Canadian Folk Music BULlEllN 34.4 (2lXXJ) ...21
A Peak in Darien
Books RichBJdThomas Wright & CatbJynWeUer. Castles iD the Air: Nasic" SkXies of British Colambia'. 1860s Gold Rush WiDter Quarters Pr=, Box 15 Miocene, Williams Lake, B.C. V2G 2P3; D
Recordings Angus Maclel.l. The Silent ODes: A Lcpcy of the HigblaDd Cleannccs. TORCDOOI T(X1j1ti1 PrWIcUOIIS,P.O. Box 303, Kincardine, Oat N2Z 2Y8;
-' Live. ~e Gallant (as above);
KeD Whiteley. LisleoiDg. BCD127. BtYeaIisRec.xdiDg 0> (as above) James~. MiDing foc Gold: Twenty Yean of ScmgWritiDg. BCDI29 ~ ReccxWngCo., 67 Mowat Ave. , Suite 233, T
DaveYooag1'rio. Taleofdlc Fiugera. JUST 143-2. J1IstiDTime Rec.-dsIs:. , S4SS_~, suite 101, Lenka Uchtenberg. Deep IDside: New Jewiab Music. SRD712. Sunflawer Reconls, 246 Haddington Mon1r~, QC H4P IP7;
Comptes rendus I Reviews Books
Peter D. Goldsmith. Making People's Music: Moe Asch and Folkways Records. Washington, DC: SmithsonianInstitution P, 1998.
Poet Tom Waymantitled an anthology of essayson Cana- hungry marketnearly bankruptedhim. For one thing, storesand dian nationalism and culture after a phmse from novelist Ken jobberscan return significant amountsof unsoldmerchandise af- Kesey: "Canadawas a country we hadn't considered."Have we ter a period of time. All three-manufacturer, distributor, and beenthere before?I was anxiousto read this new biography of merchant-have credibility to maintain, and if one or more can- the founderof FolkwaysRecords, partly becauseI was interested not meet a demand,the lost credibility may make it difficult to to seewhat I'd learn about the Edith Fowke, Helen Creighton, makesales later on. A manufacturermust gaugemarket demands Marius Barbeauitems in the Folkways catalog. Zip. There's carefully, but the factory owner doesn't makedecisions alone- only one Canadianreference, and it presentsa mistake. That though he has no one to whom he may return unsold merchan- mistake, a reference to Alan Mills as a "French Canadian" dise. (My impressionis that, in the traditional music area, those singer, may not be important, in the scale of things, but it small labels who've managedto scorepublishing hits havebeen reinforces, not only that Canadais marginalized,but also how able to usethat incometo ride thesesorts of waves.Thus, Chris Quebecremains submarginalized! Strachwitz's Arhoolie records benefitted from the Rolling Nevertheless,Goldsmith tells an importantstory-important Stones'use of Fred MacDowell's "You've Got To Move." Not for Canadiansinterested in their culture, for folkies of all that the MacDowell song was a hit, but it was on a hit album.) stripes, and for anyone seriously interestedin modem North Keepall of that in mind when you rememberAsch' s policy Americanculture. I won't attemptto precis either Asch's career neverto let a record go out of print. (I'm not sure that this need or the generalizationin the previous sentence,but considerone always havebeen strictly applied-there were a couple of duds fact about the situation of Folkways and all small, independent in the catalogue,artistically, sociologically, financially-but I labels: it takesmoney to makemoney. The few times that Asch certainly appreciatethe principle.) Keep it in mind when you camenear to having a hit on his hands, the requirementsof a realizethat salesof Wade Hemsworth,Joseph Allard, and Aunt 22... BULlEllN de musiquefolklorique canadienne34.4 (2000)
Molly Jacksonmust havebeen counted not in hundreds,but in probably have found a more lucrative field than peddling re- dozens,maybe in digits. cordedspoken word and folk and avant gardemusic, with a little At Asch's death, Folkways was taken over by the Smith- jazz hereand there. sonian Institution. The Institution continues to release new recordings (as well as regroupings from Asch's earlier files). And, of course,as a 60s boy, I knew that in many waysthe The SmithsonianFolkways catalog on their website lists nearly story of Folkways Recordsis the story of that decade'sportion 50 recordingsof Canadianmusicians. These are primarily tradi- of the folk muusic revival. Discussingthe recent reissueof the tional, non-revivalist singers and instrumentalists; Folkways Anthology of American Folk Music (known also as the Folk- probably accountsfor the largest single store of these in the waysAnthology or the Harry Smith Anthology)in ~e New York world. A significant proportion of thesewere available by the Review of Books, Geoffrey O'Brien, wrote, "The 1997 reap- end of the 60s-many were the first examplesof their genresand pearanceof the Anthology inevitably raisesas many questions performers, and too many remain so. Quebecand the Maritimes about the late Fifties and early Sixties as it does about the late have, of course, done more to document their own older Twentiesand early Thirties [when the original recordingswere traditions than most of the rest of Canada,but it's still easierfor made]" (46). As much could be said about the entire Folkways someonein Vancouver (let alone Cincinnati or Newcastle)to catalog,without which the 60s could not havehappened-and I discover, say, Quebecoisaccordion or Newfoundland ballads meanmore than the revival, I meanthe rock revival which fol- through a Folkways recording than through any other venue. lowed the folk revival and was fertilized by it. Goldsmith's Canada has produced its equivalents of, oh, Red House or accountof Asch's interaction with suchvarious peopleas Lead Windham Hill, which documentsinger-songwriters, but it really Belly, Woody Guthrie, Mike and Pete Seeger,Ralph Rinzler, hasn't yet looked at itself through the eyes of an Arhoolie or and Harry Smith offers a great deal of insight into this era and Folkways. (The Society has made a few not-particularly- can sparkmany of discussions. successfulattempts, but our record can hardly be called im- Having read Making People's Music, I logged onto the pressive.) SmithsonianFolkways website. I'd learnedthat they were now But the Canadianangle was only one reasonI wanted to offering the entire catalogon CD (previously only selectedtitles read this book. For one thing, there's Asch himself, a fascinat- were so available, though they'd dub cassettesof any title, ing man; he had his feet in several camps,scientific, political, keepingit all available-contemporary technologyallows them commercial, cultural, but he seemsnever to havefully commit- to custommake CDs), and I was curious about how much new ted himself to any of them. Or perhapsit'd be more correct to materialis being issued.I didn't noticeany new Canadianitems, say that he was so deeply involved in all of them that he was I'm afraid to say. However, I was also worried aboutwhether or simply torn. To say that Asch's motives were mixed offers only not they were continuing the tradition of giving political song- the inevitable. Supposeyou camefrom a nationwhich, after sev- writers a forum. Pete Seegeronce noted that in some Arabic eral centuriesof intenseparticipation in Europeancultures at all nation, putting a poet on the court's payroll was known as "cut- levels, was the focus of the most excessivebout of European ting off his tongue." Has the the USA cut off Folkways' tongue? cruelty of the 2()1hcentury; supposeyour own father spentmost Apparentlynot. The first thing I noted was a concert to be held of his life as the literary lion of that nation, only to be de- at this year's SmithsonianFolklife Festival, featuring the music nouncedas an apostatefor novelswhich he hadexpected to help of the late Malvina Reynolds, celebratinga new Folkways re- securethe nation's placein the world community. Add to all this leaseof her music, Ear to the Ground. Don't tell JesseHelms that you had comeof agejust in time for the Great Depression. aboutthis, OK? -GWL You'd have mixed motives, too. (As far as I can see, the only people whose motives aren't mixed are thosewho've sold out, GeoffreyO'Brien. "Recapturingthe AmericanSound." The New pure and simple.) Had Moe Asch been one of those, he could~ York Review of Books April 9, 1998: 45-51.
Kate Dunlay and David Greenberg.Traditional Celtic Violin Music of CapeBreton. Toronto: DunGreenMusic. 158pp.
At best, notationconveys a mere outline of music; an under- ing for the music that has earnedthem the respectof the prime standingof idiomatic subtletiesis always required to flesh out moversand shakersin the CapeBreton fiddling community. the sketch that the notation provides, and this is as true for art The book contains 139 transcriptionsof CapeBreton tunes, music as it is for folk music styles. CapeBreton fiddle music is eachtaken from a particular artist and recording. To their credit, currently well regardedin Canada,thanks to artists like Natalie Dunlayand Greenberghave resistedthe temptationto notatethe McMaster, the Barra MacNeils, and Ashley "Crash-and-Bum" transcriptionsso precisely as to make them difficult to read. McIsaac.The techniquesand nuancesof this style havebeen rel- Instead,the sourcerecording for the music is given, so the dedi- atively inaccessibleto thoseoutside the tradition. catedplayer can listen and comparethe transcriptionto the per- Enter Kate Dunlay andDavide Greenberg,authors of Tradi- formance.To convey fingered and bowed ornamentsa tidy and tional Celtic Violin Music of Cape Breton. Dunlay and Green- unobtrusiveset of symbols has been devised,but the tunescan berg bring a unique perspectiveto CapeBreton fiddling; they be easily read without attention to these. Thus, Traditional may be said to be in the tradition but not of it. They have come Celtic Violin Music of Cape Breton servesas both a tunebook to CapeBreton "from away" but have achieveda depth of feel- and a tutor. Canadian Folk Music BULlEllN 34.4 (2()(XJ) ...23
Introductory material includes a discusssionof modality in tenal from Traditional Celtic Fiddle Tunes of Cape Breton Cape Breton tunes, basic fiddle technique, and a detailed de- (1996), a wealth of new and expandedmaterial has beenadded scription of the specialornaments that characterizethe tradition. to producethe currentvolume. Traditional Celtic Violin Music Detailed (but unobtrusive)notes accompany each transcription, of Cape Breton should make this complex and popular fiddle providing sourcesfor both written and recordedversions of the style accessibleto any musician who will make the time tune, comparisonsof variationsbetween performers, and analy- investmentto use it to its fullest. sesof tune structure. -Michael Pollock This is an excellentresource for any fiddler interestedin Calgary, Alberta Celtic fiddle traditions in Canada.Although it containssome ma-
Madison Smartt Bell. Soldier's Joy. New York: Penguin, 1990. David Carpenter.Banjo Lessons. Regina: Coteau, 1997. Clyde Edgerton. Raney. ChapelHill, North Carolina: Algonquin Books, 1985.Algonquin Books, PO Box 2225, ChapelHill, North Carolina, USA 27517-2225 E. Annie Proulx. Accordion Crimes. New York: Scribner, 1996. ElizabethScarborough. The Songkiller Saga. (In three volumes: PhantomBanjo, Picking the Ballad's Bones, and Strum Again?) Ray Serwylo. Accordion Lessons. Vancouver: Pulp, 1982.
Given that there's been an explosion of music as a hobby ElizabethScarborough is a successfulscience fiction writer over the last half century, it shouldn't be surprising that a good and a folkie, and in The Songkiller Sagashe's createda fantasy handful of novels havebeen written with somedegrees of musi- accountof Annageddonin which the Folk Music Revival takes cal themes,including what we might call "folk music." (Fewer on Satan,who is (contrary to certain fundamentalistpoints of movies, but don't get me startedabout The Red Violin!) Here view) the Songkiller himself-not the sponsorof banjo and fid- are someresponses to a numberwhich crossedmy path during dle (eachof which traditionally claims to be the Devil's Instru- the last couple of decades. ment), but the great enemyof all pure joy. I wasn't always in synchwith Scarborough(some of her remarksabout Folk Nazis Madison Smartt Bell's Soldier's Joy (the title alone, of are asmeanspirited as purists themselves-ourselves,may I say? course, will draw the attention of most pickers) begins "The -are said to be), but I had great fun with thesethree books, es- summer Laidlaw came back he spent all his time learning to pecially the section where the contemporarycharacters entered drop-thumb on the banjo." (Unforttunately, on the next page the world of the balladsand lived out those hoary tales. we're told that the wood of his Vega's resonatoris a "whole inch" thick. Hmmmm ) The novel's themeis black/white rela- Unlike the best selling Accordion Crimes, a one-trick pony tions in the US south, and of coursethe banjo is the emblempar which gave me about as much fun as an anthology of o. Henry excellanceof that subject. Unfortunately, as I recall (it's been short stories, Ray Serwylo's Accordion Lessons, manages de- the better part of a decadesince I read it), the novel finally de- spite its brevity (it was written for Pulp Press's 3-Day Novel- generatesinto a shootoutbetween the forces of toleranceand the Writing Contest and is all of 79 pages long), an evocative, com- Klan and doesn't offer a great deal of insight into the subject. plex consideration of the peculiar relationship of the traditional Still, there'sa cover blurb by noneother thanWalker Percy, (and transitional!) Ukrainian culture of Manitoba with the domi- who calls it "A big riveting novel." In addition, the credits page nant, modem culture. Like the banjo before it and the electric includescitations to CharlesMingus, Earl Scruggs,Jean Ritchie, guitar and synthesizer after it, the accordion is at once a symbol Lead Belly, and Doc Watsonfor songsused. It might be worth of the future (industrial, popular culture) and of the past (tradi- trying again sometime. tional, folk culture). The title refers to the Palmer-Hughes series of instruction books; Serwylo is cleary hip to the irony of new Raney chroniclesa couple of years in the marriageof two generations of Ukraianian players who begin, not by aping the North Carolinians, one an educatedand sophisticatedEpisco- neighbor's kolomayka, but with big black note versions of .Skat- palian, the other a member of the Free Will Baptist church. ing" and "Old MacDonald Had A Farm." They are brought togetherby their love of music-they perform Accordion Lessons is a coming-of-age, finding-of-identity bluegrassand old-time country music-but many other aspects novel. The narrator addresses a deceased friend (mentor? alter of their lives andpersonalities threaten to drag them apart. Their ego? self?), from whom he inherited the Palmer-Hughes books. adventuresinclude somehilarious sessionswith a marriagecoun- The narrator participates in the 1970s revival of ethnic culture, sellor, which suggesthow difficult that job must be. The use of seeking a more satisfying blend of old and new worlds. His ac- music in this novel is quite lively and appropriate;at times the count mixes his current affairs (both musical and romantic-his portrayals of the couple are nearly stereotypical,but overall, I girlfriend/wife also takes up the accordion) with his reminiscence found the book a charming, gentle portrait of the tensions of of the lost acquaintance. Like all of us, he is struggling to figure contemporarysouthern life. I haveno idea whetherit remainsin out who he is-his particular context for this quest is the prairie print-as with Soldier's Joy, I'd never heardof it until I found Ukrainian culture. You'll have to scour the used book stores for it nn a remainder !;helf. a copy of Accordion Lessons, but it's worth the effort. 24... BULLEllN de musiquefolklorique canadienne34.4 (2(XXJ)
The most recentof thesebooks, and the occasionfor this set (Bob Dylan wrote a song about this, "Eternal Circle.") I been of reviews, is David Carpenter'sBanjo Lessons. (Is the title there. meant to be a cop from Serwylo's book?) I noticed it one day, The novel dependsso much upon the popular culture of its walking through the English textbook sectionat the university decadesthat I think it's fair to ask to what degreeCarpenter's bookstorehere-how could I not notice a cover which featured got it right. For example,was CKUA really playing Blind Lem- a hand rising from a mountainlake, bearing, not a kingly sword, on Jeffersonbefore the Kennedyassassination? Were young Al- but a Bacon 5-string banjo? Now, I happento know that the bertan guys really aware that there was a difference between English Departmentisn't exactlyreplete with musically hip folks "white rock and roll" and "black rock and roll" in the 50s? (most wouldn't know a BaconSilver Belle from a BLT), so I'm Theseare not rhetorical questions;I didn't arrive here until the temptedto suspectacademic nepotism is at work here; Carpenter very early 70s. Sometimesour memoriestelescoPe details like has been an English prof himself. that, especiallywhen we want to appearhipper than we were.* Like Accordion Lessons, Banjo Lessonsis about growing In addition to music, the threadsof Banjo Lessonsinclude up in westernCanada, this time Alberta in the 50s and 60s. It's fishing and literature, the other passionsof the protagonist,and a heftier book than Serwylo's weekend miracle and partially the oil boom and prosperity in Alberta. The charactersmove organized as a parody of Joyce's Portrait of the Artist as a from concernsabout messing their pantsand which-game-to-play Young Man. I'm not entirely convinced that this was a good to borrowing IDs to purchaseliquor and getting into andthrough idea, sincethe comparisonspresented (between Alberta and Ire- university-and, of course, mating. It's hard not to supposethat land, Carpenterand Joyce)are not necessarilyfavorable to the Banjo Lessonsis a somewhatautobiographical novel, and my novel and its subject. For one thing, I think Joyce was asking feeling is that it's rather arbitrarily yoked into the Joyce somepretty toughquestions about his country and compatriots- harness-the story has its charm, and I found most of the puns I'm not sure that such questionsare raisedhere. (If they were, and allusions to be as annoying as the distorted Greekish I suspectAlberta is even less ready to hear them than Ireland columnsone sometimesnotices pasted onto a postmodernbuild- was to hearJoyce-until he becamefamous, that is!) Sometimes ing. In musical terms, some themesseem to work better with I felt that Carpenterwas merely finding clever new ways to say simple accompaniments.This, at least, is my first reaction,but what's beensaid already: "No one in his right mind would con- I suspectthat it'll merit another read someday.You might like sider assassinatingPrime Minister Pearson;it would meanan- to know that it's gone into second printing-thanks to the other Royal Commissionon assassinations."I think we've heard English teachers,or is someonereading it? enough about Canadianmeekness; this repetitive self-criticism By the way, Carpentercan be heard playing the banjo on might just be a way of avoiding self-analysis,which might find < http://www.lights.com/writers/carpnet/books/banjo.html>. that there's a rather angry set of synapsesbehind that patient -GWL smile and bureaucratichabit. Given that the banjo music which occurs in the book is *1 should add that 1 had some seriousquestions about this kind generally button-down folk group stuff, rather than the deep of matter in MargaretLaurence's The Diviners, as well. And if music of Appalachiaor evenmusic with somehistorical roots in you want to know what kind of a grump 1 can really be, well, this province (the banjo, of course, camewith the first home- "Right on" was not in the vocabulary in 1965-it was brought steaders),it's not always easy to take the angst here very ser- in by the Black Panthersrather later in the decade.As well, 1 iously. Tim learns "Old Joe Clark," "ShadyGrove," "01' Dan was uncomfortablewith Raney when a significant estheticmo- Tucker," "Groundhog,"and" SourwoodMountain," but he never ment occursbetween the protagonistsover the album Will the seems to listen to any banjo music that's hipper than Pete Circle Be Unbroken. After someof the heavydutyCarter Fami- Seeger.Odd. ly, Jimmie Rodgers, &c., material, mention of the conceptlp I will admit to havingexperienced an enjoyably masochistic from the Nitty Gritty Dirt Band was a bit of a letdown; how- bit of deja vu when the protagonist's lovely banjo playing sets ever, it's also true that the old timers, Mother Maybelle, Doc the stage for what might have passedfor an orgy (concurrent Watson, Earl Scruggs,and others, did manageto make some- makeout)among his university friends-all the young folks pair thing of the disc-though 1 still listen to their own recordingsa up, but the musicianis left out sincehe's beenbusy performing. lot more than 1 ever did to Circle, which 1 never even owned.
Book/Recording Sets
SueMalcolm & Bob Underhill. Slow Pitch Jam Bluegrass Songbook, Vol. 1. Sueand Bob's Slow-PitchJam, 2625 FrommeRd., North Vancouver,British Columbia V7J 2R4;
SueMalcolm and Bob Underhill havecreated an interesting want to jam every night. introductory bluegrassjam sessionwith a songbookand a CD. SueMalcolm nicely introducesthe songbookand its purpose This is a packagethat will be welcomed by beginning instru- in the introductory section,which also containsbrief biographies mentalistswho haveprogressed to the point where they feel the of Sueand co-authorBob Underhill. Theseare followed by an need to jam with other musicians,but are reluctant to do so. It informative section on the subtletiesand etiquetteof jamming, may also satisfy the musical appetite of those beginnerswho somethingthat everyoneshould read. An excellentexplanation Canadian Folk Music BUUEllN 34.4 (2(xx)} ...25 of the Nashville numbering system, along with a transposition to count the songin. Theserecordings are well done. The vocals chart, is also includedin this first section. are very good, but they are subduedin the mix to allow the in- The main portion of the songbookcontains 13 well-known strumentsto be easily heard. This helps the listener/player to bluegrasssongs, with the words and chords set out in large play along. The songsare also played a little slower than nor- "easy to read" print. Each song is placed on a single page, mal, again to makeit easier for the listener/player. eliminating the needfor page-turningduring the tunes,a plus for The packageworks. I tried it with a friend who is a be- beginning musicians.The book is spiral bound, which allows it ginning guitarist and is ready to start jamming with others. With to sit on a music stand without flipping shut. The songsthem- the song book set on the music stand and the CD turned on, I selvesare an excellentmix of early traditional tunessuch as "In found that he quickly got the knack of playing along, although The Pines" and "Bury Me BeneathThe Willow" and later clas- I did provide someexplanation and encouragement.I also found sics like A.P Carter's "Gold Watch and Chain" and Bill Mon- that the CD provided a good backgrou~dfor practicing banjo roe's "Blue Moon of Kentucky". For eachsong, the chords are rolls, dobro licks, and somecreative guitar and mandolinbreaks. shown for only the chorus and/or the first verse. This will en- The price tag of $30.00 (Canadian)is reasonablewhen the cost courageindividuals to learn how to internalize the melody and of music books, CDs and private instrumentallessons is con- anticipatethe chord changesfor the remainderof the tune. sidered.This packagewould be an excellentinvestment for any The CD, which is enclosedin a plastic envelop inside the beginning instrumentalist who is learning to play traditional backcover of the book, pulls this packagetogether. The CD be- music.It would alsobe nice if Bob and Sueissued a packagefor gins with a tuning section, then the songsappear, in the same more advancedplayers. order as in the book. Each song is introducedby either Bob or -Allan Kirby Sue. They remind the listener of the chords to be used and Cobourg. Ontario where to place the capoif it is required, and then they proceed
Olstad, Rod (notator & editor). Freddy Lang's New Time Fiddle Tunes. Edmonton:Fiddler's Dream Music, 1999. 61pp. -' Freddy Lang's New Time Fiddle Tunes. Fiddler's Dream Music, c/o Rod Olstad,9812 93rd Ave., Edmonton,Alberta. T6E 2Wl; or c/o Freddy Lang, Box 1912, Merritt, British Columbia VIK IB8
Freddy Lang's New Time Fiddle Tunes beginswith a brief As I was first perusingthe book, I was confusedat Olstad's biographyof fiddler Freddy Lang, partially structuredas a tran- layout. For severaltunes he placed the tune outline and tran- scribed interview by Ron Olstad. Based in Alberta and BC, scribedversion a pageapart, making it impossible to view the Freddy Lang has been playing the fiddle since the 1930s and two versions simultaneously.When I went through the book composingfiddle tunessince the 1940s,and toured Canadadur- againwith the tape, however, this problem was resolved. This ing the 1950swith Wilf Carter and such groupsas The Calgary layout facilitatesa numberof tune medleys;the fiddler is able to RangeRiders and The Hillbilly Jewels. Also included in the in- follow (or play) along with the tape without a page turn in the troduction are a discographyand a numberof photosdocument- middle of a medley.This detail in layout indicatesthat the target ing the progressof Freddy's career. This is followed by the audienceof this collection is fiddlers who want to play along notation for 23 fiddle tunes, 19 of which are original tunes with the tape, not scholars who might be more interestedin composedby Freddy Lang, and the rest written by a variety of comparingtechniques of ornamentationand variation. other fiddlers. The first 15 tunes in the book are played on an For the most part the book and tape have been well pro- accompanyingcassette, featuring the fiddling of Ron Olstad, duced.Although clearly a homeproduction, the printing is clear, while the remaining nine tunes are provided as "Bonus Tunes" and thereare few typos (one noticeableone, however, is the last in the book only. I enjoyed listening to thesetunes, and found reel on the tape,called "Jim Forbes' Reel" on the cassettecover, myself wishing that the bonus tunes had also been recordedon but "Jim Bell Reel" in the book). One minor soft-wareproblem, the cassette. getting rid of excess staff lines at the end of tunes, adds Ron Olstad hasprovided two versionsof most tunes: first, unnecessaryclutter to the page. There are a few in-consistencies a tune outline for less advancedplayers or those who wish to and inaccuraciesin notation that are worth pointing out in the personalizethe tuneby addingtheir own ornamentation,and sec- hopethat they might be correctedbefore the next printing. First, ond, a transcriptionof the sametune on the accompanyingcas- the coda and D.S. signs are missing on "Curly Hair" and the sette,which includesbowings and ornamentations.Since Olstad transcribedversion of "Kerry's Kolomyika" (called "Kerry's plays the tunesseveral times through on the tape,and ornaments Reel" in the table of contentsand "Kerry's Ko-iomayka" on the or bows each variation slightly differently, as is typical with cassettecover). Second, the first three beats of "Maureen's fiddle tunes, the transcribedtunes are not lOOper cent accurate Waltz" are upbeats,rather than the first full bar of the tune. to the way the tunessound on the tape. As a suggestionof what Third, there are tenuto markings placedover beatsone and four the tune might look and sound like with ornamentation,how- of mostbars of the variation version of the jig "Potato Diggers." ever, these transcriptionsare a valuable addition to the book. As this tune is not played on the cassette,I wonder what sound Brief commentsregarding the origin of the tune's title, dedica- Olstad would like these tenutos to represent.Since he surely tion, or circumstancesof compositionare also provided. Accom- does not want a sustainedeighth note in a jig, perhapshe is panistswill appreciatethe suggestedchords. looking for somekind of accent. 26. BULLEl1N de musiquefalkJanque canadienne34.4 (2lXXJ)
A more serious problem is the lack of consistency in time collectioncan be a valuablelearning tool for both beginningand signatures. Olstad seemsto be unsure about when it is most ap- more advancedfiddlers. propriate to use common time and cut time. For example, the The fiddle tunesare well playedby Ron Olstad, with energy foxtrot "Braula" is written here in cut time, when common time and rhythmic vitality. Although the tone of the fiddle is incon- would provide a smoother breakdown of beats for dancing. The sistent(perhaps a problemat the recordingand/or mixing stage), reels and polkas, usually written in cut time, are mixed between the tuning, particularly on the harmony fiddle pieces, is quite common and cut time. "Frank's Reel," in common time, forms accurate.Despite a few instancesof less than a steadybeat in a medley with" Alfie's Reel," in cut time; similarly, "Bert's "Braunla"and "Jim Bell Reel," and overpoweringguitar in "Lo- Polka," in common time, goes directly into "Mike's Polka," in ri's Reel" and "Gill Netter's Jig," in general the_accompanists cut time. In "Colleen in the Glen," a nice little medley that provide a basic, solid backup. moves from a jig to a march to a reel, the jig is notated in 12/8 This collection consistsof a nice variety of tunes, in both rather than 6/8, which obscures the "jigness" of this tune and style and tune type. There are some interesting melodic and will be confusing to fiddlers who do not have access to the cas- rhythmic twists; in particular, the bar of Ab + in the middle of sette tape. While these may seem like minor technical problems, "Debbie's Jig" and the rhythm of the second half of "Bert's one fiddle teacher to whom I showed this collection said he Polka" caught my attention and are fun to play. There are a would hesitate to use it with his students because of the prob- numberof unusualkey changesbetween first and secondhalves lems with notation. He suggested that it was important for his of tunes. I find the change from Bb+ to A + in "Maureen's beginning students to be exposed to proper notation so that they Waltz" works well, but going through a bar of F+ to get back to willleam what proper notation is. Bb+ in the first half soundsforced. Also, the changein" Alfie's However, rather than dismiss the collection altogether, I Reel" from the first half in A + to the secondhalf in F+ is not suggest that it could be used as a good teaching tool by having convincing to me. The accompanistsalso seem unsureof this students identify the problems themselves. Of course, the nota- key change,perhaps emphasizing the confusion. tion is meant to be used only as a teaching/learning aid. Eve- As a monumentto a prolific yet not well known Canadian ryone knows that you can't learn to play old-time fiddle music fiddler and compo$erof fiddle tuI!es, Freddy Lang, this collec- from notation alone; this is where the accompanying cassette tion makesan important contribution to the documentationof tape becomes so important. BecauseRon Olstad plays these tunes Canadianfiddling. Hopefully, Ron Olstad'scollection will facili- in their most complicated veffiion (double stops, moving out of tatethese tunes in becomingbetter known by fiddlers beyondthe fIrSt position, and some complicated rhythms), beginning fid- west. -Sherry A. Johnson dlers will have trouble learning these tunes by ear. Combined York. Ontario with the notated tune outlines. however. this book and cassette
Recordings
Kristine Oudot. Texada Tides. SA96146.Capcan Music Distribution, 1129Faithwood Place, Victoria, British Columbia V8X 4Y6; < [email protected]>;< www.capcan.com>
Ms. Oudot tries mightily for a senseof placeon this release, of Pied Pumpkin, to let this disc be what it seemsto want to be. naming or thankingTexada Island at leastfive times in the song Well-sungand well-played songsabout nature and the heart, all titles and liner notes,and the acousticguitar/flute/keyboard/bass but one of which were written by the artist, place this CD firmly backing at times calls to mind mid-70s acousticefforts by nu- in the contemPOxarysinger-songwriter camp. merous West Coastensembles. What's missing from this set is -Jim Williams the writing skills of a Bill Hendersonor the humour and passion Calgary, Alberta
Bill Bourne, Lester Quitzeau& MadagascarSlim. Tn-Continental. Trem 001. Tremor Records,P.O. Box 12, Fergus, OntoNIM 2W7;
Here we have two cats from western Canada and a new Ca- timesa successfulevocation is quite sufficient. I shouldnote that nadian from the fabled island of Madagascar united by a love of Ben Randriamananjara(great namefor a headline, no? Wonder mostly blues-driven 6-string guitar, both acoustic and electric. why he wants to be called Slim?) is not subject to the criticism This ad hoc trio presents a collection of mostly meaningless (but (if that's what it is), given that most of his songs are in evocative) songs. (C'mon, Mr. Bourne-you don't really "long Malagasy.Of course,for the targetaudience, they are ipso facto to be a gold miner," or you'd give up your rather easier and meaningless,are they not? Yet very pleasant, which I think more profitable life as a guitarslinger ~d go freeze your buns in provesmy point. * the interior!) But the real point is that this is a guitar album, and a swell Am I being critical of the songs? I suppose, though no one one it is. I am particularly glad to note that accompanimenthas ever said that songs really are required to make sense, and some- beenkept to a minimum. What's really delightful hereis the in-
~ Canadian Folk Music BULlEl1N 34.4 (2lXXJ)...27 terplay amongthe three men (eachis featuredon various items, expecting it might be a bit macho and showoffy for my taste and from time to time they share a tune pretty equally). Slim thesedays. In fact, it's a nicely craftedset by three fellows who generallyplays electric guitar (as well as the valiha on one cut- really do love their axes. -GWL it's a tube zither indigenous to Madagascar),sometimes in a light African style, sometimesin a somewhatraunchier blues *Having said all of that, I'm still a big fan of Bourne's "The mode. Beyond that, any characterizationof the different guitar House" and was really glad to hear it again, though whetherthe personalitieswould be pretty impressionistic,and I won't bother song reflects any genuine social concern-i.e., whetheror not with that for now. it's to be takentruly seriously-is not clear to me. Well, it's my I'll level with you-I was a bit worried about this record, sentiments,and it rocks.
Jennifer White. Clarsach. Km>1. KnockgraftonProductions, PO Box 23132, London, Ontario N6A 5N9;
Enchantingfrom the first note, Clarsachby JenniferWhite that detractsfrom the power of White's compositions. is a wonderful collection of harp tunes old and new. There are The liner notes are informative and well designed,though classicfavorites, like "Loch Lomond" and O'Carolans"Sheebeg a little pretentious. Again, I think it is too tempting for Celtic and Sheemor,"but it is White's original compositionsthat really musiciansto "dumb down" their work in an attemptto appealto shineon this album. "Blue Heron's Flight" and "Oisin" are par- the Narada-buying crowd. Talented musicians like Jennifer ticularly lovely. White is a talentedcomposer and harper. White should resist this temptation. The recording quality of the album is also very fine; the Clarsachis an endearingalbum anda must-havefor serious harp soundsclear and intimate, not drownedin a seaof reverb. fans of Celtic harp music. The addition of doumbekand other drums on someof the tunes -Danishka Esterhazy offers a nice contrastto the solo harp pieces.However, the per- Winnipeg, Manitoba cussiontracks occasionallydescend into a trite New Age sound
Nancy White. Gaelic Envy and Other Torch Songs. BCD 109. Borealis RecordingCo., 67 Mowat Avenue, Suite 233, Toronto, Ontario M6K 3E3;
I enjoyed this album very much. I say that from the view- Gaelic Envy definitely shows that White's repertoire has point of a personwho has heard very little of White's previous broadened from her original political material. The songs here work. I was of course aware of her reputationas a writer and are written and sung by a mature woman who, aware of the singer of humorousand satiric political songsand had heard a underlying political issues, deals with matters such as middle- few of them on CBC radio and at coffeehousesand folk festi- aged love, raising teenagers, and aging, spicing most of them vals, performedby herselfor, occasionally,by otherpeople. But with humour. And, although sung from a woman's viewpoint, this was the first of her recordings that I had listened to from they are concerns to which both women and men can relate on beginning to end. I was struck not only by her senseof fun but a day-to-day level. In the title song, "Gaelic Envy," for ex- alsoby the variety of tone and presentation,the deepermeanings ample, she observes the recent popularity of Celtic music and, beyond the humouroussurface, and somethingof which I was with characteristic humour, and singing in the correct dialect, not fully awarebefore: shehas a darnednice singingvoice. This laments the fact that, despite having the appropriate Scottish con- showsup especiallyin some of the quieter, more seriousnum- nections, she chose many years ago not to move in that musical bers, of which there are severalon the album. direction, thus missing her chance now in the Celtic spotlight. The album cover lists no fewer than 16participants, includ- Who among us, especially those over, say, 35, has not had ing White and backup musiciansand vocalists,of whom some similar feelings of regret for the road not taken? "Pierced are her regularaccompanists and othersare her daughtersand (?) Matron" is about the middle-aged mother who is so desperateto other family members.In a way I am amusedby this. The album stay young-looking that she wears rings in her nose, ears and seemsto follow a familiar pattern. There is, for example,Kate just about everywhere else-just like her teenaged daughter. & Anna McGarrigle's recent album The McGarrigle Hour, in "When You Fall in Love Like That" is about the all-too- which the sisterssimilarly invite past and presentfamily mem- common experience in later life of meeting and falling in love bers, musicianfriends and neighboursand Uncle Tom Cobbley with someone who you realize is the person you should have and all to perform on the album. Peter, Paul and Mary have been with all along and must be with now. There is "Seamless done the samething on one or two of their albums.Apparently Dance of the Old Folks," about watching elderly couples moving this group thing is in, a popular modern devicefor marketing smoothly about the dance floor; "Moose on the Highway," a folksingers(as well as having fun with friends). Fortunately,in return to fun, a singalong about travelling on the highway at White's casethis rather large group provides excellentbackup night in Newfoundland; and "A Dream I've Had of Late," about and in no way detractsfrom the star's prominence.(If she did a mature woman (Nancy herself?), who, having always been a feel overshadowed,she'd probably write a songabout it.) feminist and a leader, admits that at this stage of her life it 28... BUUEllN de musiquefolklorique canadienne34.4 (2lXXJ)
would be nice to be cherishedand taken care of. arrangement,the song even soundseerily like one of Stan's My favourite song on the album is "Manly Band." This songs, and we are fortunate that after so many years, White parody of the late, great Canadianfolksinger-songwriter Stan decidedto record it. I had to play this one over and over. Rogers(written just before his tragic deathin an air accidentin If, like this reviewer, you're just getting to know Nancy 1983) showsWhite at her satiric best. To anyonewho ever saw White as a performer, this is an excellentalbum to start on, with Stan perform live, the most memorableexperience-apart from its variety of subject matterand superbperformances. If you've his boomingvoice-was the visual impact of this hugeman sing- alreadyacquired some of her previousalbums, this will be a val- ing and playing guitar in the centre stage and, in the back- uableaddition to your collection. That may soundlike the back ground, his brother Garnet, who playeda brilliant backupfiddle of an album cover, but in this caseit happensto- be true, and and flute, tossing his long blond hair around in a manner that accordingly I would recommendthat you give Gaelic Envy a can only be describedas spectacular.The songconveys this viv- listen. You'll be impressed. id image, in addition to poking fun at folk music and also, -Laurie Postans importantly, someaspects of Stan's" darker side," all the more Victoria, British Columbia convincing for being sung in a female voice. With its uptempo
Khac Chi Ensemble.Spirit of Vietnam. JBM9902. Jericho BeachMusic. Festival Distribution [addresson page 26] Silk Road Music. Endless. JBM9801-2. JerichoBeach Music, 1351Grant Street, Vancouver,BC V5L 2X7. Festival Distribution
We're rather late with Silk Road (who will probably have somedrive from the guitar and bass,but the title alone suggests anotherout soon); indeed,it might have slippedthrough our net that the tune has its own drive, and this sort of tune has gotten entirely, had not a friend from Vancouverpassed a copy on to along without the thickening for a few hundredyears. I suspect me last fall. Not that I hadn't heardit-it getsairplay-but that that Silk Road Music wouldn't get on CBC without the fusion I hadn't really paid much attention to it. stuff (you'll probably hear "Clouds" a lot more than "Autumn This trio of Chinesewomen has named itself after the nearly Moonlight on Ping Lake"), but I find that my mind wanders mythical highway by which Asia knit itself togetherand to the during most of it, whereasthe straighter Chinesemusic fairly rest of the world for centuriesbefore western Europe had the demandsto be listenedto. Theseinteractions are new, however, gall to claim that it had discoveredthe Orient. It is entirely fit- and I suspectthat with time ~y'U feel more necessary. ting, given their name,that their music, though essentiallyChi- nese, has somepolycultural elements. I have not heard enough Vietnamesemusic to know how The trio consistsof Qiu-Xia He, pipa, Shirley Yuan, emu, well the Kbac Chi Ensemblerepresents the whole tradition. My Zhi-Min Yu, ruan. The pipa looks like the lute (it apparently hunchis that it's been,not watereddown, but arrangedfor west- was derived from the Arabic oud-a traveller on that road that ern sensibilities. I really like this CD, or, perhaps,I really want producedthe lute at the other end) and is (I believe)the primary to enjoy it. The problem, for me, is that it all seemsto too plucked lead for the group. The ruan seemsto play chords like catchyand the short piecesare all very lighthearted.I don't sup- a guitar, thoughwith only four strings it only offers limited har- posethat's a flaw, exactly, and perhapsmy pleasureat this disk mony. To suggestthat the music or the instrumenthave limita- will lead me to seekout more heavyweightVietnamese music, tions, by the way, should not be considereda criticism. All mu- though, practically speaking,I doubt that that really happens sic is limited-it's often through the struggle with limitations much in the real world. that musicianscome up with their niftiest ideas!(It's not always The three membersof the Ensemble,Ho Kbac Chi, Hoang easy, given the presenceof a guitar on a numberof cuts, to be Ngoc Rich, and Le Quang Hien, have classical training from sure what the ruan is doing.) The erhu is a two-string violin; their home country and are multi-instrumentalists.One might again, do not make the mistake of thinking that the instrument well describethe disk as a showcasefor the variety of wonderful is "missing" two strings. In fact, it's an incredibly expressive instrumentsthis small country has developed-most, perhaps, and versatile instrument. derived from instrumentfamilies commonin southeastAsia and The polycultural elementscome primarily from Celso Ma- beyond, but particularizedhere, sometimesextremely so. chado(Bmzilian guitar) and Loretto Reid (Irish flute), as well as Take the ko ni, for example,a two-stringed violin which from Ian Hampton(cello) and and ReneWorst (bass).The reper- looks very much like the Chineseerhu and has relativesas far toire is mostly Chinese(traditional or authoredby one of the north as Mongolia. Like the erhu, the ko ni is set on the lap and trio), though Machado's "Suite Popular Brasileira" and the bowed acrossthe player's torso, like the westerncello. Unlike downeastfiddle medley "La Bastringue/GreenMountain Petro- theseinstruments, however, from the atrophiedbody of the ko nella" also lqaketheir appearance.Qiu-Xia He, who may be the ni, two strings lead to a biscuit which is inserted into the group's leader (she seemsto be the residentvirtuoso and is a player's mouth, so that the mouth cavity servesas a resonating very strong singer), also offers "Clouds-Irish Impressions." chamber,which can of coursebe altered to suit the note being I enjoy this CD (good thing-it was a gift!), but generally played. Soundstrange? Wait till you seea photo of it in action- I prefer the straight Chineseitems the most. The non-Chinese especiallyin the hands/mouthof a beautiful woman like Hoang elementsare not alwaysintrusive, but I don't know that they are Ngoc Rich-have you ever seena photo of a prize fighter, lips always necessary.The opening cut, "Horse Race," may derive separatedto revealthe tooth protectorthey wear?What morecan
~ Canadian Folk Music BULlEl1N 34.4 (2(xx)} ...29
I say? on the harmonica,something I hadn't expected):flutes (one of The signatureinstrument of the album is the dan bau, which which can be played by all three at once, which seemsa trifle is, strangelyenough, a relative of the washtubbass (at least in too intimate for my taste), a two-string lute, and a zither of the structure-certainly not in geneology!).The resonatingchamber familiar koto family. There are also a variety of percussionin- is a bambootube (apparentlyof different lengths for different strumentsmade from bamboo. Some of these provide rhythm purposes;in the photo it's about four feet long, maybe three only; others are xylophones. All appear quite lovely in the inchesin diameter).Its one metal string is attachedto a flexible small, CD sizedphotos. In fact, I am remindedof the instrumen- post and is plucked at different points while the post is flexed. tarium createdby the American composerHarry Partch, whose Talk about glissando!This goesrather beyondthe slide guitar- instrumentsare consideredsculptures as well as soundsources. theremin, anyone?80 Khac Chi plays the dan bau with admir- It must be great fun to watch the Khac Chi ensemble.Both of able control and accuracy. the CDs under considerationgive complete listings of which Other instruments are more familiar (in form, if not in instrumentsare playing on which cuts, which I really appreciate. playing style-some of the timbres one shawmproduces strike -GWL me as reminiscentof the deepersounds Little Walter pioneered
From Both Ends of the Earth. BE 001. Festival Distribution [addresson page26]
Most of us goyim* first learned about klezmermusic from to carry it off) and at anotherone of Jack de Johnette'scombos revivalist groups, probably The Klezmorim, who were the first from the 70s. off the mark. Initially, those groups (like the New Lost City Only Daniel Koulack, five-string banjoist extraordinaire, Ramblersin old time music or Koerner, Ray, and Glover in really comesfrom folkie circles (I seemto rememberthat he got country blues) worked hard to reproducethe sound of the old his first lessonson the banjo from Mitch Podolak), but he goes bandson old 78s, without the scratches,of course. When the ratherbeyond Appalachia,even on that instrument (and herehe playersbegan to stretchout, I sometimeswished they wouldn't: sticksto the bass).(Those who cometo klezmer from the revival I remembera coupleof examplesof klezmer improvs structured will probably recognizehim from the somewhatmore traditional around the raveup principle of late 60s rock, which I found band Finjan.) simply tedious. The question, as always, remains,If you're not What seemsmost surprising, I think, is how often they find going to reproducewhat was done before, what are you going inspirationfor introspectionin klezrnermusic. I usedto describe to do, and where are you going to get the training for it? klezmeras "Ravi Shankarscored for a New Orleansjazz band," Both Ends of the Earth have found the answersto both and indeed, Both Ends are not lacking in energy. As with lots question, the secondleading back to the first. All of the mu- of folk and antiquepopular musics,our knowledgeof older klez- sicianshave a backgroundin jazz, and this CD is perhapsbest mer forms may be affected by what managedto get recorded. understoodas a serious jazz interpretation of klezmer music, There are some78s that feature slow doina improvisations,but similar to a jazz renderingof, say, a Broadway show or movie 78s could only handlea few minutes per side, so what got re- score. In fact, jazz and klezmer music are quite sympatico. cordedwas limited by technical concerns,let alone commercial Obviously, both favor brassinstruments (at least since the age considerations.What I understandabout that older music (andI of recordings-old world klezmorim were often violin-centred). don't claim to be an expert) is that these slow movements(like Quite a few jazz musicians have commentedthat they found the alap in classicalIndian music) tendedto be found at the be- Jewishcantorial music understandableto them; Dizzy Gillespie ginning of a presentation-at its worst (in any musical genre), comesto mind. In fact, the swing era benefittedgreatly from the this meansa predictablebuildup of speedand intensity. Modern presenceof a number of musicianswho had been groundedin jazz players let the mood of the music determinepace-,-so Both klezmer music. The most famouswas Ziggy Elman, who had a Ends may begin low and slow and get higher and fasteras they major role in Benny Goodman'sorchestra. (Goodmanhimself go along, but they may also find that the music itself demands was, of course,also Jewish.) I used to have a really swell tape a break for somethinga bit less extroverted. Theseplayers are of the Winnipeg group Finjan performing a medley of Elman's intelligent without becomingunemotional. "And the Angels Sing" (I always liked that tune) and the Given that the disc appearsto have no label name(and no klezmer songon which Elman basedthat hit. addressis given for the label), this may be a one-off project. The membersof Both Ends include Marilyn Lerner, piano, Certainly, thesepeople do not want for a variety of projects to Rick Lazar, percussion,Sasha Boychouk, clarinet, and David be involved in. Still, I hope that they'll get togetheragain. Wall, vocal. Their training and previous experiencecome from -GWL places as diverse as the Leningrad Conservatory, Indiana * And somesuburban Jews, I might add: I rememberdescribing University, Tito Puente,and the Bare Naked Ladies. Don't be klezmer music before the Calgary appearanceof the Klezmorim surprisedif at one moment they evoke 60s pop (the setting of (ca. 1980) to one fellow who asked, "Well, tell me. What are "In Mayn Garten," with just piano and vocal, might have done we going to hear?" for CaroleKing, though I doubt that shewould have the power ~~~ If it aJII be said of any sDllgsby a CanadiaII singer-songwriterthat they ha~ bero"" pal1 of aur nt.nonalMrituge, that claim am benradejiJr the songs of WadeHemswonh. Philip!. 11wmasBullmn 25.3 (FaillAutomne 1991) 30...BULlE11N de musiquefolklorique canadienne34.4 (2(xx)}
Kathy Kidd and Kongo Mambo. Hajji. LOW-0045. Lowrider Records.318 -36 E. 14 Avenue, Vancouver,British ColumbiaV5T 4C9. Festival Distribution [addresson page 26]
I first encounteredVancouver pianist Kathy Kidd's work The most interesting idea here is the combinationof pipe abouta decadeago, when shewas offering primarily Latin-based organ and drums to honor the religious associationsof each. jazz. The album 1 heard was called Serious Fun, which 1 Who'd have thought it would work so well? The pipe organ in thought summedup nicely what she was all about. Perhapsit jazz goes back to the days of Fats Waller, but since Waller, wasn't deep (I normally considerjazz to be a classicalmusic), "organ" hasusually meant somesort of electronicgizmo (some- but it wasn't trivial, either. God knows we've got enoughtrivial times nice, sometimesrather grotesque), and th~ stately and fun around, thesedays. As the title of the presentdisk indicates, spiritual aspectsof the instrumenthave not really beenexplored. she's now included African and Arabic influencesin her work. My only reservationis that the tracks have clearly been elec- As with the Latin music she recordedpreviously, the folk and tronically played with (in fact, the organ was dubbedin later)- popular roots to all of this are inextricably mixed. (Given the the intermingling of organ and other instruments couldn't, I role of drumming in African courts, it is probably not out of suspect,be accomplishedwithout a masterboard.My next ques- line to considersome of this material to be classical, in fact.) tion-has Kidd and this (or any group) performed in a church? She's gathereda strong group of Canadian, Cuban, and I suspectthat this would be more than interesting-by playing African (Senegaland Cameroons)musicians, each of whom, the instrumentwith the other musicians,I suspectthat both Kidd she's happy to point out, is a band leader in his own right. and the others would have been better able to develop the or- Added to the mix for one cut is a Persianclassical singer, Mary- gan' s possibilities. am Toumrai; I'm not sure that this cameoappearance is really That said, I found the movementin "Organ Gloria" from the fair-basically she lays out (and later reiterates) the themes Bach-ishto the modal and back to Bach for the big finish to be which the band interprets.Perhaps at somefuture time Kidd and impressivelywell finessed, though I'm not sure that the under- Toumrai will haveplayed together enough that somemore exten- laying drummingis necessaryto the keyboarding.Still, whenthe sive and intenseinteraction can take place. pipe organ re-entersafter the horn fugue, the bombastis a bit The first cut, "DanceSteps," worried me. After somelively reminiscentof Hollywood-1 don't intend this as an insult. It drumming to open it, the piece was obviously a tribute to Col- was great, er, fun! trane (the title, of course, is a play on "Giant Steps"),and while Hajji doesn't really define any new jazz turf and will I was having fun (there's that word again), I wasn't sure that a probably not makeit into anyone'sessential jazz library. But I'm whole album of Tranecloneswas what I was looking for-there glad Kathy Kidd is doing this work and hope that shecontinues are peopleputting suchrecords out! In fact, Hajji offers a great to study and play. * -GWL deal of variety-though the invocation to Coltranewas perhaps * A sad postscript is necessary:a friend from BC phoned me a fitting opener; would thesesorts of musical mixes have been recentlyto say that Kidd died this fall of cancer.We are poorer possiblehad Coltrane not beenaround? for the loss.
Carlos del Junco. Big Boy: SomeRecycled Blues and Other SomewhatRelated Stuff. BRRCD-2. Big ReedRecords, 122 Pendrith Street, Toronto, Ontario M6G lR7
Be sure to read the subtitle to the disk. Like Howard Levy, tion as with anything else-and associationswere made to be harmonicavirtuoso del Junco* is committed to expandingthe rearranged,no? range of the cross harp ("crossed" becausethe diatonic instru- At any rate, my favorite cuts include a very sweet"Jitterbug ment is taken out of its specifiedkey). I'm not really familiar Waltz" (not bebop, of course!, though a credit is given to Levy with much of Levy's work, but this del Junco CD doesindicate for inspiration, as well as to the composer,Fats Waller), which that the harmonicacan expandinto some surprising turf. concludeswith an impressiveMozartish duet played by del Jun- Mind you, there's still someof what I find a fairly boring co and del Junco (and not overdubbed!).I'm also very fond of stereotypicallymacho approach to blues here-well played, yes, his lighthearted"Sister Kate," anothersong I wouldn't haveex- but do I really need another take on the devil and Robert pectedto enjoy from an electric bluesman,which featureshints Johnson?By the sametoken, I could live without the train songs of Hawaii as well as of St. Louis and Chicago-and has del (" Another Man Done Gone/OnDown the Track"). I supposethis Juncobeen listening to Ethel Waters, as well? sells rccords. Generally, however, in addition to del Junco's A project like this wouldn't work without sympatheticand hard-as-nailstone, the music is characterizedby variety and competentsidemen. (Remember how weird parts of the old But- humor, qualities not alwayspresent in the electric blues scene. terfield Band's "East/West"were? You could practicallytaste the For my money, the jazz-inflecteditems are the most satis- reluctanceon the part of Paul Butterfield and Elvin Bishop; they factory. I'm not entirely convincedthat the harmonica'stimbre were willing to go along with Mike Bloomfield's idea, but they and note arrangementwork well for bebop, but del Junco is didn't really know how and maybe didn't want to.) While I beginningto convinceme that in a broaderjazz context, the in- didn't notice a bad lick on the disk, I think particular kudosare strumentworks quite nicely. It's quite possiblethat my doubts due to guitarists Kevin Vienneau and Kevin Breit (who also about the instrumentfor bebophave as much to do with associa- plays a variety of other strings, notably mandolin and dobro)- CanadianFolk Music BUUE7JN 34.4 (2fXXJ) 31
were they not also interestedin exploring the boundariesof the I can seemyself not putting the disk on, simply to avoid the cut. music, it'd be a fairly boring one-manshow. I wish they hadn't done it~r had presenteda way to program But let me end with a grump. The idea of virtually nonstop it out. -GWL white noise at the end of "Lonely Buzz" was very funny; but * By the way, the title "Junko Partner" is not eponymous-the actually doing it was very stupid. In fact, it's in the middle of songpredates Carlos's entry into the bluesby severaldecades! the cut, but I'm gonna get up every time to hit the button, and
Amir Koushkani with Houman Pounnehdi. Quest. SonglinesSGL 2402-2. SonglinesRecordings, 1003 -2323 West 2111Avenue, Vancouver, British Columbia V6K 1J4
Amir Koushkaniwas born and trained in Iran, but haslived climaxesarrive by circuitous routesand are rarely, if ever, bois- in Vancouversince 1991.His favored instrument,the tar, is one terous. At least, that's how I hear this disc and the other bits of of the two common plucked stringed instrumentsof Iran.* The Iranian music that have come my way. tar may be imaginedas a crossbetween the banjo and the bou- Koushkani sings on someitems, which surprisedme, per- zouki or saz. Typically it has three sets of doubledstrings over hapsbecause I know classicalIndian music better than I do the an animal membrane& is played with a plectrum, emphasizing Persian,and in India, this is rare. However,as often the casein melody and rhythm over harmony. India, the music is intenselyreligious, and texts may be implied The notes indicate that Koushkani has drawn upon some even when they are not sung. Koushkani's songs feature Sufi other traditions for his personalmusic-Turkey, India, and Fla- texts, and his vocal style conveysnicely the acheof yearningfor mencoSpain are cited-and every so often a figure, such as the union with the divine. This CD would be the appropriatesound- chordsat the beginning of "Ceremony" (Track 3), hints at other track for an evening with your favorite edition of poems by influences, but whether this is in fact the casewould only be Rumi. certain to an expert or to Koushkani himself. Going to this disc PercussionistHouman Pourmehdiaccompanies Koushkani from, say, HarnzaEl Din's Nubian/Arabic fusion or the indige- on the large goblet drum tombakand the evenlarger tambourine nous music of just about any other Asian country offers a quick diif". He is solid and supportiveand fortunatelynever takes too (and probably accurate, if incomplete) senseof how Persian large a place in the proceedings. music differs from that of someof its neighbors. -GWL Given the ambivalenceof Islam towards music (somecall it *The instrument is pictured on the back inside cover of this hostility, and in someregions that term seemsappropriate), it's issue.The photosare of a Calgaryhock shopwindow during the not surprisingthat Iranian improvisationsare fairly introspective spring of 1990. Its mere presence(correctly labelled, if over- and lack the bravura associatedwith many similar traditions. It priced) in Cowtown demonstrateshow deeply modem nations would not be true to suggestthat the music never climaxes,but havebecome quietly intertwined. We'd better get used to it!
The Paperboys.Late As Usual. Stompy Discs CDOOI. Tom Landa, 158 - 1896 W. Broadway, Vancouver,British Columbia V6J 1Y9; < www.musicwest.com/paperboys> -. Mo1inos. Tom Landa (as above); Stony Plain Recording Co., PO Box 861, Edmonton, Alberta T5J 2L8;
Late As Usual: H this news is a little "late as usual," it's Late As Usual, and continuesto showcasethe writing talentsof becauseI've beenenjoying this offering deliveredby The Paper- Tom and others. The original songsare interspersedwith new boys. The vocals by Tom Landa, who writes most of the songs, and traditional tunesand, although the arrangementssometimes are clear and well delivered. The lyrics are sensitiveand suit the stray away from a "Celtic" feel, it doesn'ttake long before they mood of the songs.At times the soundis somewhatfamiliar, but are back on track and closer to their roots. just when you think a screamingelectric guitar might appear This CD finds the sound getting closer to the excitement over the drum backing, in comesthe fiddle, or any other of the createdduring a live performance,as witnessedthis summerat myriad of instrumentscredited to the membersof the band. The the Canmore Folk Festival, when many people were up and arrangementsof the instrumentalsprovide nice tempo changes; dancing, much to the consternationof the security personnel. someare familiar, but someare new, and one has the combina- The lyrics are included for most songs,and againthe topics are tion of fiddle, Celtic harp and banjo, amongother instruments. as varied as the writers-from membersof the group to the At times the music recreatesthe frenetic energy the group Beatles. shows on stage, at times it becomesmore gentle and mellow. The evolution of The Paperboyshas just begun-it will be Although the lyrics are not included with the CD, an offer is interestingto seewhere the next recordingtakes them. madeto sendthem if requested. -Dave Foster Molinos: This Juno award winner ,is more up-tempothan Calgary, Alberta
~~~ 1 ha~ alwaysft1U1Id It irollic dIat /lie ben-blOwn and most widely "corded sollg about /lie 1958 SprillghiU disuslrr is /lie Dilly OM ~ Composedby a CaNldiaII. ~ V Rn.elliJeroB8l1etill25.1 (SDriII.11eD~S 1991)
~ 32... BULlEllN de musiquefolklorique canadienne34.4 (2()(x)}
Fred Redden.The Wind That Shakesthe Com. EAPOO7The Fred ReddenSociety for Traditional Music, 1999. Helen Creighton Folklore Society, PO Box 236, Dartmouth, Nova Scotia, B2Y 3Y3 Dorman Ralph. Donnan Ralph. SS 9908-04 TidemarkMusic, 1999. SingsongInc., PO Box 6371, St. John's, NewfoundlandAIC 6J9
These are two excellent CDs that no lover of traditional the Briny Beach," "Pretty Polly," "CharmingBlue-Eyed Mary," musicfrom the Atlantic provinceswill want to be without. Both "Fair Flowers of Holly-O," "The Girl in Charlottetown," "Pat discs are intendedas memorials: Fred Redden,from Nova Sco- O'Brien" and "WelcomeHome My Sailor." Severalof theseare tia, died in 1991, and Dorman Ralph, from Newfoundland,in murder ballads, and the stand-outsare "Pretty P~lly" (with its 1999. The Wind That Shakesthe Com is a collection of 25 a vengeful ghost) and "Fair Flowers of Holly-O," a variant of cappellaitems recordedby JamesMoreira, Kathryn Belzer and "The Cruel Mother" that is related to the version collected by others during the last five years of Redden'slife, mainly in Maud Karpelesin Newfoundlandin 1929-30.Of the other ma- domestic settings or at the Lunenburg folk festival. Dorman terial on the disc, I particularly enjoyed "The Ice Cream Sale," Ralph is a selection of 19 songs and instrumentalsfrom re- an original song about a local dance,set to the shantymelody, cordingsmade in 1986by PeterNarvaez for the Memorial Uni- "Rio Grande." versity of NewfoundlandFolklore Archives. Each CD includes Before I put the Reddendisc in my CD player, I wondered a useful booklet. Redden's has perceptive and informative how listenable 68 minutes of unaccompaniedsinging would commentson the songs by Moreira, and an extensive bibli- prove to be. I needn't have worried. The songsare varied and ography, but unfortunately no lyrics and little biographical interesting, Reddenarticulates clearly, and, at his best, he was information about the singer. Ralph's comprisesa biographical obviously an exceptionalsinger. His style was not manneredor sketch with excerptsfrom an interview with the performer by overly decorative,nor were his performancesintensely dramatic Narvaez, plus brief notes on the songs and a shorter bibliog- or emotional, but he still brought the songsto life in a way that raphy, but, again, no lyrics. held my attention to the end. Thereare so manyfine ballad per- Thesecollections are especiallyinteresting from a historical formanceson this disc that it is difficult to know which to point of view, sincethey provide preciousexamples of how tra- highlight. Redden's Irish ballads include "Banks of Boyne," ditional folksongs of the kind collected by Roy Mackenzie, "The Flower of SweetStrabane," "Mantle of Green," "County Helen Creighton, Maud Karpelesand KennethPeacock actually Tyrone," "The Dawning of the Day" and "NoreenHawn," and soundedin performance.Redden and Ralph were both carriers there are a couple of Scottishones, "Mally Leigh" and "High- of oral tradition, having learned their oldest songsfrom their land Soldier." Although they are a mixture of broadsides,older parents or other relatives. Ralph, who was blind from early songs from oral tradition and more sentimental19th-Century childhood, grew up in the White Bay region of Newfoundland's compositions,these ballads all havebeautiful melodies and lyrics Northern Peninsulabut lived in St. John's from 1956onwards. that are often sheerpoetry. I also enjoyedRedden's comic songs Reddenearned his livelihood as a miner, first in Caribou, Nova from Irish tradition, "Nell Flaherty's Drake," "Courtin' in the Scotia,and later in Ontario, before returning to Nova Scotiafor Kitchen," "Handier Ninety" and "Doran's Ass," and men-tion the latter part of his life. While someof his songswere learned shouldbe madeof severalinteresting historical songson the CD, in Ontario, most of them date from his youth in the Maritimes. suchas "Moreton Bay," aboutan Australianpenal settIe-ment in Like Ralph's, but perhapsmore surprisingly, Redden'srepertoire the 1820s,two American Civil War songs,"The Cum-berland's drew heavily on Anglo-Irish tradition, and narrative ballads Crew" and "Erin So Far Away," and a coupleof mining songs, compriseda good proportion of his material. Scottishinfluences "Days of Forty-Nine" (a variant of the better- known version were more minor, and, judging from this selection,Redden also collected by Frank and Anne Warner) and "The Cobalt Song" knew a numberof songsand balladsof Americanand Australian (which Reddenlearned in Timmins, Ontario). But myfavourite ongtn. song on the CD is the title cut, "The Wind That Shakesthe Both Reddenand Ralph were fine singers.Although elderly Com," a song about the United Irish Rebellion of 1798 that when recorded,they still possessedgood voicesand they had no employs the tune better known nowadays as "Tramps and trouble in rememberingtunes. For me, the narrativeballads are Hawkers." Fred Reddenwas a truly greattraditional singer, and the glory of thesecollections. Ralph's disc seemsat first listen The Wind That Shakesthe Com is a gem. Don't miss it! But the more varied of the two: it includes five accordion instru- pick up a copy of Dorman Ralph too. mentalsand a few humoroussongs that he composedhimself. -David Gregory But the mostappealing items are still the ballads: "SusanStrayed Athabasca,Alberta
SheepRiver, Rounders. Four Rode By. SRR 001. Box 674, Turner Valley, Alberta, TOL 2AO;
This is a four-man band, so you could be forgiven for through the notes (or listen), you'll notice what looks like a thinking the memberstitled the recording after themselves.You variety of styles of music from a variety of writers: there's would probably be wrong, though, for the openingsong on the country-folk, contemporary country, bluegrass, an old-time collection is the song "Four Rode By" by Ian Tyson. As you go waltz, country swing and severalinstrumentals. Do theseguys CanadianFolk Music BUUEl1N 34.4l{,2(XKJJ-:::33 -
~ not know what they want to do with music?They certainly do, Watsonand many otben;.JOflDCronin doesthe fingerstyle pick- and they're doing it. Three of the bandsmenhave been members ing-~-twO--of~wn compositions:"Travis 'T'" is a tribute to ~ r~ of a Tysonband at one time or another,and beginning-musIcIans Merle Travis, "who showedeverybody how to fingerpick the do not get to do that. guitar," and" Ania's Dream of Baja" is a wonderfully melodic You shouldenter your listening experiencewith this CD by pieceJohn wrote for his wife. thinking of the Sheep River Rounders as an acoustic band. The vocals are generally good throughout, with the har- They're not a bluegrassband, nor a country band, they are an moniesblended just the way they should be. Quite the rangeof acoustic band which gathers its music from the influences of writers here: Hank Williams ("There'll Be No Teardrops eachof the band members.It's of greatcredit to eachof the mu- Tonight"), Hal Ketchum ("SomeplaceFar Away~), ex-Turner siciansin the group that they eachwillingly lead and eachsup- Valley residentNathan Tinkham ("Tired of Having You Gone"), port. SteveFisher doesmost of the lead vocals, plays flatpicked Gordon Lightfoot ("Steel Rail Blues"), ~nd the writing teamof and fingerpickedguitar, and comesfrom bluegrass;John Cronin Gillian Welch and David Rawlings("One More Dollar," one of is next in the lead vocal category, plays dobro as well as flat- the "new songs which sound like old ones"). Calgary writer/ and fingerpickedguitar, likes instrumentalsand melodiccountry; performer Steve Pineo provided "Get Back On That Horse," Richard Gullison is the lead singer for one songhere, and plays "Don't Neglect the Rose" was learned from a Larry Sparks electric bass,seems to like everything; Myran Szott is the old- recording, and NathanTinkham introduced the band to "Mama time waltz guy as fiddler, mandolinist and harmony singer. ComeGet Your Baby Boy," from an old Eddy Arnold record- Of specialinterest to me were three of the instrumentals,as ing. An old-time danceevening in Alberta will generallycon- I don't usually expect to find outstandingones on mostly-vocal cludewith a waltz, and the performanceon this recordingwraps albums. They illustrated that the band may be new but the indi- up with the "Agnes Waltz" led by Myran Szott. vidual membersare not new to music. SteveFisher picks leadon -Laurie Mills "Windy and Warm," a great John D. Loudermilk composition Calgary, Alberta from the 1960s,which has been recordedby Chet Atkins, Doc
Tammy Fassaert.Comer Of My Eye. TCP 202. PO Box 3473, Courtenay,British Columbia V9N 5N5; < www.isiand.net!- tammyfas>; Festival Distribution [addresson page26]
It has been a while since we last heard from Tammy Fas- tune, and there are several more scatteredthroughout the 12 saert via a recording. Her previous release, Just Passin' cuts. Eachof these'grassy songs contains a banjo, so thosewho Through, hit the acousticmusic world in 1994,but that doesn't feel you can't havebluegrass without the bluegrassbanjo will be meanshe has been forgotten! She has kept up her touring over delighted.An EastCoast feel comesfrom accordionand Maestro the past few years, so has never been very far from fans who Reischmanswitching from mandolinto mandolaon the title cut. wantedto hear her. Most of her musical life has been spenton Imported from Alberta's JerusalemRidge, Byron Myhre leads or along the West Coast.After stints with The Good 01' Persons off Cut 3, playing twin fiddles on a country waltz entitled and Laurie Lewis/Grant Street in California, Tammy migrated "Proud Ponderosa,"just one of four Tammy Fassaertoriginals northward to British Columbia, and has settled on Vancouver here. Another West Coast original comesfrom harmony vocal Island. Someof the finest acoustic musiciansin Canadahave suppliersMichele and John Law; they recordedthe song "Trail also settledin BC, so it should never be difficult to find a pro of Diamonds"on their own release,Estimated Time of Revival, to play an instrument on a recording or tour. and join Tammy on this recording to provide vocal harmony. For the new recording, Comer Of My Eye, Tammy landed The one songwith drums, non-intruding, played by Chris Nord- John Reischmanas producer, and he brought his mandolin and quist, is a gently rolling country bluesy piece called "Buddy's a mandolaalong. Guitars are played by Tammy, Chris Stevens Back," and a traditional country song from Wayne Raney is of Tumbleweedand Nathan Tinkham. Resonatorguitar on sev- "Gonna Row My Boat." Another in a similar category is eral cuts is by Sally Van Meter, formerly of The Good 01' Per- "Moods Of A Fool," a 1982song written and recordedby Bill sons.Jordy Sharp, who used to play banjo with Ontario's Blue Grant & Delia Bell. Mule but now lives on Saltspring Island, appearson several Many peoplehave been patiently waiting for Tammy to get cuts. Tammy sharesacoustic bass duties with Paul Bergman, backin a studio; shehas done that, and the result is a collection well known in BC and a memberof the Vancouvergroup Slow- which was certainly worth the wait. Shecould haveheaded south drag. Doug Schmidt plays accordion on one cut. And then we of the border to record the entire project with a batch of US get to the harmony vocals-all of them are quite marvelous! friends who are pickers, but chosenot to. I give her manypoints Those voices belong to John and Michele Law, David Mosher for the recording and the peopleshe used on it, most of whom and KoraleeTonack. are fellow BC residents.If you appreciateacoustic music done If you've beenwaiting for anotherbluegrass recording from in a variety of styles which fit together, Tammy Fassaert's Tammy Fassaert,this isn't it. The CD kicks off with a bluegrass Comer Of My Eye is definitely one of those. -LAurie Mills
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BarryLl!fr 811"_16.4 (OctobrrlOctober1982)