... Membership & Web Site man, on his way home from honoring chance to see him again in the Midwest. 729-4498 ~ [email protected] a special invitation by the Denver Folk- By his teaming up with Lou and Peter NorbertWodke…...... …Secretary lore Society to play for its 50th anniver- for the night, whom he helped so gen- 836-8422 ~ [email protected] sary celebration. Michael was with the erously in their early years of perform- DedeGoldberg...... Newsletter Society when it formed, as he was an ing, an old, close, and giddy friendship distribution integral part of so many legendary folk on stage will be obvious and infectious, 246-4332 ~ [email protected] music scenes from California to New a reminder of the fundamental charm, Neil Morris...... Newsletter York, beginning in the early 60s and ex- intrigue, and friendliness of folk music. editor tending through the decades. There is a Because of Michael’s schedule, the show 358-5855 ~ [email protected] reason for this. No one can convey the has to be on a midweek night, but never- Martin Potter...... Newsletter sheer fun of music like Michael Cooney. theless, you won’t want to miss this rar- editing assistant With a natural but beautiful voice and est of rare events. Michael Cooney and (414) 241-0615 ~ [email protected] a relaxed and happy delivery, with in- Lou and Peter Berryman, Wednesday, Meg Skinner.………...... Scholarship strumental skills unbelievable on the May 30, 7pm, at The Brink Lounge; tick- ets $14 advance, $16 day of show, avail- 238-6950 ~ [email protected] able at Spruce Tree Music, Orange Tree Ron Dennis …...... …...... ………. Imports, and www.madfolk.org, starting 226-9472 ~ [email protected] May 1. Vicky Jones .…...... …..………….…. 215-7621 ~ [email protected] Uncle Bonsai returns to Madison! Coming to The High Noon Saloon April 1st!

WORT-FM Community Radio is excited flinching portrayals to welcome Uncle Bonsai back to Madi- of life, love, and a son for the first time in over 25 years! guy named Doug. The popular -based trio comes to Opening for Uncle the High Noon Saloon on Sunday April Bonsai will be Mad- 1st at 7:00pm (no foolin’) to perform ison favorites The songs from over 30 years of recordings, Prince Myshkins! including their latest release, The Grim The Prince Mysh- Parade. This recording is a collection of kins are Rick Bur- live and studio performances, including khardt and Andy “The Baby’s Head,” “Loving Tommy,” Gricevich. Rick “The Fish is In The ...Freezer,” and 11 plays accordion and others, that showcases the group’s un- sings; Andy plays flinching portrayals on the passing of guitar and sings. They met in 1995 at tic readers and writers of experimental time, the passing the University of , where Andy poetry, and continue to perform political of genes, and the passing of pets -- the studied literature and philosophy and theater at every opportunity. The Prince truth of everything seemingly buried Rick studied music composition. Within Myshkins are proud members of AFM somewhere under the family tree. a year they had co-founded the Utopia Local 1000, the North American Travel- Since forming in 1981, Uncle Bonsai has Train theater company, and were travel- ing Musicians’ Union. They now live in emerged as one of the truly “original” ing around ...the country with a group Madison. acts of the past 30 years. Their acoustic of rambunctious Midwestern uto- folk-pop songs are almost one-act plays pianists. In 1997 they moved to or very short stories, resisting strict pop, San Diego to continue their stud- folk, or singer-songwriter categories. ies and to see what life was like in Consequently, the trio has been paired the and of palm trees, the United with a wide range of artists: Bonnie Raitt, Farm Workers, the US Navy and a Suzanne Vega, Loudon Wainwright III, union-busting city council. In their Tracey Chapman, They Might Be Gi- seven years there they worked to ants, The Persuasions, The Bobs, Robyn make their own material obsolete Hitchcock, New Grass Revival - reflect- by appearing locally as KPBS San ing a diversity of influences. With only Diego’s resident satirists, and by three voices and an acoustic guitar, the touring nationally to sing at an- group is at home in an incredible variety tiwar demonstrations, union ral- of venues, whether performing for a few lies, schools, coffeehouses, living hundred people at an intimate club or rooms, community centers and tens of thousands at festivals through- major urban inter- out North America. sections. In 1999 Sunday April 1st, 2012 at 7:00pm at Beginning in Fall 2011, Uncle Bonsai they co-founded the the High Noon Saloon, concerts celebrate 30 years of perform- Nonsense Compa- ing with songs from a brand new release, ny, a group of mu- 701A E.Washington Ave, Madison “The Grim Parade,” presented along sicians dedicated to with favorites from eight other criti- the performance of cally acclaimed recordings. From quiet new works of con- Tickets are $8 and are available at the ballads to three-part vocal gymnastics, temporary classical their voices merge to create the trade- music by exciting door or on-line at mark Uncle Bonsai sound: high soaring younger compos- www.high-noon.com. and intricate vocal harmonies wrapped ers. Rick and Andy around biting humor, and poignant un- are both enthusias- , , & Yim Yames ~ 2012 Rounder records

first time. And it just might be the think that’s mighty nice” and makes highlight of the record, with John- them, well, sound like lyrics. On son’s aching vocals, two (one the other hand, there’s no wonder- strummed, one picked), and echo-y ing with “Fly High.” It reads like a backing vocals lovely poem on paper, even lovelier style. You stop and hold your breath, when sung by Parker. not wanting to break the spell. And That just leaves Farrar, who it happens every time. Meanwhile, bookends this record with opener his second contribution, “V.D. City,” “Hoping Machine” and the final, powers out of the gate like a great title track, both of which sound like Centro-matic song, fuzzy guitars, some of ’s more forgettable rock drums and all. But the song is tracks. In between he gives us the a surprisingly devastating and sting- best of the three, “Careless, Reck- ing indictment of an amoral lifestyle. less, Love,” which sounds like a great Review by Kiki Schueler “Must you pay your way to this city Son Volt song. For better or worse, with an hour of passion’s desire? it seems every song Farrar does is t always seemed a bit odd that Jay I pray that I’ll not see your face going to sound exactly like some- IFarrar’s bandmate here where the millions now burn thing he’s already done before. That and his band were in flames.” His third is even more is why you need to spring for the the ones tagged for the first high- emotional. “No Fear” was writ- deluxe edition of this release, which profile access to the ten toward the end of Guthrie’s life features an additional disc with near- archives; after all, Farrar was clearly from his bed at the State ly a dozen more songs from Farrar the one with the old soul. The result- Hospital. “I’m here on my deathbed, and Parker. Farrar finally loosens up ing record (with ), named breathin’ my last breath,” but still he on these songs. His strutting “Jake for the street Guth- says, “I’ve got no fear of death.” Walk Blues” and sweet “World’s On rie lived on, was surprisingly success- The best of Yames’s contribu- Fire” are far better than those on ful, and two more volumes followed. tions is “Talking Empty Bed Blues,” disc one. Too bad Parker steals disc Fourteen years later, Farrar gets his which isn’t a talking blues at all in two out from under him with his su- turn with New Multitudes. He’s his hands. What starts as just Yames perb “Dopefiend Robber.” joined by his Gob Iron collaborator and a guitar changes gears halfway The other reason to part with a Anders Parker, as well as Centro-ma- through, switching abruptly to lay- few more dollars for the upgrade is tic frontman Will Johnson and My ered harmony vocals and a solitary the packaging. This version includes Morning Jacket leader (as bass drum. He takes some liberties copies of all Guthrie’s original lyr- he did with his other supergroup of with the original lyrics, rearranging ics for the songs plus some of his sorts, , he goes by verses and cutting others complete- artwork. There are slashes of wa- Yim Yames here, still inexplicably). ly. “Changing World” gets an even tercolor, some abstract, some easily Their twelve-song record proves that bigger makeover, adding verses to recognizable as , drummers, there are more than enough Woody the simple chorus Guthrie had writ- a man with a flower. The lyrics are Guthrie songs to go around. Each ten on a calendar page, along with fascinating, from the perfect curled of the four were allowed time with “wimoweh” style backing vocals. penmanship of his younger days to Guthrie’s unpublished song collec- Anders Parker is perhaps the least the barely legible scrawl from his tion to make their choices, except for well known of this quartet, but he hospital bed. There are doodles in Will Johnson, who was sent a packet acquits himself well here. He does the margins, arithmetic, and some- of songs by Farrar. some cutting and pasting of his own times explanations of the songs. To hear Johnson tell it, the songs on “Old L.A.” and comes up with There are typewritten pages with couldn’t have been more perfect. the record’s catchiest song. I’m not large crayon “X’s” through them, as On top of the stack was “Chorine sure what attracted him to “Angel’s if Guthrie had rejected them. We My Sheba Queen,” and a tune began Blues,” but he takes lyrics like “Two should feel very, very lucky that he developing as he read the lyrics the girls just gave me a fountain pen, I saved them. lar to a "punchline" of a joke, though not In music -- especially instrumental mu- necessarily funny), you don't want to sic -- there's no question that titles can © 2012 by give it away in the title, which would have transformative effect. Beethoven's Peter Berryman Archived at louandpeter.com then be what reviewers call a "spoiler." Moonlight Sonata -- which wasn't nick- One of Bryan Bowers' more popular named until after his death -- would be songs is called The Scotsman, attributed heard differently had it been called Ab- Sounds Like A Title to Mike Cross, which has as its payoff a sinth Daze, or Hazel's Hazel Eyes. Jay funny comment by this hungover fellow Ungar's gorgeous Ashokan Farewell I realized when I was a wannabe artist when he discovers a certain part of his would still be gorgeous but not exactly in my twenties that the titles I had body was decorated while he slept. in the same way if it were called Fido's scribbled as painting ideas made better Using this comment as the title would Dream or Tuesday Sundae. Many song titles. One -- Cupid's Trash Truck wreck the whole impact of the song. instrumentals have been given a lot by -- became a song title, an title, There are no solid rules for titling, but their title: Baby Elephant Walk by and, ironically, the title of the painting I there can be important considerations. Henry Mancini for example. made for the album cover. About twenty years later, my sister Susannah One interesting aspect of a title is its It's more rare that songs with lyrics have and I spent time inventing lipstick color potentially transformative quality. transformative titles, since they are both names, and it dawned on me again these There is an Andrew Wyeth painting of made up of words, though it happens, could be song titles: Tarzan Legburn, his casually dressed wife lying on her particularly in those songs with titles Oleo Leo, Alfalfa Falafel, Smooch Gas- back in a meadow with a hat over her that do not appear in the lyrics. In Julia ket, Choice of Potato, etc. face and a book and coffee cup in the Ward Howe's The Battle Hymn of the grass beside her. A dog is nearby, also Republic, without the title it would I think I became a songwriter so I'd have reclining, but with head lifted and look- never occur to anyone that it was a something to name, maybe because I ing off in the distance, beyond the "Battle Hymn" or had anything to do never had children. Titles have always viewer, with a bit of interest. The title: with a "Republic." But with the title, the intrigued me. Jack Kerouac, mentioned Distant Thunder. Of this title Wyeth song has an entirely new spin. in the last WZ, was good at it: October said, "I made a quick drawing. As I fin- in the Railroad Earth. Desolation An- ished it, I could hear thunder way off in There are countless ways artists and gels. The Subterranians. Dylan's great the direction of East Waldoboro. Sud- writers arrive at titles, including quot- titles are often in the same vein as denly, out of the grass, popped our dog ing other works, as John Steinbeck did Kerouac's: Desolation Row. Subter- Rattler's head, his ears up, cupped, hear- with the phrase, The Grapes of Wrath, ranian Homesick Blues. Rainy Day ing those distant sounds..." taken, as a matter of fact, from The Women #12 & 35. Battle Hymn of the Republic. But in But I think without the title, the paint- writing, most often the title is taken from These last two are interesting in that ing would not have suggested the the text of the work it is titling. In a po- they do not appear in the lyrics. There sound, and would have had a different etry blog about titling, one writer said are lists of such songs on the web: A feel. Up for discussion is whether the that she titled her works by reading over Day In The Life, by the Beatles. Ear- title makes up for a deficiency in the them and finding a phrase that wigs to Eternity by Alice Cooper. Span- painting, considering Wyeth's intention, "...sounds like a title." I think most writ- ish Pipe Dream by John Prine. Elec- but that's a whole 'nother episode. I ers do that. As I mentioned before, I sure tion Night: North Dakota by Garnet guess the question at the bottom of this do that. Rogers. And That Shiznit by Snoop is: Can a title be considered an actual Dogg. part of the work of art? Here's a bit of related fun: Go through a newspaper with a highlighter, finding My own titles are usually found in the No doubt some people would argue that phrases that sound like titles. Here are lyrics of the song, though not always. a work should stand on its own with or a few I found in today's rag: Felony For My music partner Lou and I have a song without its title, but if the title is consid- Someone; Atmospheric Science; called A Chat With Your Mother, and ered by the artist as a part of their art- Middleton Woman; Cheese in the that phrase isn't in the song (though work, then this is endlessly debatable. Vault; Marble and Mahogany; Filthy "chat" and "mother" are there). It's about Yet another level of discussion comes in Food; Locked Alone. Now all we have kids using the F-word, and the song's when a work is titled, but not by the to do is decide if they are song, poem, nickname has become The F-Word author. Sometimes in the art world this painting, book, sculpture, lanyard, or Song. But we didn't want to call it that, is called a painting's "nickname," as hot dish titles... because one of the devices of the song Whistler's Mother has become the nick- was to hold off on revealing the actual name for Arrangement in Grey and theme until the end of the first verse, as Black No.1, which was Whistler's origi- Andrew Wyeth quote from: a gimmick to increase tension. When nal title. And the nickname does affect, www.andrewwyeth.com songs have what my author friend Rob for better or worse, your overall impres- Lopresti calls a "payoff" (which is simi- sion when looking at this painting. WZ Apr 2012 “I think he’s just wonderful and he really reminds me of a young Dave Van Ronk...he’s got that kind of solid deal to him.” – Greg Brown

Saturday, April 21 7:00 pm The Brink Lounge 701 E. Washington, Suite 105

Tickets $14 advance, $16 day of show Available at: www.madfolk.org, Spruce Tree Music, Orange Tree Imports

Non-perishable donations of food will be collected for local food banks. Madison Folk Music Society Nonprofit Org P.O. Box 665, Madison, WI 53701 U.S. Postage Address Service Requested PAID ……………………………… ……………. Madison, WI Renew your membership today at Permit No. 2278

www.madfolk.org

their special guest, Beth Wood. Beth guest, special their

sorrows that accompany them. Storyhill will be joined by by joined be will Storyhill them. accompany that sorrows one perfect package. package. perfect one

arrangements. They sing about love, war, and the many many the and war, love, about sing They arrangements. “story” songs, and emotional harmonies combine into into combine harmonies emotional and songs, “story”

old-fashioned storytelling with hauntingly spare acoustic acoustic spare hauntingly with storytelling old-fashioned kind of vocal magic. Their infectious melodies, smart smart melodies, infectious Their magic. vocal of kind

The duo’s most recent album, Shade of the Trees, mixes mixes Trees, the of Shade album, recent most duo’s The John Hermanson, known as Storyhill, generates that that generates Storyhill, as known Hermanson, John

vocal magic. The folk duo of Chris Cunningham and and Cunningham Chris of duo folk The magic. vocal

and a legion of devoted fans (known as “Hill Heads”). “Hill as (known fans devoted of legion a and oeie h lnigo tovie rdcsabto of bit a produces voices two of blending the Sometimes

performances have won them nationwide critical acclaim acclaim critical nationwide them won have performances

& Mark Olson. Their beautiful music and passionate passionate and music beautiful Their Olson. Mark & 2, to catch Storyhill’s local appearance at The Brink. The at appearance local Storyhill’s catch to 2,

Girls, The Everly Brothers, and The Jayhawks’ Gary Louris Louris Gary Jayhawks’ The and Brothers, Everly The Girls, Companion crew. Get your tickets for Wednesday, May May Wednesday, for tickets your Get crew. Companion

writing duos of our time: Simon & Garfunkel, the Indigo Indigo the Garfunkel, & Simon time: our of duos writing Garrison Keillor and the rest of the A Prairie Home Home Prairie A the of rest the and Keillor Garrison

- song great the of some to them liken to Chronicle Austin Maybe we will hear some stories of their cruise with with cruise their of stories some hear will we Maybe

John breathe and play as one unit, leading Billboard and the the and Billboard leading unit, one as play and breathe John quite year with tours and hosting their very own festival! festival! own very their hosting and tours with year quite

seamless fashion. Most often in unison, Chris and and Chris unison, in singing often Most fashion. seamless promises to be the more of the same. They have had had have They same. the of more the be to promises

Storyhill is two guitars and two voices woven together in in together woven voices two and guitars two is Storyhill Last year’s show was a magical evening and this year’s year’s this and evening magical a was show year’s Last

for a special Wednesday show! show! Wednesday special a for Storyhill is coming back to The Brink Brink The to back coming is Storyhill April 2012

Charlie Parr Saturday, April 21 -- 7pm The Brink Lounge -- 701 E. Washington Ave -- 7pm $14adv/$16d.o.s. Jim Schwall Monday, April 23 -- Crystal Corner Bar @ 930pm Story Hill 1302 Williamson St, Madison Wednesday May 2 The Brink Lounge -- 701 E. Washington Ave -- 7pm with special guest Josh Harty $14adv/$16d.o.s. Tuesday, April 10 -- Bon Appetit Café @ 7pm 805 Williamson St, Madison Michael Cooney / Lou & Peter Berryman with special guest Robert J. Wednesday, May 30 -- 7pm The Brink Lounge -- 701 E. Washington Ave -- 7pm Tuesday, May 8 -- Bon Appetit Café @ 7pm 805 Williamson St, Madison

Wild Hog in the Woods Weekly Friday night folk music in intimate setting Wil-Mar Center All shows at 8pm unless indicated otherwise. 953 Jenifer St. $2 for members, $3 for non-members wildhoginthewoods. Madison Ukulele Club -- Singalongs 1st and 3rd Weds 7:00-9:00pm org 608-233-5687 • Tom Kastle -- call for location -- 246-8205 (Andrew) Friday, April 6 Bob’s BBQ Emporium’s Open Mic - Thu, Mar 15 -- 7pm -- 8164 Hwy. 14 Arena, WI • Hootenany! Saturday, April 21 -- @2pm

Cafe Carpe All shows at 8:30pm unless indicated otherwise

18 S. Water St. Simply Folk on Wisconsin Public Radio w/ Stephanie Elkins- , Ft. Atkinson, WI • Sun, Apr 1 -- Dan Navarro -- 7pm -- $15 adv Interim Host cafecarpe.com 920-563-9391 • Sat, Apr 7 -- Bill Camplin Band -- $8 Sun 5:00-8:00pm Concerts recorded in Wisconsin, music and dance of people • Fri, Apr 13 -- Dave Ramont & Dave Nelson -- 830pm -- $7.50 wpr.org the world over. For playlists, calendars, station listings, and more, visit www.wpr.org/simplyfolk. • Thu, Apr 19 -- New Pioneers -- 7pm -- $7.50 WORT 89.9 FM community radio Sun -- 3:00-5:00pm • Fri, Apr 20 -- Willy Porter Trio / LJ Booth -- $20 adv wort-fm.org • On the Horizon (world music) w/Ford Blackwell, Paul Novak & Dan Talmo • Fri, Apr 21 -- Willy Porter Trio -- $20 adv Weekdays 9:00am-noon • Mon - Global Revolutions (folk from the world over) Folklore Village w/ David & Martin Alvarado & Eugenia Highland • Tue -- For the Sake of the Song (traditional American 3210 Cty Hwy BB • Tue, Apr 3 -- First Tuesday Open Mic -- 7pm Dodgeville, WI folk) w/Jim Schwall folklorevillage.org • Wed -- Back to the Country (country music on a • Fri-Sun, Apr 13 - 15 -- Cajun Music and Dance 608-924-4000 theme) w/Bill Malone Weekend: Walter Mouton & Jason Frey • Thur -- Diaspora (folk and international) w/Terry O’ • Fri -- Mud Acres (bluegrass and acoustic) w/Chris • Fri-Sun, Apr 20 - 22 -- English Country Dance Powers Weekend w/ Members of The Bare Necessities

Mad Toast Live! at the The Brink Lounge Music, talk and variety show hosted by Chris Wagoner • African/African-American Dance classes with live drumming -- Sun, 7:00-9:00pm -- and Mary Gaines Metro Dance, 3009 University Ave. -- 255-3677 / 251-4311 • Cajun Dance - Sun 4/22 - dance instruction at 6:15 PM, dance 7:00 to 10:00 PM - 701 E. Washington thebrinklounge.com Tues. Apr 3 - $10 Harmony Bar & Grill, 2201 Atwood Ave, 249-4333 -- Brad Yoder 7pm 608-661-8599 • SpiritMoves Ecstatic Dance 2nd and 4th Weds, 7:00-9:00 pm -- The Center for -- Deitrich Gosser 8pm Conscious Living, 849 East Washington Ave. -- $7 min. donation Tues. Apr 15 - $15 d.o.s. / $12 adv • English Country Dance taught -- 1st and 3rd Mon, 7:30-9:30pm -- Wil-Mar Center, -- Marilyn Crispel 3:30pm 953 Jenifer St. -- 238-9951 or 238-9951 -- Improv workshop @6pm • International Dancing -- Wed and Sun; classes 7:30-8:30pm, request dancing 8:30-11:00pm -- The Crossing, 1127 University Ave. -- 241-3655 Tues. Apr 17 - $10 • Irish Dancing -- Monthly Ceili and set dance events are posted at -- Yuriy Kolosovsky & Victor Gorodinsky 7pm celticmadison.org/dance -- UW-Madison Russion Folk Orch. 8pm • Italian Dancing -- Tue, 7:00-9:00pm, no experience or partner necessary -- Wil-Mar Center, 953 Jenifer St. -- 838-9403 (Philana) • Madison Contra Dance Cooperative -- Tue; 7:30 jam band practice, intermedi-ate High Noon Saloon level dancing 7:45-9:40pm -- $5 for non-members -- Gates of Heaven, 302 E. Gorham -- Sun. April 1st -- Uncle Bonsai -- @7pm -- $8 238-3394 (Steve) • Morris Dancing -- Wed, 7:00pm -- call for location -- 238-9951 701A E. Washington • Scottish Country Dancing -- Sun, 7:00pm -- Wil-Mar Center, 953 Jenifer St. -- 835-0914 www.high-noon.com