Mountain John, Peter Wilson, Moe Dixon – Three Troubadours
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Blues Notes October 2015
VOLUME TWENTY, NUMBER TEN • OCTOBER 2015 SELWYN BIRCHWOOD MARIA BSO Halloween Party MULDAUR Sat. Oct 31st Saturday @ 7 pm $10 Oct. 3rd 21st Saloon @ 6 pm Zoo Bar Lincoln, NE Oct. 1st ..................................................................Red Elvises ($10) Oct. 4th (Sunday @ 4 pm) ...The Nebraska Blues Challenge Finals ($5) Oct. 8th ................................................................ Eleanor Tallie ($10) Oct. 15th ................................................................ John Primer ($12) NEBRASKA BLUES CHALLENGE Oct. 22nd ...........................................Cedrick Burnside Project ($10) Oct. 29th .....................Gracie Curran & Her High Falutin’ Band ($10) FINALS COMPETITION Oct. 31st (Saturday @ 7 pm)..................... Halloween Party with the Selwyn Birchwood Band ($10) 21st Saloon, Omaha, NE Nov. 5th ................................................. The Bart Walker Band ($10) Sunday, Oct. 4th @ 4 pm • $5 cover Nov. 7th (Saturday @ 9 pm) ................................Sinners and Saints Nov. 12th ..................................................... Crystal Shawanda ($10) — More info inside — Nov. 19th ............................................. The Scottie Miller Band ($10) PAGE 2 BLUES NEWS • BLUES SOCIETY OF OMAHA Please consider switching to the GREEN VERSION of Blues Notes. You will be saving the planet while saving BSO some expense. Contact Becky at [email protected] to switch to e-mail newsletter delivery and get the scoop days before snail mail members! BLUES ON THE RADIO: -
A Conversation with Vassar Clements by Frank Goodman (Puremusic.Com, 8/2004)
A Conversation with Vassar Clements by Frank Goodman (Puremusic.com, 8/2004) Perhaps like many who will enjoy the interview that follows, among my first recollections of Vassar’s playing is the 1972 Nitty Gritty Dirt Band recording Will the Circle Be Unbroken. As long ago as that seems (and is), he’d already been at it for over twenty years! In 1949, although only 14 years old and still in school, he began playing with Bill Monroe, the father of bluegrass. Aside from a few years off early on to check out some other things, Vassar’s been playing music professionally ever since. He’s recognized as the most genre-bending fiddler ever. “The Father of Hillbilly Jazz” is a handle that comes from several CDs he cut at that crossroads, but you can hear jazz and blues in any of the playing he’s done. He grew up listening to big band and Dixieland, and still listens to a lot of it today. Vassar says that many of the tunes he writes or passages he’ll fly into in a solo come from half remembered horn lines deep in his musical memory. Between his beginnings with Bill Monroe and the Circle album, Clements did many years with Jim and Jesse and then years with the late and much loved John Hartford, a lifelong friend who gave him the legendary fiddle he plays today. Circle turned a whole generation of hippies and acoustic music fans on to his music, and the children of that generation are following him today, as his popularity continues to recycle. -
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Appreciation of Popular Music 1/2
FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT APPRECIATION OF POPULAR MUSIC 1/2 Grade Level: 10-12 Credits: 2.5 each section BOARD OF EDUCATION ADOPTION DATE: AUGUST 30, 2010 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS Course Philosophy “Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward place of our soul, on which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” - Plato We believe our music curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them discover, understand and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth. Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever- expanding course content, taking the student beyond the realm of the ordinary, everyday experience. Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains technical, psychological, artistic, and academic concepts. -
Maria Muldaur
CLASSIC CUTS MARIA MULDAUR MARIA MULDAUR EXHIBIT ven if you didn’t know at the time crying all the way up to the gig and he’d say, of the release of this album in 1973 ‘Okay, dry your eyes and wash your face. who Muldaur was, if you flipped We’re on in half an hour.’ And he was just a the LP over and just glanced at very supportive little brother to me". the twelve names and faces who The album was not only well received it supported her on this album, you produced a single. And what a single! “Yes, it Ecouldn’t help but be impressed. happened to have a little hit called ‘Midnight Let me give you a few of those. We have: At The You-Know-What’ on it". Mac Rebennack or, as he is best known, Dr She’s talking about ‘Midnight at the Oasis’, John. A formidable boogie and blues pianist of course. This was her first big hit which is with a lovable growl of a voice; there’s Ry still seen as ‘the’ Muldaur song and is popular, Cooder, an excellent musician and guitar- even now with so many people. toting genius who brought the Buena Vista “With everybody – it’s amazing. It’s so Social Club to wider notice; Clarence White, a weird to me” she said. “Not a gig goes by gifted guitarist and folk-rock pioneer who was that several people don’t come up and tell part of The Byrds; David Grisman a bluegrass me exactly where they were when they first specialist, Grateful Dead and Jerry Garcia heard that. -
PURE PRAIRIE LEAGUE/THE SHOE FIT Simon, Capt
March 13, 1976 >T1 CD (t) SD es '21 D (-3 CD C) "Nee. PURE PRAIRIE LEAGUE/THE SHOE FIT Simon, Capt. & Tennille, Ian, Sondheim - Grammy Winners WB Demonstrates R&B Credentials With California Soul Concerts In N.Y. Fire Destroys One -Stop In Chicago k MCA Earnings And Sales Set Records In 1975 Music & Dollars - The Happy Medium (Ed) www.americanradiohistory.com *Also available on Tape. "Livin'forZs458- the Weekend"is the blistering new O'Jays single with"monster"written all over it.It's the follow-up single to their million-seller,"I Love Music;'and it's from their platinum plus album,"Family Reunion'."`Livin'for the Weekend"is hot off the presses, and it's already hitbound on Top 40 stations all over. The OJays Family Reunion /Love Music/Leviincluding:ForThe And Weekend She's OnlyOn/ Unity/youWoman/Stairway Me To Heaven "Livin'for the Weekend'. Thank God it's The O'Jays. On Philadelphia Records. DIS-RIBUTED BY CBS RECORDS ® 1976 CBS INC. www.americanradiohistory.com THE INTERNATIONAL MUSIC -RECORD WEEKLY CASHVOLUME XXXVII BOXNUMBER 43 -- March 13. 1976 7CM1-1VC PeLOGIII I President and Publisher MARTY OSTROW Executive Vice President cash box editorial Editorial DAVID BUDGE Editor In Chief IAN DOVE East Coast Editorial Director New York GARY COHEN BOB KAUS PHIL DIMAURO Music & Dollars --- The Happy Medium ERIC RUDOLPH Hollywood The sales and earnings reports of companies involved in the JESS LEVITT MARC SHAPIRO record industry are important news to For record STEPHEN FUCHS everyone. the J B. CARMICLE JOHN MANKIEWICZ business, like any other business, is a money making enterprise. -
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites – 750 Vallejo In North Beach, SF “The Jam” Mike Bloomfield and friends at Fillmore West - January 30-31-Feb. 1-2, 1970? Feb. 11, 1970 -- Fillmore West -- Benefit for Magic Sam featuring: Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites Feb. 28, 1970 – Mike Bloomfield, Keystone Korner, SF March 19, 1970 – Elvin Bishop Group plays Keystone Korner , SF Bloomfield was supposed to show for a jam. Did he? March 27,28, 1970 – Mike Bloomfield and Nick Gravenites, Keystone Korner ***** MICHAEL BLOOMFIELD AND FRIENDS 1970. Feb. 27. Eagles Auditorium, Seattle 1. “Wine” (8.00) This is the encore from Seattle added on the bootleg as a “filler”! The rest is from Long Beach Auditorium Apr. 8, 1971. 1970 1 – CDR “JAMES COTTON W/MIKE BLOOMFIELD AND FRIENDS” Bootleg 578 ***** JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND 1970. Mar. 28. Columbia Studio D, Hollywood, CA Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet 1. “One Night Stand” (Version 1) (3.01) 2. “One Night Stand” (Version 2) wrong speed 1982 1 – LP “FAREWELL SONG” CBS 32793 (NL) 1992 1 – CD “FAREWELL SONG” COLUMBIA 484458 2 (US) ?? 2 – CD-3 BOX SET CBS ***** SAM LAY 1970 Producer Nick Gravenites (and Michael Bloomfield) Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr – bass ? – hca ? – piano ? – organ ? Probably all of The Butterfield Blues Band is playing. Mark Naftalin, Barry Goldberg, Paul Butterfield 1. -
Island Girl in a Rock-And-Roll World an Interview with June Millington by Theo Gonzalves and Gayle Wald
1 2 GAYLE WALD AND THEO GONZALVES 1 2 George Washington University, National Museum of American History - Smithsonian Institution Email: [email protected] Island Girl in a Rock-and-Roll World An Interview with June Millington by Theo Gonzalves and Gayle Wald EDITED AND ANNOTATED BY GAYLE WALD The following text collects edited excerpts from a 30 July 2018 interview with musician June Millington (b. 1948, Manila, the Philippines) conducted by Theo Gonzalves, curator in the Division of Culture and the Arts at the National Museum of American History, and Gayle Wald, Professor of English and American Studies at George Washington Uni- versity. The interview was conducted at the Institute for the Musical Arts, a Goshen, Massachusetts-based non-profit founded and operated by Millington and her partner, Ann Hackler. The text is based on a transcription by Gracia Brown. This version, which is condensed, edited for clarity, and annotated, was prepared by Gayle Wald. June Millington is co-founder and lead guitarist of the germinal rock-and-roll band Fanny, which formed in Los Angeles in 1969. The other original members of the band were Jean Millington (June’s sister, on bass guitar and drums), Alice de Buhr (drums and vocals), and Nickey Barclay (keyboards and vocals). Fanny recorded four albums with Reprise Records—Fanny (1970), Charity Ball (1971), Fanny Hill (1972), and Mother’s Pride (1973)—and toured widely in the U.S. and internationally. As Ann Powers has recently observed, Fanny, as fronted by June Millington, “was a showcase for the swag- ger of long-haired, bell-bottomed, fierce femmes at the dawn of the women’s liberation 1 movement.” Since the band’s 1973 dissolution, Millington has had a distinguished career working with a wide variety of artists, most notably Cris Williamson, on whose influential 1975 album The Changer and the Changed Millington contributed keyboards, guitar, and vocals. -
Bearsville Theater
BEARSVILLE Heartbeat of Woodstock The 15 acre Bearsville site was designed and built by legendary music impresario Albert Grossman in the 1960’s and 70’s. Albert managed Bob Dylan, Janis Joplin, The Band and countless other remarkable artists. He chose Bearsville because of its pastoral setting alongside the banks of the Sawkill Creek. He saw Bearsville as a utopian home for his artists to live, write, record, and perform new music in a relaxed bucolic environment, just two hours from NYC. Albert was aided by John Storyk, the architect of acoustic spaces architect who famously designed Jimi Hendrix’s Electric Lady Studios in NYC. The studios and record label thrived and were successful, even after Albert’s early and Utopia unexpected passing in 1986. Both enterprises have since closed. At the heart of the Center today stands Bearsville Theater, long enjoyed by musicians and music lovers who want to experience the sights and sounds that inspired some of music’s most important writers, singers and performers. Although the Theater opened in 1989, there followed more than 25 years of ownership changes, and the complex never fulfilled Albert’s complete vision. OVERLEAF x BEARSVILLE THEATER 277-297 Tinker Street • Woodstock, NY 12498 BearsvilleTheater.com In 2019 the social entrepreneur Lizzie Vann purchased the Center and began a wholesale renovation, rebuilding Bearsville back into a place for artist development – as Albert wanted it to be. The goal today is to encourage and support future generations of artists, in the same way that Albert saw the need for a whole-person approach to nurturing the creative spirit of his artists. -
Saint Misbehavin': the Wavy Gravy Movie Benefit Screening
APRIL 1st 2010 (April Fool's Day!) SNEAK PREVIEW and special event screenings of SAINT MISBEHAVIN': THE WAVY GRAVY Movie to benefit the film's release and Camp Winnarainbow at the Grand Lake Theater in Oakland, CA! WHO: Saint Misbehavin’ himself Wavy Gravy, the filmmakers and stars of the film WHAT: Screening and Special Event, to benefit the film’s release and Wavy Gravy’s Camp Winnarainbow WHEN: April 1st, 2010 Special Event Screening and Q&A at 7:30pm Encore screening at 10:00pm followed by Q & A WHERE: The Grand Lake Theater - 3200 Grand Avenue, Oakland Special Event Screening will begin at 7:30pm followed by Q&A with director Michelle Esrick, Wavy Gravy and other stars of the film. From 6:00 to 7:00pm limited a special reception will be held at the theater, where people can mingle with the filmmakers, Wavy Gravy and other stars of the film. Also including silent auction. Limited number of 100 tickets available for reception. Tickets can be purchased at the Grand Lake Theater box office or online at: http://www.brownpapertickets.com/event/103242 About the Film Saint Misbehavin’: The Wavy Gravy Movie reveals the true story of cultural phenomenon Wavy Gravy – a man whose commitment to making the world a better place has never wavered. We experience the impact one man can have and connect to the hope that each one of us can make a difference and have fun doing it! Appearing in the film are Larry Brilliant, Jackson Browne, The Grateful Dead, The Hog Farm Commune, Odetta, Ramblin’ Jack Elliott, Bonnie Raitt, Buffy Sainte-Marie, Jahanara Romney (Wavy’s wife), Ram Dass, and others.