Bruce Cockburn

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BRUCE COCKBURN Bruce Cockburn folk-jazz/rock musikari handienetariko bat da zalantzarik gabe. Bere “fingerpicking ”a gitarra teknika honen maisutza garaikidearen adibidea da. Ospetsu izateko Estatu Batuekin muga zeharkatu zuten Joni Mitchell eta Neil Young kanadarrak ez bezala, Bruce Cockburn bere jaioterrian bihurtu da izar. Cockburnen musikan estilo heterogeneoak nahasten dira: jazza, rocka, reggaea eta, laurogeita hamarreko hamarkadan, "new age music " izendatu zena. Ottawan jaio zen 1945ean. Kide izan zen lehen taldeak Three"s A crowd zuen izena. 1968an Christophere ovie matinee grabatu zuten, Mama Cassek , The Mamas and The Papas taldeko Elliotek , ekoitzi zuena, baina Cockburnek bakarkako ibilbideari ekin nahi zion eta kantautore melodiko country gisa eman zuen ezagutzera. Bigarren albumak, High winds white sky (1971), aurrekoaren formula errepikatu zuen. Baina artistaren benetako fisionomia geroago eman zen ezagutzera, Sunwheel dance argitaratu zuenean, musika akustikoaren eta rock elektrikoaren arteko oreka ia bikaineko diskoa. Bruce harago joan zen Night vision bildumarekin (1974), non elektronikak metropoli- atmosfera ilunak islatzeko balio duen. Abeslaria Bob Dylanen maila berean jartzen hasi ziren bere jaioterrian: bere abestiak, “mezuak” izanik, erreferentzia ziren eztabaida kultural eta soziologikoetan. Bere konpromiso intelektualak Nazioarteko Amnistia erakundeko kide bihurtzera eraman zuen. Ezagunak dira artistaren ekologismoa eta tentsio mistikoa, isla direnak erregistro instrumental zabaleko musikan, ln the fallin dark (1977) diskoan, kasu. 1977koa ere baden zuzeneko bilduma bikoitza, Circles in the stream , alaiagoa eta liluragarriagoa da. Further adventures of ... (1978) diskoaren ondoren, hurrengo urtean, Dancing in the dragon"s jaw agertu zen. Horrela, "Wondering where the lions are" abestiarekin Cockburnen abesti bat bigarren aldiz sartu zen Ameriketako arrakasten zerrendan, era berean Tom Rushek grabatutako "One day i walk " abestia bezala. 1979an Europako lehen birari ekin zion. Dancing in the dragon"s jaw diskoaren arrakastaren ondoren, 1981ean, bi antologia agertu ziren. Brucek sormen geldialdia igaro zuen, baina 1987an amaitu zen antologia bikoitza eta bi album berri sortuta. Bigarren sormen garai horretako produkturik onena Big circumstance (1989) izan zen; bertan, elektronikak, folkak eta rockak kontaktu puntu magikoa lortzen dute (musika etnikoaren ezaugarri akustikoekiko arreta bereziari esker ere). Beste disko batzuk: Salt , Sun and Time (1974), Joy Will Find a Way (1975), Humans (1980), Inner City Front (1981), The Trouble with Normal (1983), Stealing Fire (1984), World of Wonders (1986), Live (1990), Nothing But a Burning Light (1991), Christmas (1993), Dart to the Heart (1994), The Charity of Night (1997), Breakfast in New Orleans Dinner in Timbuktu (1999), You"ve Never Seen Everything (2003), Speechless (2005), Life Short Call Now (2006), Slice O Life: Bruce Cockburn Live Solo (2009) eta Small Source of Comfort (2011)..

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Reviews Alebre Joueur D'harmonica, Gabriel Labbe Est Aussi Connu Comme Collectionneur De Disques 78 Tours
Maste~ of French Canadian Dances. Joseph Al- lard, Violin. Selected and annoted by Gabriel Labbe. Produced by Richard Carlin. Folkways Records, RBF 110 [$11.00 aux membres, $13.00 autrement]. Reviews alebre joueur d'harmonica, Gabriel Labbe est aussi connu comme collectionneur de disques 78 tours. On gait qu'il est I'auteur du livre Les Pionniers du dj§gue folkloriQue Quebecois.1920-1950 (L' Aurore 1977). C'est ainsi que sur cet album, il nODSlivre une petite partie de sa precieuse collection en noDS presentant 14 des meilleurs pieces qu'a endisque Joseph Allard entre leg annees1928 et 1933sur disques78 tours. Joseph Allard naquit Ie ler fevrier 1873 a Woodland, pres de Montreal. Son peTe, Louis Allard, lui-meme violoneux, lui enseigneIe violon des l'ige de 9 ans. A 16 ans, il quitte Ie Canada pour la Nouvelle-Angleterre MUSIQUE INSTRUMENTALE ou on reconnait son talent. Apres 28 ans, il revient au CANADIENNE-FRANCAISE Canada en 1917 et p~ra la majeure partie de sa vie CHEZ FOLKWAYS RECORDS a Ville St-Pierre, pres de Montreal. Comme beaucoup de musiciens,il meurt seul et pauvre en novembre 1947 par Donald Deschenes a l'ige de 76 ans. Apres avoir entendu parler de JosephAllard par des [NDLR. - Les disques dont traite cet article sont en Philippe Bruneau, des Jean Carignan et bien d'autres, vente chez Ie SeIVice de commandes postales de la on ressent une tres vive emotion a erouter ces pieces SCI'M, Box 4232, Sta. c, Calgary,Alberta T2T 5N1, aux par ce grand interprete qui, par la qualite et la richesse de son jeu et de son repertoire, a influence plusieurs prix preci'ies,plus $2.00 fru d'expedition pour Ie prem- ier disque, $.50 pour chaque disque additionnel.] generationsde musiciens,tant au Quebec que dans tout I'est de I'Amerique du nord.
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1980 – 2020 Celebrating 40 Years! Spectrum A&E Media 1980-2020 Celebrating 40 Years! Spectrum Productions was established in 1980 in Regina, Saskatchewan to provide multimedia resources for organizations working with students in Canada. A board of committed friends sacrificially stood behind Keith and Jenny Martin to help raise support and give direction to the work. Spectrum’s Roots The roots of Spectrum go back to 1970, when Keith, having graduated with a B.A. in psychology and a minor in philosophy from the University of Regina, spent time at L’Abri Fellowship in Switzerland. L’Abri was and still is a live-in student community founded by Francis and Edith Schaeffer to explore answers to basic philosophical questions from a Christian worldview. 2 In 1971 Keith, Steve Archer and Art Pearson applied for and received a federal Opportunities For Youth grant for a summer project called Street Level: A Multimedia Culture Probe. Inspired by seeing 2100 Productions in the United States, they wanted to do something similar in Canada. With a budget of $8,800 they hired 8 students (Keith, Steve, Art, Gene Haas, Chris Molnar, Steve and Lorne Seibert, and Linda McArdell—and Henry Friesen for the presentation phase) at $1,000 each for 3 months of work. That left $800, and lots of borrowed eQuipment, to produce a 5-screen, 7-projector 80 minute multi-media presentation using contemporary music to look at what people were living for. 3 Some of the artists used in the production were Pink Floyd, Simon & Garfunkle, Strawbs, STREET LEVEL Steppenwolf, Leonard Cohen, Cat Stevens, Moody Soundtrack (1971) Blues, Traffic, Chicago, Procol Harem, Black “Careful With That Axe, Eugene” - Pink Floyd (Ummagumma) “At the Zoo” - Simon & Garfunkle (Bookends) “I’ve Got a Story” - Gary Wright (Extraction) Sabbath, King Crimson, and Ford Theatre.
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Christianity & the Arts, Wi
Christianity & the Arts, Winter 2000 The Magazine Christianity & the Arts Online Winter 2000 Homecoming Lyrics of Canadian Songwriter Bruce Cockburn By Brian Walsh At home in the darkness but hungry for dawn . Forgetfulness is the temptation of homelessness. Elie Wiesel puts it this way: "The one who forgets to come back has forgotten the home he or she came from and where he or she is going. Ultimately, one might say that the opposite of home is not distance but forgetfulness. One who forgets, forgets everything, including the roads leading homeward." This relation of home and memory is, of course, not alien to the Scriptures. Indeed, it is precisely forgetfulness that is seen to occasion the homelessness of exile, and it is memory that keeps the vision of homecoming alive while in exile. "Don't forget where you have come from, who led you out of slavery and who gave you this bountiful land," says Deuteronomy 8, lest you go into exile. And when exile does befall forgetful Israel, it is memory of Yahweh's past faithfulness - memories of Abraham and Sarah, Noah, David, indeed of creation and exodus - that funds the prophetic imagination and keeps alive the vision of homecoming. If home is a place of deeply rooted memories, then homelessness is a state of amnesia in which we forget who we are precisely because we forget where we come from. And as long as the amnesia holds, there is no way back, no homecoming. The themes of home, homelessness, and homecoming, together with the motif of memory, are ubiquitous in the lyrics of Canadian songwriter and performer, Bruce Cockburn.
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No Room at the Inn?
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Issue Number 55 February 2003
Gavin’s Woodpile – The Bruce Cockburn Newsletter Edited by Daniel Keebler Issue Number 55 February 2003 The Bruce Cockburn back catalogue - The Deluxe Editions Observations by Richard Hoare The first batch of six CDs were released in late 2002: Canada - True North – 19th November 2002. USA - Rounder/True North - 19th November 2002. UK - True North via Revolver - 16th December 2002. All these CDs have been digitally remastered by Peter J Moore @ The E Room, Toronto, 2002. The original analogue masters have been digitally transferred using a proprietary state of the art Ampex ATR 102 at 24 bits / 96Khz resolution and processed using Sonic Solutions NoNoise technology. The deluxe editions are distinguished externally from the previous CD releases by the inclusion of O card slipcases. Each CD booklet attempts to reproduce the artwork and information from the relevant original LP release plus additional photography and an essay. In 1997 Nicholas Jenning’s book Before The Goldrush was released in Canada. It documents the musical breeding ground that was Yorkville, Toronto in the 1960s. The equivalent of Greenwich Village, New York or Haight Ashbury, San Francisco it fostered such talents as Ian & Sylvia, Gordon Lightfoot, Joni Mitchell, Neil Young, Kensington Market, Murray McLauchlan and Bruce Cockburn. Although currently out of print, it is essential reading. Nicholas has put together a wonderful jigsaw, which illustrates how each of the artists fitted into the scene. The text is also supplemented by a wealth of great photographs, album sleeves, posters, flyers etc. My favourite is the photo of Bernie Finkelstein outside El Patio with Kensington Market, the band he launched with the payout from Albert Grossman for The Paupers.
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In Conversation with Bruce Cockburn
IN CONVERSATION WITH BRUCE COCKBURN BY M.D. Dunn Bruce Cockburn laughs a lot. It might surprise people familiar with only his heavier songs or the many causes he has championed. He even makes jokes, clever and funny jokes. His conversation is punctuated by belly laughs and a wit that runs from dry and cutting to outright silliness. Truth is, this legendary songwriter doesn’t recognize his own legend. Throughout his 50-year career, which he calls a “careen,” Cockburn has participated in numerous grassroots actions: working to help ban landmines in Mozambique and elsewhere, supporting the Haida and the Lubicon Cree in land rights disputes, promoting sustainable farming, and witnessing the desperation of refugees in Central America. Many of these concerns end up in his songs and have perpetuated the image of a cold intellectual, a worldly and jaded observer of human folly. WINTER / HIVER 2020 15 His autobiography, Rumours of Glory (Harper Collins, 2014), is one of the most impressive and articulate musical memoirs in recent memory. While the book does discuss Cockburn’s life, it is more accurately a document of some of the major conflicts and cultural developments of the late 20th century. Like its author, the memoir looks outward, always working to recognize truth behind appearance. He has also championed literature in an artform that often draws from humanity’s baser interests. His lyrics are precise, often narrative in form, sometimes brutal. Yet, listening closely, there is also humour, faith, and undaunted hope. The song “Maybe the Poet” from the 1984 album Stealing Fire argues for the importance of poetry, even if it goes unacknowledged by the greater culture.
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Issue Number 25 February 1998
Gavin’s Woodpile – The Bruce Cockburn Newsletter Edited by Daniel Keebler Issue Number 25 February 1998 Mali and The River of Sand Bruce Cockburn will travel with a Canadian documentary crew to Mali in February, to capture the life and livelihood of the people of the West African country. Cockburn will spend a month exploring the country. His itinerary will include stops in the legendary city of Timbuktu as well as the heart of Dogon country, home to one of Africa’s most ancient and fascinating cultures. Along the way, he will cross musical paths with some of Mali’s most well known musicians. His findings will be part of a one hour, made-for-broadcast documentary, River of Sand . It will provide a blend of music and culture while addressing the serious issues facing the people of the country. The film will be produced by Kensington Communications of Toronto. Cockburn, who will narrate and host the film, will also spend time in the Douentza district. There he will have the opportunity to view, first-hand, the ongoing life and death struggle of the local people in overcoming a serious drought this year. As well, he will investigate the progress being made in fighting back the desert, with the assistance of a Canadian development organization, USC Canada (www.usc-canada.org). The singer/songwriter is well known for his interest in environmental issues through his work as spokesperson for USC over the last 25 years. River of Sand will be aired nationally by Vision TV and regionally by TV Ontario and Saskatchewan Education Network.
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November / December
CONCERT & DANCE LISTINGS • CD REVIEWS FREE BI-MONTHLY Volume 6 Number 6 November-December 2006 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 LIFE,LIFE, DEATHDEATH ANDAND DRUMMINGDRUMMING ININ THETHE HEARTHEART OFOF AFRICAAFRICA inside this issue: BY RIC ALVISO inside this issue: In the Kirundi language of Burundi the words for drum and king are the same. BobBob Dylan:Dylan: t was near the end of Peter Gabriel’s set at the ModernModern Times,Times, WOMAD Festival on September 18, 1993, in Dominguez Hills, California, where I, along with Ancient thousands of others, had gathered to sample sounds Ancient from some of the world’s finest musicians. There I was a sudden prolonged silence in the middle of a FootprintsFootprints song. For a moment I wondered if there were tech- nical difficulties on stage. Then I heard it. At first a low rumble from the back of the stage, it grew stronger and stronger until it thundered in my eardrums. Then, as the audi- PLUS:PLUS: ence watched in amazement, a line of men began to appear on stage, swaying from side to side, with enormous barrel-shaped Ross Altman’s drums balanced precariously on their heads. Without missing a Ross Altman’s beat, the drums were lowered to the ground in a large semi-cir- HowHow CanCan II KeepKeep FromFrom TalkingTalking cle, and one-by-one each drummer took turns ferociously pounding the largest, most-colorful drum placed in the center.
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The Bruce Cockburn Newsletter Edited by Daniel Keebler
Gavin’s Woodpile – The Bruce Cockburn Newsletter Edited by Daniel Keebler Issue Number 37 February 2000 Success Without Compromise The following is from The Canadian, written by Patricia Holtz . It was originally published in 1976. Bruce Cockburn has been thinking. About love and myths and life on the road; about living on his songs. And after all this time – nearly a decade of writing, performing and watching his following grow – you’d expect him either to have reconciled himself to the unceasing adulation of his fans and the machinations of industry men – or to have quit, disillusioned. But he’s done neither, and in the process of ignoring nearly every convention of the music business Cockburn (pronounced Coe-burn) has established a rock-solid reputation for himself. More significantly, at a time when critical applause often echoes down halls of poverty and the prime requisite of musical marketability is not necessarily, ah, exceptional talent, he has earned his reputation while unobtrusively, but regularly, making his way to the bank. Bruce Cockburn, 31, engaging young man from the Ottawa Valley, today enjoys a measure of success and professional recognition previously known only to a handful of his contemporaries and never before to one who has chosen to keep his career solely within this country. His thoughtfully crafted jazz- and folk-oriented lyrics and considerable talent with the guitar, dulcimer and a variety of more esoteric ethnic instruments, have sold more than 300,000 albums in the last six and one half years (roughly 70 per cent to Canadians) and gained him a French- and English-Canadian audience that is amazingly devoted.
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