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Volume 3 Number 6 November-December 2003

THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER FOLK COMMUNITY VIVA“Don’t you knowCONJUNTO that Folk is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers FLACO JIMENEZ ROCKIN’ THE SKIRBALL

BY BETTO ARCOS

laco Jimenez knows where ings, of your roots, where you come from. he comes from and he’s My point is ‘life is life’ and everybody’s proud to say it: “I’m just got a heart that feels, and there’s good ones an player from and bad ones. We all struggle to survive. the West side of town.” But still, if I’m a poor , I’m a mil- The West side of town is a lionaire in music, but not with money. The F working class area in San heart is the one that’s rich.” Antonio. For a long time, this neigh- Flaco Jimenez has a particular way of borhood carried a stigma and a bad explaining what it is that makes music so reputation, but for Flaco, and many of important in life. Every musician has their the best Tejano , the West own style, their own feeling the way they side is where much of the music we play music, he says. But, “sometimes there now know as Tex-Mex, Conjunto or are musicians that are just mechanical, Tejano was born. they don’t have the ‘crying expression’ of Leonardo “Flaco” Jimenez was born explaining the music, but still they’re good into a legendary musical family. His and they think their own way so I respect father, Santiago Jimenez is considered them anyway. But I think that crying is a one of the pioneers and founders of relief and it’s a therapy. And music has to . He started recording his do a lot to really let it all out.” first back in 1935-36. When Flaco Jimenez performs at the Skirball Flaco was a kid he would go watch his Cultural Center, Sunday, November 23. Dad play. “He used to take me to the For ticket information call 310-440-4500 house dances, the fiestas. I loved the or visit www.skirball.org. sound of the accordion and the music. I thought it classics Flaco’s First, Ay te Dejo en San Antonio, was something that belonged to me.” Un Mojado sin Licencia and Flaco’s Amigos. Betto Arcos is an independent music promoter in Flaco was only seven years old when he - Flaco’s life and career changed when he met Los Angeles. He is a former KPFK music director ed playing accordion. When he was around 14 a visionary musician who wanted to bring togeth- who conceived and created the daily years old he started listening to , er different traditions. It was in the early 1970’s program “Global Village.” , and German . Then he when Flaco met during the shooting started mixing it up with his own style of playing. of ’s documentary Chulas Fronteras. He recorded his first in 1954. He’s Flaco remembers this encounter vividly: “Ry was recorded hundreds of songs and dozens of in San Antonio and he invited me to record on his . “I don’t really know how many. I wish I album Chicken Skin Music. That’s the first one IN THIS ISSUE knew but I can’t remember. I recorded a lot of we did together. From then on, we did Showtime, EDITORIAL ...... 2 78s, back when the 78s were still going. Then of we toured, and we went overseas. UNDER THE OLIVE TREE: course there were 45s, then cassettes, and now So it’s been quite a long journey in music. But SACRED MUSIC OF THE ...... 3 CDs. But I’ve been recording ever since, with it’s been a great experience. I’m really satisfied. Interview with Yuval Ron different artists and different styles of music. So He comes up with some good stuff. He’s a real HELP WANTED...... 4 KEYS TO THE HIGHWAY...... 4 whatever comes my way, to do my best and creator of music.” Around the Bend: Cross-Harp and Beyond blend in.” He recalls the time when his first hit Flaco is very appreciative of this friendship A GATHERING OF STORYTELLERS ...... 5 came out. “Back in the 1950’s, I did one instru- that continues to this day. Listen to Ibrahim THE VOICES IN MY HEAD ...... 5 mental called Hasta la Vista and it became very Ferrer’s most recent album Buenos Hermanos Story Magic TIED TO THE TRACKS ...... 6 popular, it was the one that broke the ice for me and catch Flaco playing accordion on a couple CD Reviews by Larry Wines in San Antonio. If I sold about 1,000 records it songs. “Thanks to Ry Cooder who was the one SCANDINAVIAN FOLKDANCE was like gold for a Tejano artist.” who introduced me to do not just the Tejano or AND MUSIC TRADITIONS ...... 7 A View Through a Pinhole It was not always easy to make a living play- Tex-Mex sound, I’ve played all my life in my DAVE’S CORNER...... 8 ing the ubiquitous squeeze box. career, but to put my accordion and blend it with WORLD ENCOUNTERS ...... 9 Flaco himself had to deal with the stigma of different styles of music. That’s why I’m proud CD Reviews by Viola Galloway playing the instrument. “It’s difficult to make a to be versatile in different types of music.” This ON-GOING STORYTELLING EVENTS ...... 9 REED’S RAMBLINGS ...... 10 name just playing the accordion, because back versatility has been useful in the recordings he’s A Musical Community - International Seminars then when I started, the accordion was consid- done with , and A BRIEF LOOK AT THE HISTORY ered like a party joke. It was not respected at all. , just to name a few. “We did a num- OF CUBAN SON ...... 11 Now it’s a different story, because now the ber one hit with Dwight Yoakam, The Streets of 1970’S ICON REVISITED ...... 12 Alicia Bay Laurel -- Living On The Earth accordion can go from a to heavy rock- Bakersfield. With I did MUSIC AND MOVEMENT ...... 12 ’n’roll.” Times have changed and the way peo- Voodoo Lounge. There are so many projects I’ve A Has A Neck and So Do You! — Part One ple perceive the accordion has changed dramati- been on, I can’t even remember. But I always ON-GOING MUSIC HAPPENINGS...... 13 cally. Flaco is certainly optimistic. “There are a give thanks to the guys that help me out.” CALENDAR OF EVENTS ...... 14-15 lot of players now, and young ones that handle One of his favorite collaborations is the ON-GOING DANCE HAPPENINGS...... 16 INTERVIEW...... 17 the accordion real well. And it gives me a good recording Partners. He likes it for its versatility. A Conversation with Bess Lomax Hawes feeling of watching those kids learn how to play Yet for him, it’s just a recording. “But it’s just a THAT REMINDS ME ...... 18 it.” CD, it’s ‘one’ of the recordings. I love perform- My Father & the Rattlesnakes UNCLE RUTHIE ...... 20 Flaco has covered a lot of territory in his ing live. I love to meet new friends, and have a If You Love Me recording career. Over the course of the last four good time with my fellow musicians and make a CD REVIEWS ...... 22 decades he’s recorded a wide range of music: big fiesta out of it.” PHOTO COLLAGE YEAR IN REVIEW...... 23 cumbias, rancheras, polkas, redovas, waltzes, There is something to be said about the HOW CAN I KEEP FROM TALKING ...... 25 danzones, boleros, huapangos, and corridos, not “Tejano feeling.” Just listen to a few boleros or Folk Singer and Suspected Terrorist to mention his recordings of country music and rancheras played by Flaco on the accordion. ZOOKMAN ...... 26 FOLKWORKS PICKS...... 27 rock and roll. Some of his early recordings are Flaco describes it as a normal human expression. SPECIAL EVENTS ...... 28 available on , including the “Everybody’s got their own way of having feel- Page 2 FolkWorks November-December 2003

EDITORIAL

ell, we have made and follow the directions to join. PUBLISHERS & EDITORS it through the third Did you know that Leda & Steve Shapiro W LAYOUT & PRODUCTION year of FolkWorks FolkWorks is a non-profit Alan Stone Creative Services …yup, the last issue of Volume 501(c)(3) organization? Our mis- FEATURE WRITERS 3 is done (you are reading it!), sion is to promote the Ross Altman we have scheduled the last con- Folk/Traditional Music, Dance, How Can I Keep From Talking cert of the year (Old Mother Storytelling and other related Uncle Ruthie Buell Logo Reunion, December 6th) Folk Arts. This is done through Halfway Down the Stairs and we are planning our annual publication of our bi-monthly Joanna Cazden dance weekend (Leap Frog newspaper, live , a week- The Voices in my Head 2004). As we look back at the end dance festival and other Valerie Cooley, That Reminds Me... early issues of the newspaper, events to increase public aware- Viola Galloway, World Encounters we realize how far we have ness of the diverse cultural events Gus Garelick, Interviews come - from the mere size of the in the greater Los Angeles area. Roger Goodman Keys to the Highway paper (originally 16 pages) to As we develop the organization Dennis Roger Reed the quality of the articles. Some and more people get involved, Reed’s Ramblings

of this is has come from our BYPHOTO SONYA SONES we will have the necessary Dave Soyars, Dave’s Corner ramp up the “learning curve,” BY LEDA & STEVE SHAPIRO resources to take on more proj- Mike Tackett, Zookman but a great deal more has come ects - produce more concerts, a Larry Wines, Tied to the Tracks from the inspiration and ideas of our readers. This is larger dance (or music) festival, etc. All it takes is EDITORS what motivates us to continue and bring you the best, interest and involvement of enough energetic people David Ascher ¥ Marie Bruno Valerie Cooley ¥ Mary Pat Cooney most interesting reading we can find. to make it happen. FolkWorks is the vehicle; you are Chuck Galt ¥ Stan Kohls Our goal is support the growth of the the driver. Again, use the Group to discuss this idea Marcia Michael ¥ Britt Nicole-Peterson Folk/Traditional community - to let people know what and/or others you may have. Diane Sherman ¥ Joel Shimberg is happening around town, to help things happen, and As you all know, the downturn in the economy CONTRIBUTING WRITERS sometimes to make things happen. affects everyone, especially non-profit organizations. Brooke Alberts ¥ Betto Arcos With this in mind, we have started an online We realize that not everyone is financially able to con- Enrico Del Zotto ¥ Faun Finley Chris Gruber (Yahoo) Group or message board. We are impressed tribute to FolkWorks. However, in order to continue to Pat MacSwyney with the initial signup and hope that it will continue to produce the newspaper and support the other activities Tom “Tearaway” Schulte grow and be a useful tool for passing information and of FolkWorks, we need your financial support. To that Jerry Weinert for the FolkWorks staff to find out more about you. end, we have changed our memberships levels and DISTRIBUTION We hope this will be a forum for you to express your encourage you to look at page 21 and become a mem- Valerie Cooley ¥ Mary Dolinskis opinions. While we get a lot of personal one-on-one ber at the highest level that you can afford. Many folks Chuck Galt ¥ Marge Gajicki Cliff Gilpatric ¥ Scot Hickey feedback at concerts and other meeting places, the have told us that you like reading the paper, that you Sue Hunter ¥ Dennis Louie Group will give us an opportunity to get more specif- plan your weekends by the FolkWorks calendar and Nan McKinley ¥ Gretchen Naticchia ic feedback and make it easier for you to make your that you enjoy the concerts that we present. We are Matt Reese ¥ Bea Romano opinions known. asking you to help us out. Become a FolkWorks Folk Daria Simolke ¥ Stan Smith The Group is to great way for us to let you know and support us financially. The holiday season is Lynn Worrilow ¥ John Wygonski what (late breaking) events are coming up so you almost here so while you are considering what gifts to LOGO DESIGN Tim Steinmeier can plan your weekend. You can also use it to meet give, think of giving a membership to FolkWorks. If up with like-minded folks who might want to car- you become a member (Friend or higher) before Thanks to all those who have supported and th inspired us, especially Warren Casey of the pool or have dinner beforehand. FolkWorks needs November 5 , you will receive an invitation to the Wicked Tinkers. help with this project, so get online and let us FolkWorks party celebrating our third anniversary, an Published bi-monthly by FolkWorks a 501 know. To join this Group, get on the web and go to: event not to be missed. 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INTERVIEW UNDER THE OLIVE TREE: SACRED MUSIC OF THE MIDDLE EAST

BY FAUN FINLEY Yuval Ron is a , , there, I could turn on the radio teacher and professional musician. In the context and listen to on of traditional music, he has worked with myriad one station, and then turn the master musicians, including Omar Faruk Tekbilek dial and hear Jimmy Hendrix, and Yair Dalal. His most recent CD is Under the and hear , and then hear Olive Tree: Sacred Music of the Middle East, with really good , the Yuval Ron Ensemble. The Ensemble is “dedi- either from or from cated to fostering an understanding of Middle or from Jordan or Eastern cultures and religion.” from . met with Yuval at his home studio where, If I were to go to with a genuine politeness, he offered me to visit, just walking in the newly brewed mint tea. He poured the streets of the old city, you have chartreuse liquid from a golden yellow a church on the one corner and pot, reminding me of the magical elixirs I then right next to it there is a I had read about in Jack Vance science fan- mosque, and right next to that tasy novels. Sweet-smelling incense bil- there is a synagogue….You lowed like misty breath against white walls, and a hear the sounds of the lan- sacred calm resonated as purely and deeply as guage, different languages, sympathetic strings. which, for me, is like music My first encounter with Yuval Ron was a when I listen to language. You serendipitous one. I had just begun a new position hear the prayers echoing from church and the cal guitar with me. I always traveled with my as Activities Director for a retirement community mosque, and the synagogues. I had that expo- classical guitar, and I would sit around the fires whose residents were hungry for culture, and seri- sure since I was really young, and growing up with the Bedouins and play along with them ously stir crazy. As soon as I walked in the door, as a teenager. I think really affected my direc- and learn from them. They would play an . they wanted to know when they were getting out tion without me really knowing and being I always thought that it’s kind of clever what the door. They hadn’t been offsite in months, aware of it at all. I’m doing on the guitar. I’m imitating the oud which formed my mission: deliver them some- FF: How long have you been in the ? on the guitar and maybe I’m creating a new where spectacular - the sooner the better. What brought you here? sound for the guitar by tuning it lower like the As if divinity had graced my email box, there oud. I was really into that, creating technique YR: I’ve been here for 19 years. I came in ’85 on the guitar that is not a guitarist’s technique. was a message about a designed to culti- to to study jazz and film music. When I vate understanding of Middle Eastern cultures as a I thought that would bring a new color to the was a teenager I had a jazz and I studied . path to peace. It was March, a time when war with jazz…I knew that I’d be going to Berklee Iraq was still a question being contemplated by the College of Music because it was the best well- FF: …by shaving off all the frets? people, rather than a decision made by the gov- known jazz school in the world. My teacher at YV: Yeah, I was thinking about taking all the ernment. The program, “Mystical Music of the the time studied in Berklee. I wanted to follow frets and to play fretless classical guitar, which Middle East,” featured traditional instruments his path, and he was the best jazz musician few people do, but I played with the Bedouin such as oud, saz, and zarna. Dancers were also an around in Israel. with a [fretted] classical guitar. Then I got my important ingredient of the show. Joy rose in my first oud in the desert. I bought it from a heart; I knew this was it – this was “somewhere FF: You were a jazz musician! What was your instrument? Bedouin. It was unusually hard to get them and spectacular.” finally I found one. I started playing the oud Yuval, of course, had no idea that my reputa- YR: Guitar - I was a guitarist since I was maybe once a year, maybe twice a year, like in tion was on his shoulders, yet he and his pro- twelve. a party or when somebody wanted to see some foundly talented Ensemble delivered. The resi- FF: So, it is actually a departure for you to do tra- novelty, something different. I would pick up dents sat quietly captivated for more than straight ditional music? the oud and just play it; I really didn’t practice two hours, and burst into enthusiastic and unbri- YR: It is a departure…though I arrange it in it. Then I thought maybe I’ll concentrate on the dled compliments at its conclusion, which did not an untraditional way in the sense that I mixed oud…and I started playing the oud everyday. abate for the entire week. The show transported different traditions - the Jewish tradition, the FF: How long did it take to get good enough for my spirit as well. Into a place of melodic abun- Arabic tradition, or the Christian Armenian dance and beat-filled bliss, I went, far from the Omar Faruk Tekbilek to invite you to play with tradition, and I do a medley that the tradition- him? world of worry, striving, and perfecting. In the al people would never do. They will never put throes of delight, I was both graciously YR: It took me a couple of years. But, you one next to another in the same song. But know, it’s really different than starting from grounded and ecstatically set free. everything else is in its traditional form. There would be more intersections with Yuval. scratch. The Mystical Music of the Middle East concert FF: When you first embarked on your journey into FF: Right, because of the guitar. went beyond music into . jazz, did you see yourself as more of a composer or a performer? YR: Yeah. And I have a lot of guitar to thank; Yuval’s introductions of each piece dove into its I used to be pretty good jazz player back when origins, some known, some theorized, as well as YR: My first interest in music was in perform- I was in Berklee. A lot of the left hand finger- the connections, both culturally and spiritually, ing. I was not aware of composition and that ings and hammering really helped me on the among Jewish, Sufi and Christian Armenian tradi- possibility….Then when I was 19, I started oud. I have students for the oud, a few that tions. I felt this concert could unite souls beyond writing for theater just by mistake, just by played guitar before, and a few students that any political proclivity. I promised to tell every bumping into theater people and befriending never played an instrument before. It’s years of single person I came into contact with about the them. They got me into all this adventure and difference between the two. music and the message, and I invited him to my working on Samuel Beckett, Yates, and FF: When did you first start working with Omar retirement community to speak. Now I extend that Shakespeare, and original plays. I started writ- Faruk Tekbilek? promise to the folk community at large, and ing music for those plays and playing. I felt this acquaint you with this angel of music behind the power that there is in music when I write YR: I’ve worked with him as a composer and a oud. music, when I compose original music. When I producer since 1998. I hired him to play film FF: I know you were born in Israel, but I’m curi- came to Boston to study in the jazz school, I music that I composed. That’s how I met him. ous as to where you grew up, and in what ways changed my direction from being a jazz musi- He came to the studio to play my music. And your environment played an influence on you cian to study composition and film scoring. then we did two films that I composed and he becoming musical. FF: How did you start with the oud? played. And then he asked me to produce his record One Truth. YR: I grew up in New Tel Aviv, a suburb of Tel YR: I’ve been traveling to the desert again over Aviv. Israel is an intersection of the West and the last 20 years….In the summers, I would go the East. It’s always been like that. Growing up to the Sinai Desert and I would take my classi- YUVAL RON page 23 Page 4 FolkWorks November-December 2003 Around the Bend: Cross-Harp and Beyond

BY ROGER GOODMAN

OUR OLD FRIEND – THE CIRCLE OF FIFTHS THE PHYSICS INVOLVED OR, GEE, MR. In the last issue (www.folkworks.org) we saw how the SCIENCE, HOW DOES THAT WORK? – Circle-of-Fifths can help us select the correct key and the Once you get the hang of bending notes, you may find right for playing the . Remember that yourself wondering why you can’t bend all of them. As it blues-harp is also called cross-harp or 2nd position. turns out, the ability to bend a note on the harp is Calling it 2nd position implies that there are more “posi- dependent upon there being second reed in the same tions” on the harmonica and, indeed, there are. To find hole. This other, lower, reed is what “enables” the orig- them, we once again turn to our old friend, the Circle-of- inal, higher reed to be bent. The amount of bend avail- Fifths, to assist us because harmonica positions progress able is dependent upon the pitch differential between the by fifths. Here’s how it works: if you are playing in 2nd two reeds. The higher note can be bent down to approach position on a C harp, you are in G—a 5th up from C. If you the pitch of the lower reed. go up from there to 3rd position, you wind up in D—a 5th Figure 2 (you’ve seen it before) shows that the pitch up from G. In this way, you can find all positions and their BY space between the two reeds in holes 1, 2 and 3 gets succes- keys. However, some positions are more useful for certain ROGER sively greater, hence the draw note on each successive hole is types of music or are less awkward than others. Few players go GOODMAN more and more bendable. Bent draw notes on the first four holes beyond 5th position; in fact, most use only 1st, 2nd and 4th. are the most useful for blues. Notice that hole 5 does not show a Figure 1 lists the first five positions. Take a look: you know that 1st bend note. That’s because there is only a half step between the pitches of the position is “normal” or straight-harp. Playing in 2nd position is good for two reeds. You can get a little bit of bend out of the 5-draw hole but you blues and country and gives you access to some nicely placed “bend-able” shouldn’t try too hard since the interplay of the two reeds is so close that you notes. 4th position has not been previously discussed. It puts you in the rel- can actually ruin your harmonica. In general if you bend a reed too far and ative minor to the key of the harmonica. For instance, on a C-major har- too hard you can knock it out of pitch to the point that it just stays flat. monica this places you in the key of A-minor. Get a harp in any major key and, starting on hole 6-draw, try to pick out the melody for “Greensleeves” (“What Child is This?”). Can you hear that you are now playing in a minor key on your major key harp? Pretty cool, huh?

Figure 2 – Bend-able Notes on the Harmonica Figure 1 – Some of the Other Positions on the Harmonica THE WINDS OF CHANGE The harmonica has not changed much since its invention in the 19th cen- BENDING NOTES – HOW DO THEY DO THAT? tury. In the 1910’s the slide chromatic harmonica came into use. Since then, Now, back to the seeming magic of “bending” notes. Why is it that we there has been little evolution to give the player more control—but that is want to bend notes on the harmonica? There are two reasons. First, as dis- about to change. There is a new breed of harmonica players who are also cussed in the previous column, there are those nasty missing notes that can harmonica “innovators.” The two most notable are and Rick only be “found” by bending the appropriate existing notes. The second, and Epping. Brendan Power retunes the reeds on his to give him probably more compelling, reason is the “wailing” sound effect. This ooh- altered scales. Rick Epping recently developed a new type of harmonica, the wah ooh-wee effect can be inflected to make the music very expressive and Hohner XB-40 (eXtended Bend, 40 reed). The XB-40 allows the player to adds significantly to the “soulful” quality of the blues on the harmonica. bend every note! A second reed has been added to each note (40 reeds Trying to explain the how-to part of note bending is not unlike trying to instead of 20) that is not played but “enables” the first reed to bend. He arbi- tell someone how to whistle. Most people that bend notes (or whistle) do it by trarily decided to allow for a bend of one whole-step on every hole with an feel and don’t know how they actually make the sound. If someone tries to additional half step on hole 3-draw to avoid a missing note in the chromat- teach it to you they will likely guess at the mechanics of the process. But, like ic scale. I was fortunate to have seen and heard Rick play this new harmon- whistling, until it “just happens”—that is, you produce a bent note or a whis- ica. The enhanced control and expression promises to propel the next wave tle, all the mechanics don’t seem to mean very much. So I will tell you what of harmonica players beyond anything now possible. When it is available it I can and then you just have to do it over and over until it “just happens.” should sell for about $70 and be offered in C, G and one other as yet unspec- Start playing hole 4-draw. Now think “Wee-Ooh-Wee” as you play ified key. In addition to Brendan Power and Rick Epping there are other “Normal-Bent-Normal.” When I do this I can feel my tongue move up and amazing contemporary players worth listening to: Dave McKelvy & the forward in my mouth. You can get the same tongue position feeling by Dave McKelvy Trio sometimes billed as the Ace of Harps, Mark Graham, whistling a low note, then a high note and back to a low note again. Try it. Dave Rice and George Thacker. The brave new world of the harmonica is You should feel your tongue position change. Rick Epping, the resident just about to begin so you should look for it, listen for it and, as usual, stay genius at Hohner Harmonica, tells me that this process actually involves not tuned... only the tongue and mouth, but also the entire resonant cavity including the throat, chest and the diaphragm. HELP WANTED

NEWSPAPER ARTICLE FACILITATOR This exceptional person will research topic areas that our readers will find interesting. This per- FolkWorks needs help. In case you don’t realize it, son would find writers and coordinate getting articles and photos on specified deadlines. The facil- FolkWorks is not just the newspaper you are currently itator will review all articles for content and grammar in preparation for the newspapers editors. reading. Nor is it just the organization that produces the NEWSPAPER DISTRIBUTION CO-ORDINATOR newspaper, though that is a major focus. FolkWorks The wonderful person will, on a bi-monthly basis, communicate with distributors and arrange also produces concerts and dances. In order to make for pickup of papers and ensure delivery to specified locations. This person will also seek out this a more effective organization, your help and input new areas of distribution and recruit additional persons to volunteer for distribution. is needed. Here are two things that you can do: If you have some time, look at our help wanted DISPLAY ADVERTISING SALES listing and see if there is something you can do that These outgoing person(s) will ferret out appropriate places for advertising in FolkWorks. We interests you. will pay you 20% commission on all ads sold. Become a member. Check out page 21. We DISTRIBUTORS depend on your support (it’s tax deductible!). Help us These people will distribute FolkWorks to the waiting masses. If this person has a regular promote folk/traditional arts in our community. route they will report status of newspapers at each location, and keep an eye out for new possi- bilities. If a “guerilla” distributor, they will keep a bundle or two in the car and put in people’s hands, at events, or when out and about in places where people congregate. November-December 2003 FolkWorks Page 5 THE VOICES A GATHERING OF IN MY HEAD STORYTELLERS BY LESLIE PERRY BY JOANNA CAZDEN he call went out. A call to all the storytellers in Southern California. TFrom San Diego to Santa Barbara, from Long Beach to Apple Story Magic Valley, from San Bernardino to Simi Valley, and from all over the greater Los Angeles area. A call to come together for a group photo. The meeting place was on the campus of California State University, Los Why on earth do you voice therapists need a big room?” my Angeles. The date was Sunday August 24 at 3:00 p.m. After the photo shoot, “boss’s boss’s boss wants to know. “Everyone else does just fine we would gather together for a story swap in one of the lecture halls. The in cubicles.” Our office lease is running out and the powers-that- be naturally want to fit us into a new facility that is not only half the cost, but half the size. I explain that performing artists need voices bigger than than every- day talk. And that means training them, serving them, in an environment with more than just elbow room. The Power That Is writes notes and tries to look informed. “Besides,” I add, “a lot of our exercises involve lying on the floor or moving around, rolling and stretching to loosen up, you know, the neck and breathing muscles.” By now my overleige is staring into space, men- tally transported to a planet far away. I may yearn for a mythical potion to make stones come alive, but clearly our conversation is over.

Body skills—muscle relaxation, spatial awareness, stable posture, BYPHOTO BROWN NATALIE freedom of movement—are central to vocal skills, not only for actors From left to right and singers, but for schoolteachers, ministers, all who communicate in Row 1: Riua Akinshegun, David “Stong Bear” Myers, Grayson Cook, Barbara Clark, Diane Mac Innes, Mary Ann Newton, Steve Henegar, Arvee Robinson, Jody Holle, Bridget Tucker, Diana public. And the most expressive talkers of the folk world are storytellers. Spirithawk, David Whiting, Katie Rydell, Patti Christensen, James K. Nelson-Lucas Whether in a classroom, library, concert setting, or a child’s bed- Row 2: Ina Buckner-The Sunshine Storyteller, Mr. Ed The Storyteller- Landler, Debra room, tellers need to engage the feelings and imagination of the listener, Olson Tolar, Leslie Perry, Elena-Beth Kaye, Debra Weller, Nick Smith, Pam Matson, Patricia J. Snow, Carol Feeney, Vicki Juditz, Adrienne McMillan Leticia Pizzino Row 3: Melissa Beasley not just the ears and intellect. The full power of words is carried by Henderson, Laura Beasley, Laura Bosworth, Sheri Halverson, Jennifer Jones, Andrew Mattick, sounds produced deep within the body. So physical training can be a big Mary Forman, Zoot, Michael D. McCarty, Sylvia Velasquez Lawrence, Cheryl Y. Price, Lee Wright, help. Telling stories successfully for hour after hour and day after day, Mychael Wordsmythe Row 4: Doris Hand, Audrey Kopp. Linda King Pruitt, Nancy Wood-Conover, Wanna Zinsmaster, as the busier tellers may do, also requires a theatrical level of vocal and Marvin Murovitz, Penny Post, Angela Lloyd, Kathleen Zundell, Lynn Marie Worrilow, Robert S. physical stamina. Hilton, Andy Davis, Frank Della-Volpe Here are some guidelines for storytellers on how to prepare and pro- Row 5: Al Cline, Barbara Wong, Dave Chittenden, Nancy McQuillan, Grandpa Jim Lewis, Ann tect your voice. First, consider your health in general, and your respira- Buxie, Rd aka Dusty Skye, Leonard Ellis, Verna Muthoni tory tract in particular. Does your schedule allow you adequate sleep and exercise? If you have chronic allergies, sore throats, breathing problems, big question was who would come. The idea for the photo shoot came from neck or back stiffness, are you actively seeking relief? an historic moment in when a similar call went out to Health care—and paying for it—are huge societal problems, but a jazz musicians. In 1958 Esquire magazine was working on an article about healthy lifestyle is fundamental to a healthy voice, and your stories can’t the ‘golden age of jazz’. They wanted a group photo of some of the great get heard without it. So while you research and polish the words of your musicians to accompany the article and offered the assignment to a first time stories, leave time to find the combination of traditional care, alternative photographer. The musicians were to show up at 10:00 in the morning in medicine, and home-remedies that best suit your needs. [See my previ- front of a brownstone apartment building on 125th street. Just as with the ous FolkWorks columns on colds (Nov-Dec 2001) and acid reflux call to the storytellers, the question was who would show up. (Jan/Feb 2003) for the most common sources of vocal irritation.] The photo shoot of the jazz musicians was a great success. Fifty seven OK, you’re thinking, but what does this have to do with rolling musicians showed up on that August morning which included Count Basie, around on the floor? Well: once your voice is generally healthy, the next Horace Silver, Coleman Hawkins, Sonny Rollins, Marian McPartland, step is to develop and use a basic warmup routine. Yoga stretches, the- Thelonious Monk, Gerry Mulligan, and Dizzy Gillespie. Sitting on a curb in ater games, and other physical looseners are a good place to start. front of the musicians were a dozen neighborhood children. In 1995 a doc- Especially for the more bookish folks in storyland, getting physical can umentary film was made on the story behind the Art Kane photograph called bring a whole new dimension to your tales. A Great Day In Harlem. The film received an Academy Award nomination. As you develop an animal story, get out of your chair to crawl around The photo shoot of the Southern California storytellers was also a suc- and growl. If characters fly, find a park where you can open your arms cess. Sixty-three storytellers showed up. They came from San Diego and and run free. Bring the words to life while your body is moving, and find Redlands, Long Beach and Pasadena, Claremont and Valencia, and from the out how your voice changes. The qualities of sound and movement that greater Los Angeles area. Many of the storytelling groups were represented you discover can then be tamed to a scale that fits your classroom or sto- including Griot Workshop, Inland Valley Story Swap, Long Beach rytime, but they will linger on as flavors, powerful dimensions of the tale. Storytellers, South Coast Storytellers Guild, Sunland-Tujunga Story Swap, When the body and voice are fundamentally linked, projecting to an Prophets and Liars, San Gabriel Valley Storytellers, and Community audience becomes a lot easier. So when planning your travel time to a Storytellers. Two members from Black Storytellers of San Diego arrived storytelling opportunity, plan to arrive at least ten minutes early and find late and missed the photo shoot, but participated in the story swap. a corner of privacy for your warmup. A parking lot or bathroom will do Some of the familiar names in the storytelling community showed up. if no more comfortable space is available. Then shake off the traffic, Angela Lloyd made the nearly two hour drive from Victorville, Vickie jump around, stretch, breath, hum, yawn, and shapeshift back to your Juditz came with her daughter Mollie, and Michael D. McCarty came in one characters’ reality. You’ll have a lot more energy for the audience, and of his symbolic T Shirts. Katy Rydell from Los Angeles stated she came a lot more fun too. because “The photo shoot was a good visual statement to show who we are A final component of warming-up to a story is to prepare your mouth and how many we are.” Zoot from Crestline said “It was a great idea and a for all those words.This part you can do in the car: make faces, stretch great opportunity to see old friends.” Two of the organizers of the event, your tongue and grimace with your lips. Run through some super-famil- Nancy Wood-Conover and Wanna Zinsmaster, both said they participated iar sentences out loud, at top speed, then do the same to particularly because it was a way to bring storytellers together. tricky names of characters, places, or magic incantations. The photo shoot did indeed bring storytellers together. There were sto- If you use special character voices, practice slipping in and out of rytellers who made their living in this art form and those who told mainly at them quickly. For instance, count steadily out loud and alternate normal story swaps and in classrooms. There were tellers who were teachers and voice/ witchy voice/ normal voice/ animal voice/ and so on. For safety, mentors seated next to those who were still developing their skills. slip in some extra yawns (the best throat relaxer on earth) while rehears- all there together in celebration. It was a day to remember, a day docu- ing any character voices that feel tight or strained. mented for all time. Traditional shamans, bards, and griots probably had special herbs and routines to help them recover from their important community work. Don’t let the world of asphalt and silicon destroy your own grounded power. A big Storytelling Festival comes to town this month, November 15 and 16 at USC. Look for details elsewhere in the paper, and look for my workshop on vocal care. If you catch me muttering under my breath, I’m just practicing the incantation that makes cubicle walls disappear.

Joanna Cazden is a singer- and licensed speech pathologist. Find her online at www.voiceofyourlife.com Page 6 FolkWorks November-December 2003

ediscovering western music’s folk Larry Maurice (www.larrymaurice.com) Rroots is a happy journey. As distinct- supplies the next six selections. He is a working ly Americana as bluegrass, it’s a cowboy, ski instructor, and Academy of frontier fusion of settlers from all over the TIED Western Artists Will Rogers Award as Cowboy world. Poet of the Year in 2000. While his business Traditional western music is acoustic, with TO THE card proclaims him as purveyor of “poetry, guitar, harmonica, fiddle, the occasional , bragging, lies, tall tales and outrageous testi- , even the ukelele. Southwestern TRACKS monials,” he is a fine entertainer and a formi- influences – Texican, Californio, Norteno and dable historian who brings you the trail dust. ranchero – bring the accordion. Celtic influ- He has a number of previous albums, all poet- ences are present, too, and the Canadian band, ry, all well produced with appropriate sound Cowboy Celtic, includes a harp. Hawaii’s BY LARRY WINES effects and the occasional a cappella song. As early-1900’s status as home to the top rodeo on past albums, his audience journeys through cowboys accounts for the ukelele. laughter, this time with Purt Near, to empathy Anyone who persists in lumping “Country & Western” into one for the lonely life of the self-reliant cowboy, in The Legacy. genre denies the trends of the past twenty years. In fact, there’s been a Third on the album, with five tracks, is Sourdough Slim (www.sour- schism. doughslim.com). He is simply a phenomenon. Previous albums earned “Western music is still about the outdoors, traditions, life on the him the Academy of Western Artists’ 2001 Will Rogers Award as land, the values and the lessons you learn there,” says cowboy poet Yodeler of the Year. On stage his act is fun, almost vaudevillian. This Larry Maurice. album, like his shows, bring rousing vocals as he accompanies himself Meanwhile, “Modern country music has gone wherever it’s gone,” on accordion, guitar, and harmonica. Sourdough’s repertoire is western singer-songwriter Don Edwards told me, adding his oft-repeat- at home with old songs, as in When the Work’s All Done this Fall, and ed quote, “They call it country music, but I don’t know what country conjures the feel of 1930’s westerns, in his original Rock & Rye. it’s from.” Sourdough has played Carnegie Hall and The Lincoln Center in Edwards and Peter Rowan recorded High Lonesome Cowboy in New York, and The Kennedy Center in Washington, D.C., all to rave 2002, the only album of true “cowboy music” ever nominated for a reviews. He appears in a TV commercial for Hershey’s chocolate, lead- Grammy in the folk category. “We lost to ,” Edwards adds, ing kids in (what else) a yodel. “and if you’ve got to lose the Grammy to somebody, at least that did- The fourth performer, with seven tracks, is Les Buffham, a Southern n’t hurt so much.” Californian who grew up on a ranch in Colorado. The International Neglect of western music in folk circles is understandable. It isn’t Western Music Association named him 1997 Songwriter of the Year, one genre. may disqualify it for some. Similarly, western and the Academy of Western Artists followed with Best Song of the swing may seem too far afield. Yet neither characterizes all of western Year honors in 1998. He has collaborated in songwriting with other music, any more than the dulcimer is synonymous with folk music. recording artists, and his versatility as a poet and singer are displayed Still, it isn’t as simple as dance-hall honky-tonk vs. pure acoustic. on this CD. Below the Kinney Rim is a gem, and The Auction Fly is fine Western music concerts and CDs contain both modern compositions humor. and songs written from 1880-1930. And mainstream folk artists, like The album has 22 tracks, and runs over an hour. It’s a fine intro- and Tish Hinojosa, have enough cowboy songs in their duction to this important genre of Americana, with its clever mix of repertoires to play the big cowboy festivals. Others, like and poetry and music, and it belongs in the collection of fans of western Michael Martin Murphy, rode off into western music and never looked folk culture. back. Sourdough, Stamey and Buffham played the Autry Museum on There’s plenty of heritage in the music and the bands. Riders of the October 25th, and Sourdough and Stamey will perform at the Monterey Purple Sage have been together since 1936. Their founder Buck Page Cowboy Festival, December 5-7. still plays incredible guitar licks and sings lead vocals. Kelly McCune’s band Border Radio are relative newcomers, but steeped in the style. Artist: R.W. HAMPTON Both are based locally. Title: ALWAYS IN MY HEART Some performers bring clichéd cinematic impressions of cowboy Label: REAL WEST PRODUCTIONS, #RWP 6003-2 culture. Riders in the Sky are intentionally over the edge. Still, they Release Date:2001 won the best children’s album Grammy for Toy Story 2. Availability: AVAILABLE LOCALLY, OR ARTISTS’ WEBSITE As with any music, festivals are the best way to experience a cross If set out to design a voice for a cowboy singer, you would get section of singer- and a spectrum of styles. Southern R.W. Hampton. His mellow, resonant baritone provides one of the most Californians have recurring offerings. On October 25, the Autry satisfying and comfortable listening experiences in any musical genre. Museum of Western Heritage produced a one-day festival with some of A veteran of five previous albums, Hampton is a first rate song- this music’s biggest names. On December 5-7, California’s music fes- writer who selectively covers other songs. He won the Western tival city, Monterey, hosts its fifth annual Cowboy Festival (informa- Heritage Wrangler Award for The Last Cowboy, a theme album set in tion at www.montereycowboy.com). Then, as Sourdough Slim charac- the year 2025. He did a gospel album, Then Sings My Soul, and a musi- terizes it, there’s “the festival of festivals,” the Santa Clarita Cowboy cal tribute to western films, Ridin’ the Dreamland Range, that won the Poetry and Music Festival, in March. Tickets for Santa Clarita’s ven- Academy of Western Artists 1997 Album of the Year. ues go on sale in mid-December, and the best shows will sell out before Always in My Heart is nicely packaged, with 14 tracks and Christmas (www.santa-clarita.com or 800-305-0755). printed in the liner. Hampton’s new originals, and a duet with Ian With so much to choose, we’ll profile two great choices for your CD Tyson on What Does She See, combine with his clever selection of collection. First is a cooperative effort that offers the flavor of a cow- cover songs that benefit by what he brings. Marty Robbins’ Bend in the boy festival. River is especially touching, as is his treatment of Bert Kaempfert’s Blue Spanish Eyes, with its fine guitar accompaniment. Adobe Walls is Artists: DAVE STAMEY, SOURDOUGH SLIM, LARRY splendid, as is ’s Shelly’s Winter Love. MAURICE, LES BUFFHAM The originals are compelling. They include When She Cries, ‘Don’t Title: COWBOYS ’ROUND THE CAMPFIRE – MUSIC Go’, a haunting co-written with Tyson. Six more are songs AND POETRY OF THE AMERICAN WEST of his own. It’s You I’m Missing Most of All is tender, while Cowboy Label: CHUCK WAGON’S BEST, #CTC001 and the Queen is an upbeat fable of a cowhand who found his dream Release Date:MARCH, 2003 girl. For Only Loving You should become a classic love song, with its Availability: AVAILABLE LOCALLY, OR ARTISTS’ WEBSITE uplifting delivery in a naturalistic style with minimalist instrumenta- Bob Sigman rediscovered his love of western movies and tion. when he became CEO of Republic Pictures Studio in 1994. Now, in a Hampton is a real working cowboy, living with his wife on a ranch life-imitates-art version of Garrison Keillor’s Powdermilk Biscuits, in Stead, New Mexico. Fortunately, he performs frequently in Sigman heads Chuck Wagon’s Best (www.chuckwagonsbest.com) pro- California, including the Autry Museum on October 25 and the ducers of Cowboy Coffee and this album. Monterey Cowboy Festival, December 5-7. He is as fine on stage as in The choice of four accomplished performers was inspired. The the studio. album earned a 2003 nomination from the Academy of Western Artists as Best Western Album of the Year. Each of the artists on the CD per- Larry Wines is a writer, songwriter, journalist and columnist, moun- forms individually or with their own accompanists. tain climber, museum founder and former political pundit. He has The first four tracks are by Dave Stamey (www.davestamey.com). restored steam locomotives and enjoys long train rides, good music fes- With four albums of his own, Stamey was the Western Music tivals, moonlight on water, riverboats, Shakespeare and music festi- Association’s Male Performer of the Year, the Academy of Western vals. His work has appeared “in lots of obscure places” throughout Artists Male Vocalist of the Year, and three time nominee as best song- America. He writes a column with weekly entertainment picks and con- writer. He is a real working cowboy who has been “ and cert and CD reviews, including plenty of offerings, stomped on.” His voice, guitar and heartfelt lyrics are standouts. A con- available at www.theav.com. You can e-mail him through that web site. cert favorite, Buckaroo Man, opens the album, and he finishes his set with the touching Mountains of the Heart. November-December 2003 FolkWorks Page 7 Scandinavian Folkdance and Music Traditions A VIEW THROUGH A PINHOLE

BY CHRIS GRUBER STORY There are long arms of the sea, There is this dance I know, a (3-beat measures), that the fjords, that carve deeply into is sometimes teasingly called “stone in the shoe.” Like all - the country from west to east. ka dances, it is a couple dance and as they dance, the man and And there is a high spine of steep woman have a distinctive hitch in their footwork, as if they crags of mountains that slice A down the eastern border from might have stepped on something a little sharp and unexpected. Yet it is a beautiful and graceful dance, often becoming a favorite of expe- north to south. In such a land- rienced dancers, particularly the women. It requires a rock-steady guy and a scape, getting from one village to woman who can commit to an unusual, back-on-the-heel moment of pre- another was virtually always a hardship, often dangerous and, for many carious balance (and reliance on her partner). months each year, an impossibility. People in the villages made up their own The tunes for this dance can have a major key sound, or a minor sound, amusements and they had little opportunity (or reason) to consider modifi- or — if they are really old — they can waver on the edge between major and cations that accommodated outside influences. minor, defying modern conventions. What they have in common is a 3-beat Norway has always had, and even now retains, vestiges of this sense of measure that is ever-so-slightly unbalanced; the beats are not all exactly the local isolation. The “common” language of Norway was an artificial con- same length. People liken compare the rhythm to the feeling you might get struction of the early 1900’s and, while it is widely accepted today, there are watching an egg roll end- over- end down hill. The imbalance in the meas- still local dialects that can, on occasion, confound communication between ure nestles up against the hitch in the dancers’ step. Or at least the potential native Norwegians who live in different areas. From the perspective of is there, later in the evening, when everyone has settled into the groove and dance, however, that can be seen as a blessing. There are communities in the communication among dancers and fiddlers is unspoken yet seamless. Norway where the local dances have maintained a strong, continuous local This particular polska tradition, this one dance and its accompanying tradition. You can find and pols dances danced virtually every tunes, is specific to a single village in central Sweden and goes back a long week, not by interested “folkies,” not by older folk returning to their roots, way. In this tradition there was once a fiddler, Lorn Anders Ersson, who was but by young teens dancing in aggressive athletic styles, by married couples known as Lorik. He was born in 1846, maintaining their connection to their neighbors and community, and by peo- but his tunes, still played often today, ple too old to move vigorously but are known as “Loriks polskor.” I like who show a subtle feel for the to play or hear them late in the rhythm of the music that can take evening, because their deep mournful- your breath away. And two commu- ness suits the quiet pensiveness of a nities separated by as little as five or FOLKWORKS dark night. ten miles can each have unique In his time, Lorik became to be “hitches” and “wobbles” in their FOLK pretty infamous in this small commu- style that confounds their neighbors. AS OF SEPTEMBER, 2003 nity and was often in trouble with the In Sweden, the record is murkier authorities (I suspect drunkenness). as there was a 30-50 year hiatus ANGEL He was brought up on charges of when the dances died out (see next Anonymous “breaking [church] windows and section). Yet there is clear evidence BENEFACTOR abusing an official.” The blasphemy that dance forms in Sweden also Ruth C. Greenberg ¥ Dave Stambaugh was severe enough that he actually had showed an amazing differentiation. Jim Westbrook to leave the community. When he was The people who “rescued” polska PATRON 26 he went to southern Sweden, got on dancing after this break in the tradi- Christa Burch ¥ Scott Duncan a boat, and arrived some weeks later in tion were dance researchers who Kay & Cliff Gilpatric New York. And then he disappeared. delved into local memories and Don Green/Barbara Weismann Was Lorik just a hot-tempered young buck who might have settled into archives beginning in the 1950’s. As Aleta Hancock ¥ Dorian Keyser adulthood and lived to teach his tunes to his children? Or was he a mean conservative researchers, they Sheila Mann ¥ Mary Anne McCarthy drunk that no community could tolerate? Perhaps he ran afoul of some local endorse only those dances that have FRIENDS bigwig (snuck off with the wrong councilman’s daughter). And where did multiple confirmed sources: there are Anonymous ¥ Sandra Arvelo those dark tunes come from, in someone so young? What happened in New currently 129, codified, 3-beat pols- Robin & Tom Axworthy York? Did he take his fiddle? Did his hot-tempered nature put him immedi- ka dances. Yet there are easily that Aubyn & Doug Biery ately afoul of some even tougher thug in the first he walked into? And many again of polska dances that Henrietta Bemis ¥ Barbara Brooks where did those tunes come from? have sketchier descriptions (or were Frieda & Bob Brown researched by scholars less interested Valerie Brown/Jerry Grabel Polska, a very old form of traditional and dance, Coffee Affair Café • Chris Cooper retains the quality of this story. Each object (story, dance, tune) has a in codifying the dance). And these Jim Cope ¥ Darrell Cozen smooth and beautiful surface. Yet, as you turn it over, looking at it more are simply the ones that have left at Lisa Davis ¥ Enrico Del Zotto closely, you start to have questions. least some formal trace. I doubt any Dave Dempsey ¥ Mary Dolinskis Just as it is with a life story, so, a tune for a polska can also call for clos- of the scholars would balk at a loose Camille Dull ¥ Bonita Edelberg er attention. You can learn it “square” and unsatisfying. Or you can keep estimate of 500 as the number of 3- Joy Felt ¥ John & Judy Glass following the uneven outlines until a bit of swing enters into it. Or you can beat, polska- springar- and pols-style Roger Goodman/Monika White play it every day for months and finally begin to discover the emotion that dances being danced in Scandinavia Diane Gould ¥ Alan & Shirley Hansen fuels its true beauty. 100 years ago. Jim Hamilton ¥ Chris Hendershot Then talk to a dancer, the best dancer you know. S/he will tell you, As an important footnote: the Sue Hunter ¥ Trudy & Peter Israel did not experience Dodi & Marty Kennerly “Well, I am working on that dance. I had a beautiful dance with [someone] Ann & Jim Kosinski on Saturday. It felt great, like nothing before! But I hope we work on it at the break in tradition seen with the Brian McKibbin ¥ Nancy MacMillan class tomorrow. I want to get it more solid.” And this after 10 years of danc- dance. Fiddlers (and those who James Morgenstern/Linda Dow ing. Yet if you ask, “Is it frustrating?” the answer will likely be “No,” played other traditional instruments) Gitta Morris/Gee Martin because these objects, the dances and tunes and stories that lie behind them, continued to hand their tunes down Rex Mayreis remain satisfying at each and every level of mastery achieved. “by ear” from father to son and Gretchen & Chris Naticchia The community of this story—the one of Lorik, the wobbling tunes and neighbor to neighbor. There are liv- Norma Nordstrom • Gabrielle O’Neill the dance with a hitch—is named Orsa, now (still) a small village in central ing fiddlers today who can, with the Judy & Jay Messinger Sweden, about 200 miles NW of Stockholm. There are fewer than 8 thou- link of a single teaching, link trace Peter Parrish ¥ Lenny Potash sand residents, yet a lot of music still happens there. , of one of their tunes back to the playing Mattias F. Reese ¥ Barbara Richer ABBA, having left his mark in the larger world, now devotes a lot of time of the middle to late 1800’s and with Suzie Richmond Steve Rosenwasser/Kelli Sager to the music and musicians of this, his home community. Yep, Benny just two or three links into the Tom Schulte ¥ Diane Sherman Andersson is now, on occasion, producing Loriks polska and other Orsa 1700’s. Miriam & Jim Sidanius låter (tunes from Orsa) at the hands of the very gifted local fiddlers. WHAT ABOUT THE ? Mark S. Siegel HOW MANY DIFFERENT DANCES ARE THERE, THEN? The hambo is, in some sense, a Jeff Spero/Gigi DeMarrais An unbelievable number, so let’s first work on getting a context that will polska. It has a 3-beat measure. It is Fred Starner ¥ Barry Tavlin support belief. Norway, which also has the tradition of unique, 3-beat a couple dance where there is a full Donald Wood John Wygonski/Mary Cynar dances (called springar, pols, and springliek) is a particularly good place to rotation each measure. Perversely Ron Young/Linda Dewar get a feel for how the dances could have evolved into many unique entities. enough, however, the hambo actual- If you look at the map of Norway, you will see a land twice fragmented. SCANDINAVIAN page 26 Page 8 FolkWorks November-December 2003

Dave Soyars is a bass player and guitarist, a singer/song- on disc two is impressively varied, but the standouts are writer, and a print journalist with over fifteen years expe- ’s intense Bells of Rhymney and a very rience. His column features happenings on the folk music un-Byrds like acoustic-based Turn! Turn! Turn! by gui- scene both locally and nationally, with commentary on tar whiz and singer Jessica Radcliffe. recordings, as well as live shows, and occasionally films I also want to mention the newest CD by one of my and books. Please feel free to e-mail him at very favorite singer/songwriters. Gillian Welch’s Soul [email protected] or write him c/o FolkWorks. Journey (!!) is short (a shade under 40 minutes) and sparse (Mostly just Welch and partner David Rawlings on guitars and vocals with an occasional touch of bass irst off, my apologies for not making good on and drums), and the songs all have a timeless quality yet Fmy promise from last time of doing a column seem deeply felt and personal. This is a combination on local open mike nights. I’m still going do it; that Welch might manage better than anyone, and it’s the research is just taking a little longer than expected. BYPHOTO MARIAN KATZ the case on two beautifully adapted traditional songs as My new plan is to do it next time. well as originals like Look at Miss , an involving So it’s a regular column this time, and my theme for narrative about, among other things, a car ride, a wild this issue is American music. Not an Irish record in the past, and an unwanted pregnancy. bunch, but a lot of variety, and a lot of talent. Finally, it was just as I was putting the finishing West Virginian Tim O’Brien crossed over into Irish touches to this column that I heard about the death of roots for his last two records, but his new one, Traveler AVE S . My respect for Cash as a singer/song- [Howdy Skies/Sugarhill] (!) is more American sound- D ’ writer is well-known to people who’ve read this column ing, drawing influence from bluegrass and old time from the beginning, but what is often forgotten in the music as well as being somewhat singer-songwriter-y. hoopla surrounding Cash’s marvelous comeback is the The two best songs are Another Day, covered beauti- sizeable musical credentials of his wife, June Carter fully by Karan Casey on her last release, and I’ve CORNER Cash, who also died earlier this year. Her final album, Endured, a plaintive song written by David Arthur Wildwood Flower [Dualtone] (!!) is a fitting farewell, a and Ola Belle Reed. collection of original songs from various eras (The Road to Kaintuck was As I said last time, I’ve yet to hear any really good songs written in covered by Cash before the two were married) and ones made famous by the response to the war on Iraq. But plenty of good songs were (and continue to original Carter Family. All are very affecting, but for obvious reasons, Will be) written in support of the anti-Franco forces of the Spanish Civil War of You Miss Me When I’m Gone is particularly poignant. The CD includes the late 1930s, a popular cause for American liberals at the time. Several of audio clips of Carter Cash, as a young girl, on the Carter Family’s radio them are to be found on in My Heart: Songs of the Spanish Civil War show, and husband Cash appears on about half the tracks as a guest vocal- [Appleseed Recordings] (!!). Mostly traditional songs, many sung and writ- ist. A great tribute to the long-lasting union of two national treasures, both ten on the battlefield by rebel soldiers (and hence sung in Spanish) but also of whom were still producing great work in their 70s. They’ll be missed. a couple of great contemporary ones, particularly ’s Viva La Quinte Brigada by Shay Black and Aoife Clancy. A good selection of RATING SCALE: artists also includes , and , who sings a song co- [!!!]—Classic, sure to be looked back on as such for generations to come. written by with Guthrie’s son Arlo. [!!]—Great, one of the year’s finest. If you have even a vague interest in the Speaking of Seeger, Appleseed also has produced a fine series, which artist, consider this my whole-hearted recommendation that you go out and Seeds: The Songs of Pete Seeger Volume 3 [Appleseed] (!) completes. It’s a purchase it immediately. two-CD set, the first subtitled Pete & friends, and featuring Seeger in vari- [!]—Very good, with considerable appeal for a fan of the artist(s). If you pur- ous musical settings, while the second, Friends of Pete, features various chase it, you likely won’t be disappointed. artists performing songs written, rewritten or made famous by Seeger. Both [—]—Good/solid, what you would expect. have their moments. Seeger, who’s never been what anyone would call a [X]—Avoid. Either ill-conceived, or artistically inept in some way. technically gifted singer, is certainly shaky of voice, but his passion is undimmed, and his presence still quite commanding. The selection of artists BANDSGIG FOR BOX HIRE

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Your band can be listed here! $25/1x • $60/3x • $100/6x [email protected] • 818-785-3839 November-December 2003 FolkWorks Page 9 WORLD ENCOUNTERS

BY VIOLA GALLOWAY Zulu Drum Artist: SHUJAAT HUSAIN KHAN Artist: HENRI SALVADOR Title: HAWA HAWA Title: JAZZE Label: WORLD VILLAGE Label: BARCLAY FRANCE Shujaat Khan is the primary disciple (and son) of Ustad Vilayat Khan, If you cannot make it to right now these 18 tracks, which were the master sitar player of a family of famous classical Indian musicians. His recorded between1956 to 1963, may just evoke the romance of France for first appearances were at the age of six, and he has not stopped ever since. you, with its cafes, bars and . After teaching at UCLA he recently moved to . This evoca- Henri Salvador is a - now in his eighties- who met all the jazz tive recording features simple folk songs in Hindi and Punjabi that he grew greats that played over the decades in Paris. Only a couple of years ago he up with. Their themes are mostly love, and he sings them in regional dialects had his first CD released in the U.S., yet he is famous in France, with many (as they are spoken today), playing sitar, accompanied by percussion. types of recordings released (blues, chanson, scat & big band jazz), much like Trenet. The sound on this CD is classic, sophisticated, Artist: VARIOUS his voice suave, with great production. Title: DROP THE DEBT Vietnamese Banjo Label: WORLD VILLAGE Artist: ARMEN STEPANYAN Put together by the Lusafrica label, which brought us Cesaria Evora, the Title: ETERNAL WINDS Gadulka great singer from Cape Verde, this wide array of musical styles proposes to Label: HOLLYWOOD MUSIC CENTER cancel the debt with which many so-called third world countries are stuck. A local music pick: This CD features mainly traditional Armenian music The mostly unreleased tracks from South America-Lenine, Fernanda Abreu (dances, love songs, etc) performed by master doudouk musician who is & Chico Cesar from , Soledad Bravo from Venezuela, Toto la known for his modern adaptations of Armenian such as Komitas. Composina from Colombia, and - Teofilo Chantre with Cesaria Mr. Stepanian teaches at the Yerevan Komitas Conservatory in Armenia. In Evora from Cape Verde, Oliver Mtukudzi from Zimbabwe, Faya Tess & the west Djivan Gasparyan is probably the most known doudouk player Lokua Kanza from Congo, and other artists that may not be known in the thanks to his Real World recording. The doudouk, which looks a bit like a U.S. but are very popular in their countries. If you have not heard the incred- , has been used for hundreds of years in Armenia, mainly by shep- ible El Hadj N’Diaye of Senegal before, his song Boor-yi may well be the herds. On this CD Armen Stepanyan performs haunting, beautiful music most haunting track but there are many more great melodies and rhythms in both solo and with his quintet – if you can, try to catch him at a local event French, Portuguese, Spanish, and several African languages. Their topic is in the Armenian community. mostly the future of children. All proceeds of this recording are to benefit an international Debt & Development Organization. Artist: VARIOUS Title: FESTIVAL IN THE DESERT Tamburitza Artist: AFRICANDO Label: WORLD VILLAGE Title: MARTINA This has to be the most incredible world music recording of this past Label: STERNS Thai Zilophone summer: Martina, dedicated to African women, is the seventh recording from Inspired and organized by French multikulti group Lo’Jo, about 250 Africando, the African salsa project. Surprise guests are Senegalese bal- Europeans and Americans and a few more Malians met in Essakane (65 ladeer Ismael Lo, Haitian Shoubou from Tabou Combo fame, and many miles from Timbuktu) to attend a music festival in the Sahara. Imagine the others. The scorcher is Temedi, performed by Sekou Bambino Diabate, one logistics the music of such an event! The music itself was mainly performed of the younger Guinean griots, who recently released another interesting by Touareg, the actual blue people of the desert, and Malian/ Mauritanian recording called Sinikan - rather more adventurous and varied. artists, with only few better-known acts for westerners: Oumou Sangare, Ali Farka Toure, and (!). I do not know how one could resist the Artist: VARIOUS magic of this disc, even without being aware of the story behind the event. Title: TULEAR NEVER SLEEPS At some point you forget where they are playing and you just notice how Label: EARTHWORKS they rock – electric guitars have apparently been embraced in a big way by Wild crazy music still exists, but to find it one has to go far afield, for the these desert nomads, who otherwise have not that much changed their example to the highland of Madagascar, which is basically bandit country. traditional ways. What you’ll hear on this CD is very uptempo tsapiky music: Fearless lead guitarists, screaming female voices over a devilish rhythm – obviously great Sites: www.rootsworld.com for dancing (and there are many reasons to hold those: harvesting, circum- Also, check www.womex.com for this year’s world music convention in cision ceremonies, funerals…). This recording is a mixture of many influ- Sevilla, Spain. ences, obviously Western as well as South African, both of which could be heard on the radio – along with local instruments such as the accordion and Viola Galloway has been working in world music for many years and is cur- marovany. Madagascan artist D’Gary was crucial in organizing this record- rently the world music buyer for Amoeba Music in Hollywood. ing, apparently in an effort to avoid more watered-down commercial music. Artist: VARIOUS Title: FADO – EXQUISITE PASSION Label: NARADA Portuguese fado (“fate”) is related to the blues and tango in spirit and resembles Cape Verdean music in its romantic sound, melancholic mood and acoustic style. Djembe On-going Storytelling Events Some of the best fadistas - the most popular singers are women - are found on this compilation, such as the late, great Amalia GREATER LOS ANGELES LOS ANGELES COMMUNITY SAN GABRIEL VALLEY Rodrigues, who overshadows all other singers a bit, as well as newcomers STORYTELLERS STORYTELLERS like Cristina Branco, Mariza, and completely new to the American market, 2nd Thursdays ¥ 7:30 pm 3rd Tuesdays ¥ 7:30 pm Temple Beth Torah Hill Ave. Branch Library Mafalda Arnauth. 11827 Venice Blvd., Mar Vista 55 S. Hill Ave., Pasadena Audrey Kopp ¥ 310-823 7482 ¥ [email protected] 626-792-8512 FAMILY STORYTELLING LONG BEACH STORYTELLERS Saturdays/Sundays 1st Wednesdays ¥ 7:00 pm 11:00 am, noon, 1:00 am ¥ Free El Dorado Library Storytelling in Spanish on alternating Saturdays. 2900 Studebaker Rd. ¥ 310-548-5045 Getty Center Family Room SUNLAND-TUJUNGA STORYSWAP 1200 Getty Center Drive, L.A. 2nd Saturdays ¥ 8:00 pm 310-440-7300 Sunland-Tujunga Library Storytelling Group VIOLA’S RESOURCE LIST LEIMERT PARK 7771 Foothill Blvd. ¥ 818-541-9449 GRIOT WORKSHOP STORYTELLING & PERFOMING ARTS 3rd Wednesdays ¥ 7:00 pm TOASTMASTERS Book: World Music, a Very Short Introduction by Philip V. Bohlman 3335 43rd Place, across from Leimert Park A Toastmasters Storytelling Group 310-677-8099 2nd Mondays, 7:00pm Magazines: CoCo’s Restaurant The Beat (American), Songlines (from the UK), and fRoots (formerly Folkroots) 15701 Roscoe Blvd., North Hills Websites: 818-541-0950 ¥ [email protected] www.sternsmusic.com (mostly African music) ORANGE COUNTY www.mondomix.org (all aspects and types of world music) COSTA MESA SOUTH COAST MISSION VIEJO STORYTELLING www..co.uk (serious plus world music links) STORYTELLERS GUILD Wednesdays ¥ 7:00 to 8:00pm 3rd Thursdays ¥ 7:00 pm Borders Books and Music www.afropop.org (NY-based radio show with links, information on concerts etc.) Piecemakers Village www.maqam.com (Arab music) 25222 El Paseo ¥ 949-496-1960 2845 Mesa Verde E. ¥ 909-496-1960 COSTA MESA STORYTELLING www.greekmusic.com (Greek music) SOUTH COAST STORYTELLERS BY LAURA BEASLEY www.piranha.de (WOMEX, world music conference) Saturdays & Sundays ¥ 2:00-3:00 pm Wednesdays ¥ 10:00 am www.canzone-online.de (labels and releases not available in U.S.) Bowers Kidseum South Coast Plaza ¥ 949-496-1960 1802 North Main St., Santa Ana 714-480-1520 ¥ www.bowers.org/link3c.htm Page 10 FolkWorks November-December 2003 A Musical Community INTERNATIONAL GUITAR SEMINARS

BY DENNIS ROGER REED

t’s often said that many of the world’s great ries about music is central to the IGS philosophy. REED’S RAMBLINGS Inotions are born around a kitchen table. One Each day includes formal 90-minute morning and CD REVIEWS BY DENNIS ROGER REED such birth happened 6 years ago, when slide afternoon classes, followed by late afternoon guitar wizard Bob Brozman and workshops in a variety of subjects, many of which legend Woody Mann hatched an idea that resulted are chosen by the participants in the first day or in the Acoustic Blues, Slide and Swing Guitar two of classes. There’s a special curriculum for Workshop from International Guitar Seminars those who rate themselves as beginners, with little (IGS). Trevor Laurence, a fine fingerstyle guitarist or no background in fingerpicking or acoustic as well, became the facilitator as Brozman and blues. By the end of the week, the students have Mann continued touring the world as performers, had 15 hours of instruction in 2 different classes, devoting a great deal of time to develop the con- plus may have chosen to take 5 additional hour- cept of an innovative 6-day guitar school. “We long workshops. That’s a lot of information to wanted to set up a guitar school designed by gui- digest, especially since each evening includes tarists for guitarists,” explains Brozman. “We activities such as an instructor’s concert, student wanted to foster a community.” Today their goal concerts, and a “deconstructed” jam where the has been achieved beyond their hopes. Guitarists instructors define the elements of an ideal musical from all over the world travel each June to jam session. The student concerts tend to be the Columbia University in New York, and in July to high point of the week, since a good number of the performers may be facing an audience for the first time. But as IGS instructor Bob Tilling says “It’ll be the most supportive audience you’ll ever have.” Dennis Roger Reed is a musician based in Additionally, student performers can tap any of San Clemente, CA. He’s performed and the instruction staff for accompaniment. Many recorded bluegrass, blues, folk and rock; students have had one of their lifelong idols serve writes songs; and plays guitar, bass and man- as their accompanist. After each evening’s func- dolin. He’s also written about music for five tion, students and instructors join in jamming, years for the OC Weekly, and has been pub- often until the wee hours. lished in a variety of publications including Columbia University in Manhattan has been InTune and MOJO. He is not humble. the East Coast campus since the workshop’s inception, but the West Coast campus has switched from Santa Cruz to San Rafael to San noted as writer on the blues and as an artist and L to R: Woody Mann, Trevor Laurence, Bob Brozman Diego to Seattle. IGS provides lodging and meals, collector. His lovely better half Thelma runs the the West Coast. For 6 intense days they live so students have ample time to devote to their IGS store during the seminars and attempts to together, take classes and workshops, attend and studies. reign in Bob’s excesses, with little success. Some give concerts, and share the learning experience. The personalities of the staff make IGS special. staff work at both coasts and others serve at only 1 The blend of students is inspiring, from consum- Brozman started his career focused on pre-war school. Orville Johnson, arguably the best mate professionals to players just learning their blues and Hawaiian music. He has since become a Dobro™ player in America, has been on board for first chords. Many of the participants, teachers and world traveler, incorporating musicians from all camps. His remarkable voice is only students alike, not only attend every year, but have Okinawa, the Reunion Islands and Africa into his surpassed by his instrumental prowess. His popu- developed an evangelical fervor about IGS. performances and recordings. A spirited per- lar classes include exploring beginning bottleneck IGS instructors bring a variety of styles and former with apparently boundless energy, Bob slide, fingerstyle blues, the lap guitar, and a vocal expertise to the classroom, including pre-war serves as an IGS instructor, a “power of music to workshop that may involve his staggering take on acoustic blues, Hawaiian slack key, , change the world” cheerleader and is happy to dis- Georgia on My Mind. gospel, Gypsy swing, jazz, world music and blue- cuss world politics or the music of Charlie Patton Some IGS alumni have become full-time per- grass. The 2003 staff included Roy Book Binder, at the drop of a hat. When he was 17 years old, formers or music teachers. Others have left the liv- Brozman, John Cephas, Mike Dowling, Michael IGS partner Mann recorded guitar to ’s ing room for the concert hall. Every student has Dunn, Orville Johnson, Laurence, Mann, Dave vocals and studied with the Reverend Gary Davis. forged friendships and support groups that make Mullany, John Renbourn, Tim Sparks and Robert Mann has matured into a world-renowned jazz IGS an even more valuable experience. Repeat Tilling, all highly respected names in the guitar player and fingerstyle maven. Laurence is another IGS attendee Kurt Gallagher, a professional kid’s music world. Interaction with the instructors is not core IGS staff member; he handles the year-round musician based in New York, says “If you’re seri- just limited to the classroom; IGS staff lives, eats logistics and teaches one-on-one and small work- ous about learning guitar, you’ve got to spend a and bonds with students throughout the week. shops. Brit Bob Tilling runs the student concerts, week with Bob and Woody at IGS. Their level of An attempt to broaden the perspective one car- serves as the master of ceremonies for all evening playing, in combination with being able to explain events, and provides what they’re doing, is un-matched in the world of lengthy attempts at . They operate at the highest pos- humor featuring barn- sible level and their generosity is contagious.” yard animals. Tilling An online forum keeps the community ERIC BIBB’S FOLK BLUES also plays guitar and informed and entertained during the rest of the Eric Bibb breezes into Los Angeles on November 1 for a show at McCabe’s harmonica, and is year. For more information on IGS, see (3101 Pico Boulevard, Santa Monica, 310-453-4962, hotline 310-828-4403). www.guitarseminars.com. If you’ve not caught Eric’s live act, do so and expect to be impressed. Although his ten or so recordings showcase a fine, creative artist, he’s a consummate live per- former with a natural, relaxed delivery. He’ll be promoting his new CD Natural Light, and you’ll most likely walk out with a copy, and several of his back catalog, too. Bibb is the son of noted folk performer Leon Bibb, but Eric’s style of music might best be described as “new acoustic folk blues.” He’s noted for not exactly having any stones in his pathway. In other words, he accentuates the positive, not a trait normally asso- ciated with blues. Not exactly Trouble In Mind, but for most a rather refreshing new spin on an older genre not accustomed to new spins. Although Bibb is known to occa- sionally cover a blues standard, it’s his adept songwriting that draws many into his realm. Bibb has done a good job of conquering most of the known world, with suc- cess in , Northern America, and . He’s grabbed a Grammy nomina- tion, and four Handy nominations. Today’s new acoustic blues performers include Bibb, Guy Davis, Alvin Youngblood Hart, Corey Harris, and Keb Mo. This can be a restrictive badge to wear, and both Hart and Harris have moved well afield of the genre. Davis, Mo and Bibb inhabit a middle ground, where acoustic pop collides with blues and folk. All three mine the genre well. Bibb moved to Paris before he turned 21, and settled in Sweden in the early 1970’s. His early recordings feature remarkably sympathetic accompaniment by Swedish musicians. Bibb is not afraid to let his spiritual thoughts pervade his original songs, but falls far shy of being “preachy.” His relaxed vocal and accompaniment style has pulled radio play on folk, blues and Americana radio. He’s a fine guitarist, his singing voice is smooth and his songs are thought provoking and melodic. What more can you ask? November-December 2003 FolkWorks Page 11 A BRIEF LOOK AT THE HISTORY OF CUBAN SON

BY ENRICO DEL ZOTTO

[Editor’s note: Generally we italicize a new or respectively. Another instru- musical scene in Havana it began “foreign” word the first time it is used. “Son” is ment is the laud or laoud, to go through some changes. The an exception. Since it looks like “son” in which is similar to a man- upright bass replaced marimbula English, we have italicized it throughout.] dolin. The bass part is cov- and botija and a became ered by the marimbula, a a regular part of the conjunto by n , 2003 the music world thumb derived from the 1920’s. Audience demand for Omourned the loss of Cuban sonero the West African mbira. more improvisation and longer Compay Segundo. Compay [Francisco Percussion includes bongos, numbers for dancing led to the Repilado] was born in 1907 in Santiago de Cuba. maracas, botija (a blown extension of the montuno section He became widely known to U.S. audiences in jug) and güiro (a gourd of son. As with any musical style, the documentary and album Buena Vista Social scrapper, possibly from son changed enough that it gave Club (1997), but was recognized as a master of indigenous pre-Colombian rise to another style, the son-mon- son in Cuba for decades. He performed on guitar, culture), and two cylindrical tuno. In the 1940’s the son-mon- tres and armonico (a seven string guitar of his wooden blocks which are tuno was taken up by musicians own invention) and as a vocalist. Several of his struck together and collec- like Arsenio Rodriguez and Beny compositions, most notably Chan Chan, became tively called clave. Moré and became more closely standards. Clave can mean a key or tied to the New York jazz scene. Compay and son and are from El Oriente, the a code, but it also refers to This connection created the foun- eastern most province of Cuba. Known for the the rhythm played by the dations for salsa and Latin jazz. independent spirit its people, Oriente province, clave. The clave is the key or But the son tradition continued son and Compay Segundo occupy an important code (rhythmically speak- Compay Segundo thanks to soneros like Compay place in Cuban culture and the music world. This ing) of the piece being per- Segundo. The immense populari- piece will look at some of this history so we formed. Much has been writ- ty of Compay and other sonneros might understand a little better what son and ten on the subject of clave and its role in Cuban throughout the world shows that son is as engag- Compay Segundo are all about. music and Cuban life. Cuban historian and musi- ing for audiences as ever. It is a mirror for Beginning in the colonial period, eastern and cologist Fernando Ortiz called it, “the most pro- Cubans to see themselves and window for the western Cuba developed two related but separate found emotional expression of Cuba’s soul.” But rest of the world to look into Cuba. cultures. Havana, at the western end of the island, for the purposes of this piece clave will be SUGGESTED READINGS was the only authorized commercial port. defined simply as a five-note pattern broken into Cuban Counterpoint: Tobacco and Sugar Around it evolved a plantation economy closely a three-note call and a two-note response. This by Fernando Ortiz tied to the Spanish crown. The east was remote, pattern is played over two measures and either Popular of the Non-Western World separated from Havana by many miles of dense the two-note or the three-note group can come by Peter Manuel forest. The people who settled there did not fully first. Typically, son is played in 3-2 clave, which Salsiology edited by Vernon W. Boggs participate in the official colonial economy. They is also known as son clave. The 2-3 clave is Salsa: The Rhythm of Latin Music were independent farmers and cattlemen who called rumba clave. by Charlie Gerard traded with other islands as well as British, Dutch The form of son is broken into three parts. SUGGESTED RECORDINGS and French privateers outside the surveillance of The verse (A) is based on the Spanish baroque Cuban Counterpoint: History of the Son the Spanish authorities. And of particular impor- style of poetry known as a decima (a ten-line Montuno on tance to the development of son, the east’s isola- stanza). The decima alternates with the chorus Cantando En El Llano 1949-51, Duo Los tion meant it was relatively free from the culture (B), called the estribillo. This is followed by (C), Compadres on Tumbao Records of slavery and racial segregation that dominated either a montuno (a call and response between Sentimento Guajiro, Duo Los Compadres the plantation society of the west. Without many instruments and vocals) or a coro-pregon (a call on Tumbao Records of the class and racial barriers present in the west, and response between vocalists). The lyrics cele- Los Flores De La Vida, Compay Segundo the people of Eastern Cuba were free to blend brate the beauty of the countryside, but can also on Nonesuch Records their musical styles and cultures – Cuba’s Creole be laments on the difficulties of work and unre- Buena Vista Social Club on Nonesuch Records culture was born. quited love. Lyrics can also be of a more light- Son did not become widely known outside the hearted nature with vocalists poking fun at each Enrico Del Zotto is an educator and musician in Oriente until the 1920’s when there was an other and themselves, or disguising sexual innu- upsurge in nationalism and an increased respect Fullerton, CA. He recently completed an M.A. in endos with regional slang and double-entendres. Music and Culture at State for Cuban folk traditions. When Cuba gained its As son became a larger part of the urban independence from Spain in 1898 it seemed that University. the nation would enjoy a prosperous independ- ence with high sugar prices worldwide and greater access to the U.S. market. But by the1920’s, it became clear that Cuba would not be independent or prosperous. U.S. sugar price manipulations on the world market led to bank- Gift Certificate ruptcy for many Cuban companies and U.S. firms stepped in to take over much of the sugar Give the GIFT of FOLKWORKS! production and export. Under the 1903 Platt The Holidays are upon us (who would have thunk). Give the gift of a FolkWorks member- Amendment, the U.S. reserved the right to inter- ship to a friend or family member. They can have FolkWorks delivered to their doorstep. vene in the political affairs of Cuba, and it did, And, at the Friend level and higher, there are other perks (such as a free CD) to enjoy. with four military occupations between 1909 and Give a Gift to a Friend or Family Member today --- It’s tax-deductible 1921. This political and economic situation led to a resurgent nationalist movement in Cuba and From: ______with it a greater appreciation for the art, culture and folk life of Cuba. Son, with its African and Spanish heritage, its origins in the Creole Oriente Greeting:______and lyrics that celebrated the beauty of the Cuban countryside as well as the trials of daily life, Name SELECT became the national genre of Cuba during this MEMBERSHIP period. LEVEL The African and Spanish influences in son are Street Address reflected in its early instrumentation. At least one $25 Basic City State ZIP is present in son , $65 Friend providing accompaniment for the vocals as well e-mail as being a featured improvisational instrument. See Pg. 21 for details. Typically the guitar, or its cousin the tres, plays Phone Number this role. The tres has three sets of double or triple strings - each set is tuned to D, G and B Page 12 FolkWorks November-December 2003 Music and Movement A FIDDLE HAS A NECK AND SO DO YOU! — PART ONE

BY JERRY WEINERT, R.N., NCTMB usic moves you to dance, play, and THE HEAD & NECK routines may cause muscular imbalances, and Msing. Music can also stop you in your In this issue we will examine CTDs of the your exuberance during musical pursuits may tracks with panic and pain. It all head and neck. A key principle that encourages exacerbate the imbalances and throw you over depends on how it moves you — whether you physical comfort is to keep your joints in a neu- the edge. guide the movement or let it control you with tral position as much as possible. While repeti- THE FIDDLE mindless abandon. Whether you are a folk/tradi- tive stress in this area can obviously be related to Let’s consider the fiddle. The fiddle is the tional musician, dancer, singer, performer or sup- headaches, neck pain, and decreased range of most obvious folk/traditional instrument that can porter, you have your patterns of movement that motion, it also can influence symptoms in other cause head and neck problems. The player holds allow you to participate in the folk/traditional parts of the body. head cocked to the left with enough strength to world. Some of these patterns serve you well and • Before you consider your instrument, what about hold the fiddle in place. Their jaw may now be other patterns, less efficient, may create pain. your daily activities? displaced toward the right. To maintain appropri- This article is the first of a series that will • Do you hold the phone between your ear and ate control of bow and finger movement a certain explore your body’s movement and how it can shoulder? amount of tension is held in the shoulder/neck better support your ongoing enjoyment and • Do you sleep on your belly? area. The muscles of the neck and jaw become active engagement as a folk/traditional musician • Is your computer monitor off to an angle? tight and imbalanced, and may entrap certain or dancer. • Do you chew gum? nerves or develop trigger points that send pain Repetitive stress injury, also known as cumu- • Is your pillow too thick or too thin? down the arms, into the trunk, or up to the head. lative trauma disorder (CTD), describes prob- • Do you fall asleep in a sitting position? lems of the soft tissue (muscles, tendons, liga- • Is your hearing such that you need to turn your WHAT TO DO ABOUT IT? ments) and is responsible for billions of dollars in head to hear? You have many choices to manage your mus- health care expenses and lost productivity annu- • Are you a swimmer who usually breathes to the cular aches and pains. The most costly choice is ally. Most of these problems are preventable or same side? to do nothing about it until you’re knocked flat. reversible through simple awareness of move- At this point the options often include pain med- If you answered yes to any of these questions, ications to mask the symptoms or surgery. ment patterns and proactive choices that can then the muscles of your head and neck are not counteract the effects of repetitive motion. One can choose activities that counteract the neutral or balanced, and are likely overused on effects of overuse and potentially restore func- Self-taught or not highly trained or just begin- one side or the other. This lack of symmetry cre- ning muscians adopt patterns of playing or hold- tional health to the soft tissues. Mindfulness of ates dysfunctional movement patterns and, sub- your movement patterns will allow you to move ing an instrument that may lead to soft tissue dys- sequently, pain. function. Add age to the equation and you find more efficiently. Paying attention to the mechan- Enter the . No matter what ics of your playing may also allow you to ask that those soft tissues aren’t as resilient and for- instrument you play, it is difficult to play in a giving as they once were. “Do I really need to be in this position, especial- completely relaxed and neutral position. Playing ly if it hurts?” How you play your instrument may be one an instrument necessitages lots of repetitive small factor contributing to a cumulative trauma motion. Since increased frequency and/or dura- THE KEY TO COMFORT disorder. It is important to survey your daily tion of repetitive movements increases chances Flexibility in your movement patterns and in active and passive movements, such as how you of injuries, musicians are susceptible to suffering your attitude will foster a much healthier envi- work, sit, sleep, etc. These habitual patterns often pain from cumulative stresses. Thus, your daily ronment for your body’s work and play. Besides sabotage your best intentions. counteracting the strain and imbalance of repeti- tive activities, flexibility exercises: • Promote relaxation 1970’s ICON REVISITED • Increase range of motion • Increase muscle/tendon elasticity ALICIA BAY LAUREL - LIVING ON THE EARTH • Relieve muscle/joint soreness While there are numerous beneficial methods BY BROOKE ALBERTS of stretching, the style we will use in the series is ast year when I was about to depart for the reflected the back-to-the-land aesthetic espoused the active-isolated approach as developed by LBig Island of Hawaii, my buddy Kim by the youthful idealists of the era. This aesthetic kinesiologist Aaron Mattes. Active-isolated asked me if I wanted to look up her friend was picked up and utilized by the creators of The stretching challenges you to focus and change Alicia Bay Laurel while I was there. “the Alicia Massage Book (1972), Craftsman’s your movement patterns. It’s an excellent Bay Laurel who wrote, Living On The Earth?” I Manual (1972), The Vegetarian Epicure (1972), method to foster muscle re-education. This asked, and yanked the book immediately out of the and later The Moosewood Cookbook (1977) and encourages muscle independence and creates bookshelf to show her. Needless to say, I made the the works of Sark (1991 and forward). more efficient and more fluid movement. This connection and spent a very pleasant afternoon Alicia collaborated with her husband Ramon method also serves as an effective warm-up and with her. Sender on Being Of The Sun, a companion volume cool-down activity. L.A. native and (according to the New York to Living on The Earth, published in 1973. This Primary points for the effective use of active- Times) “Martha Stewart of the hippie era” Alicia second volume is even more exuberant than the isolated stretching are: Bay Laurel is coming out with a 30th anniversary first, addressing aspects of meditation, celebration • Hold the stretch only 2 seconds. edition of her best-known book, Living On The of the year, making music, and being passionate • Exhale when you are doing the stretch. Earth. I picked up a copy of Living On The Earth about life. They include instructions for making a • Only move the stretch to light irritation (no in the late 1970’s and it immediately became one bamboo root oboe and a set of (from a pain!). of my “desert island” books. With chapters plastic bag, masking tape, cardboard, bamboo and • If it hurts, reposition and try again, otherwise addressing such issues as how to grow potatoes in oat-straw whistles). They also composed 21 songs skip this stretch. barrels while living in a van, Tibetan eye-strength- and chants for celebrating rain, night, time, wel- You can do these stretches any- ening exercises, keeping food cool without refrig- come and other occasions. A few of these songs time. However, if you know you eration, and alternative guitar tunings, it was a are on her CD, Music From Living On The Earth . will be playing your instrument or compendium of folk-life skills simply presented. Alicia had been playing fingerpicking folk guitar doing an activity (like painting the Alicia grew up in Hancock Park. Her mother, a as a teenager, and learned of the joys of open tun- ceiling) for any extended period, ceramicist, exposed her to artistic and cultural ings from her cousin’s husband, the well-known then do these flexibility exercises events, and as a teenager she did page layouts at guitarist . before and after the activity to the L.A. Free Press. She also attended the Otis Art For the last 28 years or so, Alicia has been liv- keep the muscles supple and Institute on a PTA scholarship. She subsequently ing in Hawaii (the first 25 in Maui, the last 3 on the relaxed. Starting Position attended San Francisco’s Pacific Fashion Institute. Big Island). Her CD for children, Living in Hawaii Alicia started writing Living On The Earth in Style, is more informed by the Hawaiian slack- NECK LATERAL FLEXION 1969 when she was 19 while living on the key style of guitar playing. The next 2 projects on Starting position: Stand or sit in a Wheeler Ranch commune in Sonoma County. It deck areHow To Make Peace (50 Recipes) coming correct posture. Look straight ahead. was her third hand-lettered and illustrated book, up in 2004 (a collection of original aphorisms Inhale. Action: while exhaling, but the first to be published. She had originally which Alicia describes as “a 50-page greeting lower your ear toward your shoul- conceived of it as a pamphlet to help ease the tran- card”) and Still Living on the Earth: A Dictionary der, keeping a straight line. Stretch sition of urban and suburban youth to their new of Sustainable Means due out in 2005. to light irritation and hold for 2 sec- lifestyle, but it grew into a manual. When it was onds. Inhale while you return to the published in 1971 and included in Stewart Brand’s Brooke Alberts is a member of the Irish band, The starting position. Repeat 4 to 10 Whole Earth Catalog it became a best-seller. Praties and has her Masters degree in Medieval times, depending on your fitness The handwritten text and exuberant line-drawn Studies Laterial Flexion level. Repeat on the other side. illustrations were comforting and personal, and MOVEMENT page 26 November-December 2003 FolkWorks Page 13 on-going music happenings MUSIC, MUSIC and more MUSIC HOUSE CONCERTS, etc. CALTECH FOLK MUSIC SOCIETY BEANTOWN NOVEL CAFE California Institute of Technology, Pasadena 45 N. Baldwin Ave., Sierra Madre 626-355-1596 212 Pier Ave., Santa Monica 310-396-8566 These are informal, intimate special events that www.folkmusic.caltech.edu ¥ 888-222-5832 BUSTER’S COFFEE AND ICE CREAM PORTFOLIO CAFE people hold in their homes. [email protected] Some are listed under SPECIAL EVENTS (Page 28). 1006 Mission St., South Pasadena 626-441-0744 2300 E 4th St., Long Beach 562-434-2486 Call your local hosts for scheduled artists! CELTIC ARTS CENTER COFFEE AFFAIR CAFE PRISCILLA’S GOURMET COFFEE 4843 Laurel Canyon Blvd., Valley Village SCOTT DUNCAN’S ¥ Westchester 310-410-4642 5726 E. Los Angeles Ave., Simi Valley 4150 Riverside Dr., Burbank 818-843-5707 818-760-8322 ¥ www.celticartscenter.com 805-584-2150 ¥ www.coffeeaffaircafe.com NOBLE HOUSE CONCERTS SACRED GROUNDS COFFEE HOUSE CERRITOS CENTER FOR THE COFFEE CARTEL 399 W 6th St., San Pedro 310-514-0800 5705 Noble Ave., Van Nuys 818-780-5979 PERFORMING ARTS 1820 Catalina Ave., Redondo Beach 310-316-6554 MARIE AND KEN’S Beverlywood 310-836-0779 12700 Center Court Drive, Cerritos SPONDA MUSIC & ESPRESSO BAR 562-916-8501 ¥ www.cerritoscenter.com COFFEE GALLERY BACKSTAGE 49 Pier Ave., Hermosa Beach 310-798-9204 RUSS & JULIE’S HOUSE CONCERTS [email protected] 2029 N. Lake, Altadena UN-URBAN COFFEHOUSE Agoura Hills / Westlake Village 626-398-7917 ¥ www.coffeegallery.com www.jrp-graphics.com/houseconcerts.html CTMS CENTER FOR FOLK MUSIC 3301 Pico Blvd., Santa Monica 310-315-0056 [email protected] 16953 Ventura Blvd., Encino COFFEE KLATCH 818-817-7756 ¥ www.ctms-folkmusic.org 8916 Foothill Blvd., Rancho Cucamonga CLUBS/RESTAURANTS RYAN GUITAR’S ¥ Westminster 714-894-0590 FIRESIDE CONCERTS 909- 944-JAVA CAFE LARGO THE TEDROW’S ¥ Glendora 626-963-2159 Corner of Borchard & Reino, Newbury Park COFFEE KLATCH 432 N. Fairfax Ave., Los Angeles 323-852-1073 KRIS & TERRY VREELAND’S Bob Kroll 805-499-3511 [email protected] 806 W. Arrow Hwy., San Dimas 909-599-0452 GENGHIS COHEN South Pasadena ¥ 323-255-1501 FOLK MUSIC CENTER HALLENBECKS 740 N. Fairfax Ave., Los Angeles 323-653-0653 BRIGHT MOMENTS IN A COMMON PLACE 220 Yale Ave., Claremont 5510 Cahuenga Blvd., North Hollywood CONGA ROOM hosted by David Zink, Altadena 626-794-8588 909-624-2928 ¥ www.folkmusiccenter.com 818-985-5916 ¥ www.hallenbecks.com 5364 Wilshire Blvd., Los Angeles 323-930-1696 CONCERT VENUES FOLKWORKS CONCERTS HIGHLAND GROUNDS 818-785-3839 ¥ www.FolkWorks.org 742 N. Highland Ave., Hollywood BEFORE ATTENDING ANY EVENT ACOUSTIC MUSIC SERIES [email protected] 323-466-1507 ¥ www.highlandgrounds.com Contact the event producer to verify information [email protected] ¥ 626-791-0411 THE FRET HOUSE before attending any event. (Things change!!!) www.acousticmusicseries.com IT’S A GRIND 309 N. Citrus, Covina 4245 Atlantic Ave., Long Beach 562-981-0028 CORRECTIONS THE BARCLAY 818-339-7020 ¥ covina.com/frethouse FolkWorks attempts to provide current and accurate 4255 Campus Drive, Irvine IT’S A GRIND information on all events but this is not always possible. GRAND PERFORMANCES 5933 E. Spring St., Long Beach 562-497-9848 www.thebarclay.org ¥ 949-854-4646 California Plaza, 350 S. Grand Ave., Los Angeles LIST YOUR EVENT! BOULEVARD MUSIC 213-687-2159 ¥ www.grandperformances.org KULAK'S WOODSHED To have your on-going dance event listed in 4316 Sepulveda Blvd., Culver City 5230-1/2 Laurel Canyon Blvd., North Hollywood FolkWorks provide the following information: LISTENING ROOM CONCERT SERIES 818-766-9913 ¥ www.kulakswoodshed.com ¥ Indicate if it’s an on-going or one-time event 310-398-2583 ¥ [email protected] Fremont Centre Theatre ¥ Category/Type of Dance (i.e., Cajun, Folk) www.boulevardmusic.com 1000 Fremont, South Pasadena LU LU’S BEEHIVE ¥ Location Name ¥ Event Day(s) and Time BLUE RIDGE PICKIN’ PARLOR 626-441-5977 ¥ www.listeningroomconcerts.com 13203 Ventura Blvd., Studio City 818-986-2233 ¥ Cost ¥ Event Sponsor or Organization 17828 Chatsworth St., Granada Hills ¥ Location Address and City www.fremontcentretheatre.com/listening-room.htm MONROVIA COFFEE HOUSE ¥ Contact Name, Phone and/or Email www.pickinparlor.com ¥ 818-700-8288 425 S. Myrtle, Monrovia 626-305-1377 THE LIVING TRADITION Send to: [email protected] or 818-785-3839 250 E. Center St., Anaheim 949-559-1419 ¥ www.thelivingtradition.org McCABE’S GUITAR SHOP 3101 Pico Boulevard, Santa Monica 310-828-4497 ¥ www.mccabesguitar.com Concert Hotline 310-828-4403 SAN JUAN CAPISTRANO COFFEE MULTICULTURAL ARTS SERIES San Juan Capistrano Public Library 31495 El Camino Real, San Juan Capistrano KPFK [North Hollywood] (90.7FM) (98.7FM 949-248-7469 ¥ www.musicatthelibrary.com Santa Barbara) www.kpfk.org KCSN [Northridge] (88.5FM) www.kcsn.org SKIRBALL CULTURAL CENTER KUCR [Riverside] (88.3FM) www.kucr.org 2701 N. Sepulveda Blvd., L.A. KPCC [Pasadena] (89.3FM) www..org 310-440-4500 ¥ www.skirball.org KRLA [Hollywood] (870AM) UCLA PERFORMING ARTS CENTER KXMX [Los Angeles] (1190AM) Royce or Shoenberg Halls, Westwood 310-825-4401 ¥ www.performingarts.ucla.edu THURSDAY 7:00-9:00pm Down Home (KCSN) COFFEE HOUSES Chuck Taggart (variety including 14 BELOW Celtic, Cajun, Old-time, , Quebecois) 1348 14th St., Santa Monica ¥ 310-451-5040 11:00pm-1:00am Blues Power (KPFK) ANASTASIA’S ASYLUM Bobbee Zeno (blues) 1028 Wilshire Blvd., Santa Monica 310-394-7113 FRIDAY BARCLAY’S COFFEE 9:00-11:00am Midnight Special (KUCR) 7:00-9:00pm Tex-Mex (KUCR) 8976 Tampa Ave., Northridge ¥ 818-885-7744 El Guapo Lapo

JAM SESSIONS / OPEN MIKES / SINGS and more SATURDAY 6:00-7:00am Around the Campfire (KCSN) NOTE: NOT ALL SESSIONS ARE OPEN, OPEN MIKES LARRY BANE SEISUN Marvin O’Dell (Cowboy and Western PLEASE ASK SESSION LEADER 1st Sundays 4:00-6:00pm music) IF IT’S OK TO JOIN IN! BOULEVARD MUSIC Set Dance workshop 2:00pm - 3:00pm by Michael 6:00-8:00am Wildwood Flower (KPFK) 3rd Sundays - Variety Night BLUEGRASS Breen of The Los Angeles Irish Set Dancers. Ben Elder (mostly Bluegrass) 4316 Sepulveda Blvd., Culver City The Moose Lodge, 1901 W. Burbank Blvd., Burbank 7:00-10:00am Bluegrass Express (KCSN) BAKERS’ SQUARE 310-398-2583 [email protected] 818-898-2263 [email protected] Marvin O’Dell (Bluegrass) 3rd Tuesdays FENDI’S CAFÉ 8:00-10:00am FolkScene (KPFK) 17921 Chatsworth St. (at Zelzah), Granada Hills FINN McCOOL Fridays 6:00 to 8:00pm Roz and Howard Larman (all folk 818-366-7258 or 700-8288 Sundays - 4:00 to 7:00pm — come listen! 539 East Bixby Rd. (nr. Atlantic), Long Beach including live interviews, singer-song- Bluegrass Association of Southern California Tuesdays - 8:00pm — come play! 562-424-4774 writers and ) members.aol.com/intunenews/bsquare.html 2702 Main St., Santa Monica ¥ 310-392-4993 10:00-11:00am Halfway Down the Stairs (KPFK) FOLK MUSIC CENTER BLUE RIDGE PICKIN’ PARLOR Bluegrass Jam GROUP SINGING Uncle Ruthie Buell (Children’s show 4th Sunday signup 7:00pm, 7:30pm $1 with folk music) 7828 Chatsworth St., Granada Hills 220 Yale Ave., Claremont ¥ 909-624-2928 SONGMAKERS www.pickinparlor.com ¥ 818-700-8288 for schedule 3:00-5:00pm Prairie Home Companion¨ (KPCC) THE FRET HOUSE Wednesdays Simi Valley Hoot Garrison Keillor (Live - variety show) THE CINEMA BAR 1st Saturdays - signup 7: 30pm Simi Valley 7:30-11:30pm 805-583-5777 5:00-8:00pm Classic Heartland (KCSN) 1st Wednesdays 9:00pm- Cliff Wagner and Old #7 309 N. Citrus, Covina 1st Mondays Musical 1st Monday George Fair (vintage country) 3967 Sepulveda Blvd., Culver City 626-339-7020 ¥ www.covina.com/frethouse Simi Valley 1:00-4:00pm 805-520-1098 3:00-5:00pm Prairie Home Companion¨ (KPCC) 310-390-1328 1st Fridays North Country Hoot Garrison Keillor (Rebroadcast - variety HALLENBECKS Northridge 8:00pm-Midnight 818-993-8492 show) CURLEYS CAFÉ Bluegrass Jam Tuesdays - signup 7:30pm - Free Mondays 7:00-9:00pm 1st Saturdays Orange County Hoot 6:00-8:00pm Canto Sin Fronteras (KPFK) 5510 Cahuenga Blvd., North Hollywood Anaheim Hills 8:00pm-Midnight 714-282-8112 Tanya Torres (partly acoustic, Latin 1999 E. Willow (at Cherry), Signal Hill 818-985-5916 ¥ www.hallenbecks.com 562-424-0018 2nd Saturdays Camarillo Hoot political) HIGHLAND GROUNDS Camarillo 8:00pm-Midnight 805-484-7596 8:00-10:00pm Canto Tropical (KPFK) EL CAMINO COLLEGE Bluegrass Jam Wednesdays - 8:00 - 11:00pm 3rd Thursdays Camarillo “Lite” Hoot Hector Resendez (partly acoustic, 1st Sundays 1:00-5:00pm (12:00-4:00pm DST) 742 N. Highland Ave., Hollywood Camarillo 7:00-11:00pm 805-482-0029 bilingual Latin / Carribbean) 16007 Crenshaw Blvd., Torrance 213-466-1507 ¥ www.highlandground.com 3rd Saturdays South Bay Hoot Bill Elliott 909-678-1180 ¥ Ron Walters 310-534-1439 Redondo Beach 8:00pm-Midnight 310-376-0222 SUNDAY KULAK'S WOODSHED 6:00-8:00am Gospel Classics (KPFK) ME-N-ED’S Mondays - host Kiki Wow ¥ 7:30pm ¥ Free 3rd Sundays East Valley Hoot Saturdays 6:30-10:30pm Van Nuys 1:00-5:00pm 818-780-5979 Edna Tatum Sundays Songwriter showcase 6:00-10:00am Bluegrass, Etc. (KCSN) 4115 Paramount Blvd. (at Carson), Lakewood 5230 1/2 Laurel Canyon Blvd., North Hollywood 4th Saturdays West Valley Hoot 562-421-8908 Woodland Hills 8:00pm-Midnight 818-887-0446 Frank Hoppe (Bluegrass, Old-time, 818-766-9913 ¥ www.kulakswoodshed.com many historical recordings) TORRANCE ELKS LOUNGE Bluegrass Jam 4th Sundays West L.A. Hoot & Potluck McCABE’S GUITAR STORE West L.A. 5:00-9:00pm 310-203-0162 2:00-3:00pm The Irish Radio Hour (KXMX) 4th Sundays 1:00-5:00pm First Sundays - signup 5:45 ¥ Free Tom McConville (some Irish music) 1820 Abalone Ave., Torrance 5th Saturdays Take The Fifth Hoot 3101 Pico Blvd., Santa Monica Sherman Oaks 8:00pm-Midnight 818-761-2766 11:00am-1:00pm Prairie Home Companion¨ (KPCC) Bill Elliott 909-678-1180 310-828-4403 ¥ www.mccabesguitar.com Garrison Keillor (Rebroadcast - variety Bob/Lynn Cater 310-678-1180 SANTA MONICA TRADITIONAL show) THE UGLY MUG CAFE Bluegrass Jam OLD TIME JAM SESSIONS FOLK MUSIC CLUB 10:00-11:00pm Sunday Night Folk (KRLA) 1st Saturdays 7:30-11:30pm 3rd Sundays 7:00-9:00pm CAJUN WAY Jimmy K. (Classic folk music) 261 N. Glassell, Orange Sha'Arei Am (Santa Monica Synagogue) Wednesdays - 7:00pm- 1448 18th St., Santa Monica MONDAY-FRIDAY 714-997-5610 or 714-524-0597 110 E. Colorado Blvd., Monrovia ¥ 626-574-0292 [email protected] ¥ Santa Monica Folk Music Club 10:00am-noon The Global Village (KPFK) VIVA CANTINA CTMS CENTER FOR FOLK MUSIC www.santamonicafolkmusicclub.org “Music from around the world and Thursdays 7:30 - 8:30pm - Fiddle Night 1st Sundays 4:00-8:00pm SIGNAL HILL HOUSE JAM around the block” Mondays 7:30 - 8:30pm - Losin’ Brothers 16953 Ventura Blvd., Encino ¥ 818-817-7756 1st & 3rd Tuesday 6:00pm Other roots music throughout the week. 240 Industry Dr., Signal Hill ON THE INTERNET 900 Riverside Dr., Burbank ¥ 818-845-2425 IRISH MUSIC SESSIONS Don Rowan 562- 961-0277 Thistle & Shamrock VINCENZO’S CELTIC ARTS CENTER Fiona Ritchie (Celtic Music) WELSH CHOIR OF SO. CALIFORNIA Saturdays 7:30-10:30pm - Grateful Dudes Mondays - 9:00pm (1st Mondays @ 8:00pm) www.npr.org/programs/thistle Sundays 1:30pm ¥ Rutthy 818-507-0337 24500 Lyons Ave., Newhall ¥ 661-259-6733 Beginners Session: Sundays 4:00-6:00pm Driven Bow / Fiddlin’ Zone 4843 Laurel Canyon Blvd, Valley Village SINGING (HULYANKE) Gus Garelick (Fiddle Music) 818-760-8322 ¥ www.celticartscenter.com 3rd Thursdays, Sherman Oaks www.krcb.org/radio/ Sholem Community Org. Riders Radio Theatre Lenny Potash 323-665-2908 Riders in the Sky (Cowboy variety show) www.wvxu.com/html/riders.html Page 14 FolkWorks November-December 2003 FOLK HAPPENINGS AT A GLANCE NOVEMBER 2003

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 FOLK HAPPENINGS AT A GLANCE JANET KLEIN & HER PARLOR BOYS (SE) DAY OF THE DEAD (SE) JUAN SANCHEZ ENSEMBLE (SE) Check out details by FESTIVAL of WELSH MUSIC (SE) ERIC BIBB (SE) following the page references: SWEDISH FIDDLERS (SE) DAVID PARMLEY & CONTINENTAL OGM: On-going Music - page 13 DIVIDE w. BORDER RADIO (SE) CHUCK PYLE (SE) OGD: On-going Dance - page 16 OMARA PORTUONDO (SE) Contra (OGD) Me-N-Ed's (OGM) SE: Special Events - page 28 Songmakers (OGM) Vicenzo's (OGM) Santa Monica Folk Music Club (OGM) The Fret House (OGM)

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FINAGLE (SE) Balkan (OGD) Armenian (OGD) NATALIE McMASTER (SE) (SE) CBA VETERAN'S DAY CBA VETERAN'S DAY ANNE McCUE / NEAL CASAL (SE) International (OGD) International (OGD) Balkan (OGD) African (OGD) BLUEGRASS FESTIVAL (SE) BLUEGRASS FESTIVAL (SE) International (OGD) Irish (OGD) Israeli (OGD) International (OGD) English (OGD) JULIAN SCOTTISH WEEKEND (SE) JULIAN SCOTTISH WEEKEND (SE) Polish (OGD) Israeli (OGD) Scottish (OGD) Israeli (OGD) International (OGD) DENNIS ROGER REED (SE) INTERTRIBAL MARKETPLACE (SE) Scottish (OGD) Morris (OGD) Hallenbecks (OGM) Scandinavian (OGD) Irish (OGD) KEN WALDMAN / ROBBY LONGLEY (SE) TOM RUSSELL & ANDREW HARDIN plus ELIZA GILKYSON (SE) Israeli (OGD) Scandinavian (OGD) Finn McCools (OGM) Scottish (OGD) Israeli (OGD) GREG BROWN & (SE) THE FINE BEAUTY OF THE ISLAND El Camino College (OGM) Scottish (OGD) Signal Hill House Jam (OGM) The Hideway (OGM) Scottish (OGD) ELIZA GILKYSON (SE) (PATRICK BALL) (SE) McCabe's (OGM) Celtic Arts Center (OGM) Songmakers (OGM) Big Jim's (OGM) SUSIE GLAZE & FRIENDS (SE) KEN WALDMAN (SE) ASHLEY MAHER (SE) CTMS Center for Folk Music (OGM) Viva Fresh (OGM) Highland Grounds (OGM) Viva Fresh (OGM) IAN WHITCOMB/ FRED SOKOLOW (SE) CHRISTINA ORTEGA (SE) Welsh Choir of So. California (OGM) Kulak's Woodshed (OGM) Cajun Way (OGM) Contra (OGD) AVIATOR’S RAGTIME BALL (SE) Larry Bane Seisun (OGM) Songmakers (OGM) Greek (OGD) PRESTON REED (SE) Finn McCools (OGM) International (OGD) Contra (OGD) Scottish (OGD) Me-N-Ed's (OGM) Vincenzo's (OGM) Songmakers (OGM) Songmakers (OGM) Vicenzo's (OGM) Lampost Pizza (OGM) Fendi's Café (OGM) 9 10 11 12 13 14 15

CBA VETERAN'S DAY Balkan (OGD) Armenian (OGD) YUVAL RON (SE) FOOTWORKS PERCUSSIVE STILL ON THE HILL (SE) L.A. STORYTELLING FESTIVAL (SE) BLUEGRASS FESTIVAL (SE) International (OGD) International (OGD) Balkan (OGD) DANCE ENSEMBLE (SE) (SE) MERLIN SNIDER (SE) JULIAN SCOTTISH WEEKEND (SE) Irish (OGD) Israeli (OGD) International (OGD) CHAVA ALBERSTEIN (SE) CLADDAGH (SE) CHAVA ALBERSTEIN (SE) INTERTRIBAL MARKETPLACE (SE) Israeli (OGD) Scottish (OGD) Israeli (OGD) African (OGD) TOM BALL & KENNY SULTAN, GRAY JAMES KEELAGHAN (SE) PETER ALSOP (SE) Morris (OGD) Hallenbecks (OGM) Scandinavian (OGD) International (OGD) MATTER and CHRIS CAIRNS (SE) FREEDY JOHNSTON (SE) THE FINE BEAUTY OF THE ISLAND (SE) Scandinavian (OGD) Finn McCools (OGM) Scottish (OGD) Irish (OGD) CHRIS SMITHER (SE) N. RAVIKIRAN (SE) KEN WALDMAN / DANIEL SLOSBERG (SE) Scottish (OGD) The Hideway (OGM) Israeli (OGD) Cajun (OGD) DAVID PIPER (SE) Contra (OGD) Celtic Arts Center (OGM) Songmakers (OGM) Scottish (OGD) Contra (OGD) SHANGRI-LA CHINESE ACROBATS (SE) International (OGD) Viva Fresh (OGM) Highland Grounds (OGM) Big Jim's (OGM) Greek (OGD) CATHY FINK and MARCY MARXER (SE) Israeli (OGD) Kulak's Woodshed (OGM) Cajun Way (OGM) Viva Fresh (OGM) Hungarian (OGD) BORDER RADIO (SE) Polish (OGD) Curleys Café (OGM) International (OGD) RHYTHM BROTHERS (SE) Scottish (OGD) Israeli (OGD) JARS OF CLAY and CAEDMON'S CALL (SE) Highland Grounds (OGM) Scottish (OGD) Contra (OGD) International (OGD) Welsh Choir of So. California (OGM) Vincenzo's (OGM) Me-N-Ed's (OGM) Finn McCools (OGM) Lampost Pizza (OGM) Songmakers (OGM) Fendi's Café (OGM) Vicenzo's (OGM) 16 17 18 19 20 21 22

LOS ANGELES MARIACHI FESTIVAL (SE) (SE) LUCINDA WILLIAMS (SE) BRIAN JOSEPH (SE) African (OGD) SOMEBODY SAY AMEN with THE OAXACAN FOLK ART SHOW (SE) BILL KNOPF & TOM CORBETT w. CATHY FINK AND MARCY MARXER (SE) HIGH HILLS (SE) THE CLUMSY LOVERS (SE) English (OGD) HOLMES BROTHERS plus MUSICAL TRIBUTE TO GENE AUTRY (SE) THE CAMPBELL BROTHERS (SE) DAVID FERGUSON, KATHY CRAIG (SE) Balkan (OGD) GARRISON KEILLOR (SE) WHEN PIGS FLY (SE) International (OGD) MARK HANSON (SE) GLOBAL GUITARS w. JOHN YORK w.JOHN CHARILLO International (OGD) CESARIA EVORA (SE) Balkan (OGD) Irish (OGD) MICHAEL MCNEVIN and PAUL KAMM and JOHN TWIST (SE) & WALLY INGRAM, D'GARY (SE) Irish (OGD) Armenian (OGD) International (OGD) Israeli (OGD) & ELEANORE MACDONALD (SE) JANET KLEIN and HER PARLOR BOYS (SE) SUE WERNER (SE) Israeli (OGD) International (OGD) Israeli (OGD) Scottish (OGD) DAVID LINDLEY & WALLY INGRAM (SE) YUVAL RON TRIO (SE) CLAUDIA RUSSELL (SE) Morris (OGD) Israeli (OGD) Scandinavian (OGD) Big Jim's (OGM) ZELJKO JERGAN (SE) ORVILLE JOHNSON, MARK GRAHAM, International (OGD) ST. ANDREWS BALL (SE) Scandinavian (OGD) Scottish (OGD) Scottish (OGD) Viva Fresh (OGM) & TOM SAUBER (SE) Israeli (OGD) TOM RUSSELL & ANDREW HARDIN (SE) Scottish (OGD) Baker's Square (OGM) The Hideway (OGM) Songmakers (OGM) Contra (OGD) Polish (OGD) CLIFF WAGNER & THE OLD #7 (SE) Celtic Arts Center (OGM) Hallenbecks (OGM) Songmakers (OGM) Greek (OGD) Scottish (OGD) BELA FLECK & THE FLECKTONES (SE) Viva Fresh (OGM) Finn McCools (OGM) Highland Grounds (OGM) International (OGD) Awakening Coffee House (OGM) MORNING & JIM NICHOLS (SE) Kulak's Woodshed (OGM) Signal Hill House Jam (OGM) Cajun Way (OGM) Scottish (OGD) Highland Grounds (OGM) Contra (OGD) Vincenzo's (OGM) Songmakers (OGM) Me-N-Ed's (OGM) Lampost Pizza (OGM) Welsh Choir of So. California (OGM) Songmakers (OGM) Fendi's Café (OGM) The Ugly Mug Café (OGM) Vicenzo's (OGM) Finn McCools (OGM) 23 24 25 26 27 28 29

OAXACAN FOLK ART SHOW (SE) Balkan (OGD) International (OGD) LORD OF THE DANCE (SE) LORD OF THE DANCE (SE) African (OGD) LORD OF THE DANCE (SE) LORD OF THE DANCE (SE) SIGHTS AND SOUNDS OF NATIVE DANCE AND DRUMS (SE) Irish (OGD) Israeli (OGD) Armenian (OGD) (SE) International (OGD) NATIONAL DANCE COMPANY NATIONAL DANCE COMPANY OF (SE) KAREN MALL AND BRIAN JOSEPH (SE) Morris (OGD) Scandinavian (OGD) International (OGD) Balkan (OGD) Irish (OGD) OF IRELAND (SE) FLACO JIMENEZ (SE) Scottish (OGD) Israeli (OGD) International (OGD) Israeli (OGD) DAY AFTER THANKSGIVING PARTY (SE) ARCHIE FRANCIS (SE) PETER TORK Celtic Arts Center (OGM) Scottish (OGD) Israeli (OGD) Scottish (OGD) MARK HUMPHREYS (SE) Contra (OGD) Me-N-Ed's (OGM) plus JAMES LEE STANLEY (SE) Viva Fresh (OGM) Hallenbecks (OGM) Scandinavian (OGD) Big Jim's (OGM) FIESTA NAVIDAD (SE) Songmakers (OGM) UTAH PHILLIPS (SE) DENNIS ROGER REED (SE) International (OGD) Israeli (OGD) Kulak's Woodshed (OGM) Finn McCools (OGM) Scottish (OGD) Viva Fresh (OGM) Scottish (OGD) Songmakers (OGM) Curleys Café (OGM) The Hideway (OGM) Contra (OGD) Torrance Elks (OGM) Polish (OGD) Songmakers (OGM) Greek (OGD) Welsh Choir of So. California (OGM) Highland Grounds (OGM) Hungarian (OGD) Claremont Folk Music Center (OGM) Cajun Way (OGM) International (OGD) Finn McCools (OGM) Israeli (OGD) 30 Scottish (OGD) PETER HIMMELMAN (SE) International (OGD) Israeli (OGD) Vincenzo's (OGM) NATIONAL DANCE COMPANY Polish (OGD) Scottish (OGD) Lampost Pizza (OGM) OF IRELAND (SE) Welsh Choir of So. California (OGM) Fendi's Café (OGM) FIESTA NAVIDAD (SE) Finn McCools (OGM) (SE) November-December 2003 FolkWorks Page 15 FOLK HAPPENINGS AT A GLANCE DECEMBER 2003

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 5 6

CRUISE AND INTERNATIONAL CRUISE AND INTERNATIONAL CRUISE AND INTERNATIONAL CRUISE AND INTERNATIONAL CRUISE AND INTERNATIONAL DOS VIENTOS (SE) (SE) FOLK DANCE (SE) FOLK DANCE (SE) FOLK DANCE (SE) FOLK DANCE (SE) OLD MOTHER LOGO REUNION (SE) WILLIE NELSON (SE) BOB MALONE (SE) Balkan (OGD) ROBIN HOLCOLM and MONTEREY COWBOY POETRY & BRIAN JOSEPH (SE) WAYNE HORVITZ (SE) MUSIC FESTIVAL (SE) Balkan (OGD) & UNION STATION (SE) International (OGD) MONTEREY COWBOY POETRY & International (OGD) Armenian (OGD) Israeli (OGD) HOT CLUB OF COWTOWN (SE) DENNIS ROGER REED (SE) MUSIC FESTIVAL (SE) Irish (OGD) International (OGD) Scandinavian (OGD) WILLIE NELSON (SE) GUY VAN DUSER (SE) (SE) Israeli (OGD) Israeli (OGD) Scottish (OGD) African (OGD) MURIEL ANDERSON (SE) THE BLUES PIRATES (SE) Morris (OGD) Scottish (OGD) The Hideway (OGM) English (OGD) Contra (OGD) KALA JOJO (SE) Scandinavian (OGD) Hallenbecks (OGM) Songmakers (OGM) International (OGD) Greek (OGD) GUY VAN DUSER (SE) Scottish (OGD) Finn McCools (OGM) Highland Grounds (OGM) Irish (OGD) International (OGD) Contra (OGD) Celtic Arts Center (OGM) Signal Hill House Jam (OGM) Cajun Way (OGM) Israeli (OGD) Scottish (OGD) Me-N-Ed's (OGM) Viva Fresh (OGM) Scottish (OGD) Vincenzo's (OGM) Songmakers (OGM) Kulak's Woodshed (OGM) Big Jim's (OGM) Songmakers (OGM) Vicenzo's (OGM) Songmakers (OGM) Viva Fresh (OGM) Lampost Pizza (OGM) Santa Monica Folk Music Club (OGM) Fendi's Café (OGM) The Fret House (OGM)

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MONTEREY COWBOY POETRY & Balkan (OGD) Armenian (OGD) SCOTTISH CHRISTMAS African (OGD) THE TOM CORBETT BAND (SE) SCAMBOOTY (SE) MUSIC FESTIVAL (SE) International (OGD) International (OGD) (BONNIE RIDEOUT) (SE) International (OGD) FREEBO and friends (SE) THE COTTARS (SE) DAN ZANES (SE) Irish (OGD) Israeli (OGD) Balkan (OGD) Irish (OGD) THE COTTARS (SE) TOM SAUBER (SE) WILLIE NELSON (SE) Israeli (OGD) Scottish (OGD) International (OGD) Israeli (OGD) Cajun (OGD) CYNTIA SMITH AND SEPHARDIC SONGS OF THE SEA (SE) Morris (OGD) Hallenbecks (OGM) Israeli (OGD) Scottish (OGD) Contra (OGD) THE WATER LILIES (SE) International (OGD) Scandinavian (OGD) Finn McCools (OGM) Scandinavian (OGD) Big Jim's (OGM) Greek (OGD) GO TELL IT ON THE MOUNTAIN (SE) Polish (OGD) Scottish (OGD) Scottish (OGD) Viva Fresh (OGM) Hungarian (OGD) JEFF LINSKY (SE) Scottish (OGD) Celtic Arts Center (OGM) The Hideway (OGM) International (OGD) Contra (OGD) Israeli (OGD) Viva Fresh (OGM) Songmakers (OGM) Israeli (OGD) Me-N-Ed's (OGM) El Camino College (OGM) Kulak's Woodshed (OGM) Highland Grounds (OGM) Scottish (OGD) Songmakers (OGM) McCabe's (OGM) Curleys Café (OGM) Cajun Way (OGM) Vincenzo's (OGM) Vicenzo's (OGM) CTMS Center for Folk Music (OGM) Lampost Pizza (OGM) Welsh Choir of So. California (OGM) Fendi's Café (OGM) Larry Bane Seisun (OGM) Finn McCools (OGM)

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HANUKKAH FAMILY FESTIVAL with Balkan (OGD) THE CHEEZY TORTELLINIS (SE) WHEN PIGS FLY (SE) CLAYFOOT STRUTTERS (SE) CLAYFOOT STRUTTERS (SE) GEOFF MULDAUR (SE) UNCLE RUTHIE (SE) International (OGD) Armenian (OGD) Balkan (OGD) African (OGD) LIAN ENSEMBLE with AROHI (SE) CLAYFOOT STRUTTERS (SE) CARIBBEAN CHRISTMAS (SE) Irish (OGD) International (OGD) International (OGD) English (OGD) Contra (OGD) LIAN ENSEMBLE with AROHI (SE) (SE) Israeli (OGD) Israeli (OGD) Israeli (OGD) International (OGD) Greek (OGD) TIM TEDROW and TERRI VREELAND (SE) Contra (OGD) Morris (OGD) Scottish (OGD) Scandinavian (OGD) Irish (OGD) International (OGD) VASHTI (SE) International (OGD) Scandinavian (OGD) Baker's Square (OGM) Scottish (OGD) Israeli (OGD) Scottish (OGD) PENNY NICHOLS and Israeli (OGD) Scottish (OGD) Hallenbecks (OGM) The Hideway (OGM) Scottish (OGD) Vincenzo's (OGM) PATRICK LANDEZA (SE) Polish (OGD) Celtic Arts Center (OGM) Finn McCools (OGM) Songmakers (OGM) Big Jim's (OGM) Lampost Pizza (OGM) Contra (OGD) Scottish (OGD) Viva Fresh (OGM) Signal Hill House Jam (OGM) Highland Grounds (OGM) Viva Fresh (OGM) Fendi's Café (OGM) International (OGD) Highland Grounds (OGM) Kulak's Woodshed (OGM) Cajun Way (OGM) Songmakers (OGM) Me-N-Ed's (OGM) Welsh Choir of So. California (OGM) Songmakers (OGM) Finn McCools (OGM) Vicenzo's (OGM)

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LIAN ENSEMBLE with AROHI (SE) BALLET FOLKLORICO DE MEXICO Armenian (OGD) L.A. COUNTY HOLIDAY CELEBRATION (SE) CHRISTMAS DENNIS ROGER REED (SE) Contra (OGD) VASHTI (SE) FIESTA NAVIDAD (SE) International (OGD) Christmas Eve Contra (OGD) Me-N-Ed's (OGM) BALLET FOLKLORICO DE MEXICO Balkan (OGD) Israeli (OGD) Greek (OGD) Songmakers (OGM) FIESTA NAVIDAD (SE) International (OGD) Scottish (OGD) Hungarian (OGD) Vicenzo's (OGM) International (OGD) Irish (OGD) Hallenbecks (OGM) International (OGD) Israeli (OGD) Israeli (OGD) Finn McCools (OGM) Israeli (OGD) Polish (OGD) Morris (OGD) Scottish (OGD) Scottish (OGD) Scandinavian (OGD) Vincenzo's (OGM) Awakening Coffee House (OGM) Scottish (OGD) Lampost Pizza (OGM) Highland Grounds (OGM) Celtic Arts Center (OGM) Fendi's Café (OGM) Songmakers (OGM) Viva Fresh (OGM) Welsh Choir of So. California (OGM) Kulak's Woodshed (OGM) The Ugly Mug Café (OGM) Curleys Café (OGM) Finn McCools (OGM)

28 29 30 31 International (OGD) Balkan (OGD) Armenian (OGD) NEW YEARS EVE FOLK HAPPENINGS AT A GLANCE Israeli (OGD) International (OGD) International (OGD) Polish (OGD) Irish (OGD) Israeli (OGD) Scottish (OGD) Israeli (OGD) Scottish (OGD) Check out details by Torrance Elks (OGM) Morris (OGD) Hallenbecks (OGM) Welsh Choir of So. California (OGM) Scandinavian (OGD) Finn McCools (OGM) following the page references: Songmakers (OGM) Scottish (OGD) Claremont Folk Music Center (OGM) Celtic Arts Center (OGM) OGM: On-going Music - page 13 Finn McCools (OGM) Kulak's Woodshed (OGM) OGD: On-going Dance - page 16 SE: Special Events - page 28 Page 16 FolkWorks November-December 2003

ON-GOING DANCE HAPPENINGS DANCING, DANCING and more DANCING

AFRICAN DANCING ANAHEIM INTERNATIONAL WESTWOOD CO-OP FOLK DANCERS BEVERLY HILLS COMMUNITY CENTER FOLKDANCERS Thursdays 7:30-10:45pm $4 Thursdays - Beginners/ Intermediate YORUBA HOUSE Wednesdays 7:30-9:30 ¥ 511 S. Harbor, Anaheim Felicia Mahood Sr Club 7:30 - 9:00pm - $5.00 310-475-4440 11338 Santa Monica Blvd (at Corinth), L.A. La Cienega and Gregory Way [email protected] ¥ yorubahouse.net CAL TECH FOLK DANCERS Tuesdays 8:00-11:55pm Tom Trilling ¥ 310-391-4062 (between Wilshire/ Olympic Blvds.) ARMENIAN DANCING Cal Tech, Dabney Lounge, Pasadena WEST VALLEY FOLK DANCERS Ann McBride 818-841-8161 ¥ [email protected] OUNJIAN’S ARMENIAN DANCE CLASS Nancy Milligan 626-797-5157 Fridays 7:30-10:15pm $4 CALTECH Ð DABNEY LOUNGE Tuesdays 7:45-10:00pm [email protected] Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park Wednesdays ÐBeginner/Intermediate 8-10:30pm 17231 Sherman Way, Van Nuys CONEJO VALLEY FOLK DANCERS Jay Michtom 818-368-1957 ¥ [email protected] Cal Tech campus-Doug MacDonald 909-624-9496 [email protected] Susan Ounjian 818-845-7555 Wednesdays 7:30-9:30pm $1-2 IRISH DANCING Hillcrest Center (Small Rehearsal Room) COLUMBUS-TUSTIN GYM BALKAN DANCING 403 West Hillcrest Drive, Thousand Oaks CLEARY SCHOOL OF IRISH DANCE Wednesdays Beginner - 7:00 - 8:30pm CAFE DANSSA Jill Lundgren 805-497-1957 ¥ [email protected] www.irish-dance.net ¥ 818-503-4577 Intermediate - 8:30 - 10pm 11533 W. Pico Blvd., Los Angeles DUNAJ INT’L DANCE ENSEMBLE CELTIC ARTS CENTER 17522 Beneta Way, Tustin Wednesdays 7:30-10:30pm Wednesdays 7:30-10:00pm Mondays 8:00-9:00pm (ex. 1st Mondays) Shirley Saturensky 949-851-5060 Sherrie Cochran [email protected] Wiseplace 1411 N. Broadway, Santa Ana Irish Ceili, 4843 Laurel Canyon Blvd, Valley Village DANCE STUDIO, VALLEY COLLEGE 626-293-8523 [email protected] 818-752-3488 Mondays Beginner - 7:00 - 8:30pm hometown.aol.com/worldance1/CafeDanssaHome Richard Duree 714-641-7450 LOS ANGELES IRISH SET DANCERS Intermed - 8:00 - 10pm Pagephoto.html FOLK DANCE FUN Mondays 7:30pm - 9:30pm Ethel at Hatteras St., Van Nuys SAN PEDRO BALKAN FOLK DANCERS 3rd Saturdays 7:30-9:30 pm The Burbank Moose Lodge Aase Hansen 818-845-5726 ¥ [email protected] Mondays 7:30-9:30pm 8648 Woodman Ave., Van Nuys 1901 W. Burbank Blvd., Burbank EDISON COMMUNITY CENTER Dalmatian American Club Ruth Gore 818-349-0877 Thursdays 7:30pm - 9:30pm Thursdays Beginner - 7:30 - 9:00pm 17th & Palos Verdes, San Pedro HOLLYWOOD PEASANTS The Glendale Moose Lodge Intermediate - 7:30 - 9:30pm Dorothy Daw (562) 924-4922 OF CULVER CITY 357 W. Arden Ave., Glendale Renee Boblette Bob Patterson 714-731-2363 Laguna Folk Dancers Michael Patrick Breen 818-842-4881 BELLYDANCE LESSONS www.IrishDanceLosAngeles.com GOTTA DANCE II DANCE STUDIO Sundays 7:00 - 10:00pm Thursdays - Intermed/Advanced - 8:00-10:00pm Call for schedule/locations 384 Legion St. & Glenneyre, Laguna MARTIN MORRISEY SCHOOL Sonia’s Dance Center Mésmera, (323) 669-0333 • www.mesmera.com Ted Martin 714-893-8888 OF IRISH DANCE 8664 Lindley Ave., Northridge 818-343-1151 CAJUN DANCING INTERNATIONAL FOLK DANCE CLUB Deanna St. Amand 818-761-4750 ¥ [email protected] AT UCLA O’CONNOR-KENNEDY SCHOOL 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm LINDBERG PARK RECREATION BUILDING Mondays 9:00-11:00 pm Free OF IRISH DANCE Tuesdays 6:30-7:30pm children; South Pasadena War Memorial Hall UCLA Ackerman Student Union Building 818-773-3633 ¥ [email protected] 435 S. Fair Oaks Ave., South Pasadena 7:30-10:15pm adults Room 2414 ¥ 2nd Floor Lounge Westwood THOMPSON SCHOOL OF IRISH DANCE 5041 Rhoda Way, Culver City ¥ 310-820-1181 LALA LINE (626) 441-7333 310-284-3636 ¥ [email protected] Cecily Thompson 562-867-5166 ¥ [email protected] LONG BEACH COLLEGE ESTATES PARK For additional Cajun/ dancing: LA FOLKDANCERS users.aol.com/zydecobrad/zydeco.html ISRAELI DANCING Fridays - Beginners/ Intermediate -7:30 - 9:30pm Mondays 7:30-9:30 pm Helen Winton 562-430-0666 La Canada Elementary School ARCADIA FOLK DANCERS CONTRA DANCING Tuesdays 7:30-9:00pm LUTHERAN CHURCH OF THE MASTER 4540 De Nova St., La Canada 1st & 3rd Fridays Beginner/Intermediate CALIFORNIA DANCE CO-OPERATIVE Lila Moore 818-790-5893 Shaarei Torah, 550 N 2 St., Arcadia www.CalDanceCoop.org ¥ Hotline 818-951-2003 David Edery 310-275-6847 7:00 - 9:00pm LAGUNA FOLK DANCERS 725 East Ave J Lancaster 1st Fridays - Lesson 8:00 Dance 8:30-11:30pm Wednesdays 8:00-10:00pm COSTA MESA ISRAELI DANCERS Aase Hansen 818-845-5726 South Pasadena War Memorial Hall Wednesdays 7:00-11:30pm Sundays 8:00-10:00pm NEWPORT-MESA BALLET STUDIO 435 S. Fair Oaks Ave., South Pasadena Laguna Community Center JCC of Orange County ¥ 250 Baker St., Costa Mesa Dennis 626-282-5850 ¥ [email protected] Yoni Carr 760-631-0802 [email protected] Fridays Beginner - 7:30 - 9:30pm 384 Legion Ave & Glenneyre, Laguna Intermediate - 7:30 - 9:30pm 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm Richard Duree 714-641-7450 LA CRESCENTA DANCERS Shirley Saturensky 714-557-4662 Brentwood Youth House [email protected] Wednesdays 7:00-8:30pm 731 So. Bundy, Brentwood Church of Religious Science RANCHO SANTA SUSANA COMM. CTR. LEISURE WORLD FOLK DANCERS Mondays Children - 6:30 - 7:30pm Jeff 310-396-3322 ¥ [email protected] Tuesdays 8:30-11:00am Saturdays 8:30-11:00am 4845 Dunsmore Ave., La Crescenta Karila 818-957-3383 Kathy Higgins 805-581-7185 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm Club House 1, Leisure World, Laguna Hills Beginners - 7:30 - 9:00pm Epoiscopal Church Florence Kanderer 949-425-8456 AT UCLA Mary Lund 818-996-5059 3847 Terracina Drive, Riverside MOUNTAIN DANCERS Mondays 9pm UCLA Ackerman Union 2414 5005-C Los Angeles Ave., Simi Valley Meg 909-359-6984 ¥ [email protected] Tuesdays 7:00-9:30pm James Zimmer [email protected] ¥ 310-284-3636 ROYAL SCOTTISH COUNTRY DNC. SOC. 2nd Saturdays - Lesson 7:30 Dance 8:00-11:00pm Oneyonta Congregational Church Knights of Columbus Hall Sierra Madre Masonic Temple 1515 Garfield Ave., South Pasadena ISRAELI DANCE WITH JAMES ZIMMER Tuesdays Beginner - 7:00pm Intermed - 8:15pm 33 E. Sierra Madre Blvd., Sierra Madre Rick Daenitz 626-797-16191 Tuesdays 8:00-11:00pm 224-1/2 S. Sepulveda Blvd., Manhattan Beach Frank 818-951-4482 ¥ [email protected] NARODNI FOLKDANCERS West Valley JCC, Ferne Milken Sports Center Wilma Fee 310-546-2005 310-378-0039 2nd Sundays Thursdays 7:30-10:30pm $3 22622 Vanowen Street, West Hills [email protected] Slow Jam 2:00pm Lesson 3:30 Dance 4:00-7:00pm Dance America, 12405 Woodruff Ave., Downey Thursdays 8:00-9:30pm Sundays 2:00-3:00pm SCOTTISH COUNTRY DANCE La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne John Matthews 562-424-6377 ¥ [email protected] Wednesdays 562-916-8470 Gretchen 909-624-7511¥ [email protected] Encino Community Center, LA Recreation & Parks PASADENA FOLKDANCE CO-OP 4935 Balboa Blvd, Encino 818-995-1690 Jack Rennie ¥ [email protected] 3rd Fridays - Lesson 8:00 Dance 7:30-11:30pm Fridays 7:45-11pm Teaching to 9pm $2 2nd Fridays 9pm Free SOUTH PASADENA WAR MEMORIAL South Pasadena War Memorial Hall Throop Unitarian Church 4th Fridays 9 pm Free Sundays Beginner - 7:00 - 9:00pm 435 S. Fair Oaks Ave., South Pasadena 300 S. Los Robles, Pasadena Maltz Center, Temple Emanuel-Beverly Hills 435 Fair Oaks Ave., South Pasadena Marie 626-284-2394 ¥ [email protected] Marshall Cates 626-792-9118 8844 Burton Way Beverly Hills Alfred McDonald 626-836-0902 [email protected] 3rd Saturdays [email protected] 310-284-3638 [email protected] Throop Memorial Church RESEDA INT’L FOLK DANCERS UNIVERSITY OF JUDAISM ST. PAUL’S EPISCOPAL CHURCH 300 S. Los Robles Ave, Pasadena Thursdays 3:00-4:45pm Wednesdays 7:30-10pm Thursdays Beginner - 7:30 - 9:30pm Barbara 310-957-8255 ¥ [email protected] Reseda Senior Center ¥ 18255 Victory Blvd Reseda 5600 Mulholland Drive, Los Angeles Intermediate - 7:30 - 9:30pm JoAnne McColloch 818-340-6432 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Natalie Stern 818-343-8009 Don Karwelis 714-730-8124 Brentwood Youth House ROBERTSON FOLK DANCE VINTAGE ISRAELI THE DANCE ACADEMY 731 South Bundy Drive Mondays 10:00-11:30am Anisa’s School of Dance Mondays Intermed - 8:00-10:00pm Peter 562-428-6904 ¥ [email protected] 1641 Preuss Rd., Los Angeles 310-278-5383 14252 Ventura Blvd., Sherman Oaks 24705 Narbonne at 247th St., Lomita 5th Saturday - Dance 7:00-11:00pm (Experienced) SIERRA MADRE FOLK DANCE CLASS [email protected] Jack Rennie 310-377-1675 [email protected] Mondays 8:00-9:30pm Throop Memorial Church MORRIS DANCING TORRANCE CULTURAL CENTER 300 S. Los Robles Ave, Pasadena Sierra Madre Recreation Building Fridays Beginner - 7:00 - 8:30pm Chuck 562-427-2176 ¥ [email protected] 611 E. Sierra Madre Blvd., Sierra Madre PENNYROYAL MORRIS Intermediate - 8:00 - 10:00pm Ann Armstrong 626-358-5942 Mondays 7:00pm Between Torrance & Madrona, Torrance THE LIVING TRADITION SOUTH BAY FOLK DANCERS Debi Shakti & Ed Vargo 818-892-4491 Jack Rennie 310-377-1675 [email protected] www.thelivingtradition.org Sunset Morris ¥ Santa Monica 2nd Fridays 7:45-9:45pm VENTURA COLLEGE DANCE STUDIO Jim Cochrane 310-533-8468 [email protected] 4th Fridays - Lesson 7:30 Dance 8:00-11:00pm Torrance Cultural Center Fridays Beginner - 7:00 - 8:30pm Rebekah Hall, 406 East Grand Ave., El Segundo 3330 Civic Center Dr., Torrance SUNSET MORRIS Intermediate - 8:00 - 10:00pm Diane 310-322-0322 ¥ [email protected] Beth Steckler 310-372-8040 Clive Henrick 310-839-7827 [email protected] 4667 Telegraph Road, Ventura 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm TUESDAY GYPSIES WILD WOOD MORRIS Mary Brandon 818-222-4584 Downtown Community Center Tuesdays 7:30-10:30pm $7.50 6270 E. Los Santos Drive, Long Beach 250 E. Center St.@Philadelphia, Anaheim Culver City Masonic Lodge Julie James 562-493-7151 Bea 562-861-7049 [email protected] 9635 Venice Blvd., Culver City [email protected] ¥ wildwoodmorris.com Gerda Ben-Zeev: 310-474-1232 [email protected] ENGLISH COUNTRY DANCING Millicent Stein 310-390-1069 POLISH DANCING BEFORE ATTENDING CALIFORNIA DANCE CO-OPERATIVE TROUPE MOSAIC GORALE POLISH FOLK DANCERS www.CalDanceCoop.org Tuesdays 6:30-8:30pm Sundays 6:00-8:00pm ANY EVENT Pope John Paul Polish Center 1st & 3rd Thursdays 8:00-10:00pm Gottlieb Dance Studio ¥ 9743 Noble Ave., North Hills Mara Johnson 818-831-1854 3999 Rose Dr., Yorba Linda First United Methodist Church Rick Kobzi 714-774-3569 ¥ [email protected] Contact the event producer to verify information 1551 El Prado, Torrance VESELO SELO FOLK DANCERS before attending any event. (Things change!!!) Giovanni 310-793-7499 ¥ [email protected] Thursdays, Fridays 7:30-10:30pm PERSIAN DANCING (intermediate class) GREEK DANCING SHIDA PEGAHI CORRECTIONS Saturdays 8:00-11:00pm Tuesdays 6:00pm ¥ (310) 287-1017 KYPSELI GREEK DANCE CENTER Hillcrest Park Recreation Center FolkWorks attempts to provide current and Fridays 8:00-11:30pm $5.00 1155 North Lemon & Valley View, Fullerton SCANDINAVIAN DANCING accurate information on all events but this is not always possible. Skandia Hall 2031 E. Villa St., Pasadena Lorraine Rothman 714-680-4356 SKANDIA DANCE CLUB Joan Friedberg (818)795-8924 WESTCHESTER LARIATS (Youth Group) Wednesdays 7:30 - 10:00pm $5 Please send corrections to: Dalia Miller Mondays 3:30-9:30pm $30 or $40/10-wk session Lindberg Park ¥ 5401 Rhoda Way, Culver City [email protected] or 818-785-3839 818-990-5542 ¥ [email protected] Westchester United Methodist Church Sparky (310) 827-3618 HUNGARIAN DANCING 8065 Emerson Ave., Los Angeles Ted Martin [email protected] Diane Winthrop 310-376-8756 [email protected] LIST YOUR EVENT! led by Cameron Flanders & John Chittum To have your on-going dance event listed in HUNGARIAN CLASS (BEGINNING) WEST HOLLYWOOD FOLK DANCERS 2nd & 4th Fridays 8:30-10:30pm $7.00 SKANDIA SOUTH FolkWorks provide the following information: Wednesday 10:15-11:45am Mondays 7:30-10:30pm • Indicate if it’s an on-going or one-time event Gypsy Camp 3265 Motor Ave., Los Angeles West Hollywood Park, San Vicente & Melrose Jon Rand 310-202-9024 ¥ [email protected] Downtown Community Center • Category/Type of Dance (i.e., Cajun, Folk) W. Hollywood ¥ Tikva Mason 310-652-8706 250 E. Center, Anaheim • Location Name • Event Day(s) and Time INTERNATIONAL FOLK DANCING WEST L.A. FOLK DANCERS Ted Martin 714-533-8667 [email protected] • Cost • Event Sponsor or Organization ALTADENA FOLK DANCERS Mondays Lesson 7:45-10:45pm SCOTTISH DANCING • Location Address and City Wednesdays 10:30-11:30am Fridays 7:45-10:45pm • Contact Name, Phone and/or e-mail Thursdays 3:00-4:00pm Brockton School ¥ 1309 Armacost Ave., West L.A AMERICAN LEGION HALL Altadena Senior Cntr ¥ 560 E Mariposa St., Altadena Beverly Barr 310-202-6166 Sundays Highland - 5:00-7:00pm Send to: Karila 818-957-3383 [email protected] Advanced - 7:30 - 9:30pm [email protected] or 818-785-3839 412 South Camino Real, Redondo Beach Fred DeMarse 310-791-7471 [email protected] November-December 2003 FolkWorks Page 17

interview A Conversation with Bess Lomax Hawes

BY ROSS ALTMAN

ess Lomax Hawes is the daughter of drowned, and there were 900 of them. If you famed folklorist John Lomax and the sing everybody’s name in a verse, sister of Alan Lomax. During her stu- you’ve got pages and pages and pages of noth- dent days at Bryn Mawr College she ing but names…finally, we all kind of liked it, B met many of the folk musicians then but we didn’t think it would go…we couldn’t living in New York and performed sing it ourselves…it was too much to remem- with them at informal gatherings. Out of this grew ber…so then Pete came up with the idea of The that included among others, ‘what were their names,’ “Why don’t you turn Pete Seeger, Woody Guthrie, Sis Cunningham, it around that way, Woody, then you can put in Bess and Butch Hawes, who she was later to some names if you want to but you don’t have marry. She co-wrote The M.T.A. Song which was to put all of them.” made famous by the Kingston Trio. She later in The Almanac Singers in Detroit c. 1942. From left: Charles FW: Brilliant solution. her career joined the faculty of San Fernando Polacheck, Bess Lomax, Butch Hawes, Arthur Stern Valley State College (later California State BLH: The trick of song editing is very special. FW: Comment, if you would, about your feelings University Northridge) where she was an instruc- America out of World War II basically. tor of anthropology. In 1975 Hawes started and as you moved from a peacetime repertoire practi- helped produce the Smithsonian’s Bicentennial BLH: Mm-hm. I’m just kind of giving a rough cally overnight to war songs. idea of the politics of that era. I don’t want to Folklife Festival and then joined the NEA in 1977 BLH: We were children of the period. Nobody spend too much time on that because it really as an administrator. She created the Heritage was over about 20 years old—we were kids. has been written about a lot and it’s mostly Fellowships Program during her 16-years as And we did what was the big thing, what was been written about very badly, by people with director of the NEA’s folk arts division and going on. We talked about it a lot, we worried particular… President Clinton honored her with a National about it a lot; we took it very seriously. I can’t Medal of Arts in 1993. The Bess Lomax Hawes FW: …axes to grind? say that we were models of any kind of consis- National Heritage Fellowship recognizes extraor- BLH: Yeah, yeah. tency. I don’t think anybody was at that peri- dinary ‘keepers of tradition’ who teach, collect, FW: In what respect? od. Any 19 year old that tells you they never preserve and advocate folk and traditional arts. changed their mind about anything or never FolkWorks: This is Ross Altman and I’m sitting BLH: Well, they either were very left or they stopped and did something else…I think is here with Bess Lomax Hawes in her home in were very right and they wanted to prove their foolish, or lying or something. point or the other point…but kind of a sober West Hills, CA on July 10, 2003. At the moment FW: That’s a beautiful picture of you, isn’t it? we are looking at a book called Songs for history has not been done…I don’t think. BLH: It’s a nice picture. Political Action, 1926-1953: Folk Music, Topical FW: When did you join the Almanac Singers? Songs and The American Left, put out by Bear BLH: In 1941. When I got out of college. FW: You’re drop dead gorgeous, if I may say. Family Records. I am showing Bess some pic- FW: And this was before Pearl Harbor? BLH: Well, thank you. This was done in tures of the Almanac singers in Detroit in 1942. Detroit. What happened was that after every- BLH: Mm-hm. FW: I heard that the Almanac Singers were called body went off to war, the people who were left “the only group that rehearsed on stage.” FW: And this was in New York City? and were active were Sis Cunningham and me. BLH: Mmm-hmmm. Probably. It’s true. We BLH: That’s right. I’d been going to school in FW: And Sis went on to found Broadside? were very casual. The idea was to get other Pennsylvania and when I graduated it was BLH: Well, she wasn’t thinking about it then. people to sing too. It was kind of informal. I from Bryn Mawr College. I had been singing She was just being an Almanac Singer. Arthur think too informal—it didn’t compete well with them occasionally on weekends when I Stern was a good bass and he bassed for Lee with other things that were going on at the could get down to New York. (Hayes) whenever we needed a bass. Charles same time. When the war came, World War II, FW: What was your first contact that got you into Polachek came in at that stage. Anyway, the the Singers essentially broke up. Pete went into that…? auto workers’ union called up Pete and said the Army, also my brother, who came around BLH: My father and both they wanted to hire the Almanac Singers to occasionally. Woody joined the Merchant worked for the WPA and were involved in the come out and sing at all of their local unions in Marines. My brother joined the Merchant music department there. Now Charles was Detroit. It was a two-month job, so we took Marines. My husband was 4-F and couldn’t do married to . She was a off—all that could travel. And that was these anything. very well known feminist composer of the peri- four. FW: How did you meet Butch? od. She was doing the music for a book that FW: You’ve got a mandolin in your hand (refer- BLH: He was a brother of John Peter Hawes, father was doing. Both families were starting ring to picture). who was one of the first of the four Almanacs. to work together as well as know each other BLH: It was Woody’s old mandolin. socially. I met Pete when he came down from He was a Boston boy and I don’t know how he FW: How did you get Woody’s old mandolin? met Pete—he got around a lot. It was all very Harvard for Christmas vacation visiting his casual and kind of friendly. People getting folks. BLH: He put his foot through it. together to do something and we thought we FW: This was before he went into the Army? FW: Didn’t play well enough for him any more? were doing something very important, that BLH: Yes. Nobody went into the army until BLH: Well, I fixed it over with Scotch Tape— was to remind people that they came from a they had to. There was a draft on if you recall. he had smashed the whole front of it. very complicated culture that was interesting It effectively blew up the Almanacs. All of the FW: How did he happen to put his foot through and that had songs in it and had a lot of things strongest people were gone. to say for itself. And always had. We did con- it? Was it an accident? sider ourselves basically speaking left wing, FW: Well, you went from doing the album of BLH: He was mad… peace songs—was it Songs for ? but as I said before everybody of that period FW: He was mad… did. You were one kind of a left winger or BLH: Mm-hm. BLH: He was arguing with Pete. It was in the another or else you were a fascist. Of that era, FW: Then Pearl Harbor and then Woody Guthrie front seat of the car. that was about it. The middle range took a was quoted as saying “I guess we’re not going to FW: You remember what they might have been very long time to get any kind of motion going, be singing those peace songs anymore.” And very arguing about? but this came out of a period when the quickly the Almanac Singers started to do— American student had been very largely politi- there’s no way else to describe them—pro-war BLH: No…whatever. cized by a number of factors, one of which was songs like The Reuben James. You were saying FW: Well, Woody’s already got the sign that the . There was a huge peace that Woody’s song about the Reuben James went says, “This machine kills fascists” on his gui- movement that I joined way before I ever got on for 40 pages. tar…and this is 1942…so you had Woody’s man- involved with the Almanac Singers or anything dolin… like that. BLH: I don’t remember how long it was, but it included the name of every sailor who was FW: So this was a peace movement to keep BESS LOMAX HAWES page 24 Page 18 FolkWorks November-December 2003 MY FATHER & THE RATTLESNAKES

he island was just this great big Mexico and Montana, forest fires from “Trock with steep sides and the Mexico to Alaska. landing strip led straight up and They were always good, always thrilling, over the edge. . .” often funny. My father’s hand inclined dramatically at Then one day while re-wiring his DC-7, eighty degrees, then fluttered towards a more my father had a heart attack, then a stroke, plausible thirty. He was telling me about his then weeks of intensive care. “He’s had a lot latest flight to Baja California with a DC-3 of brain damage,” warned the doctor. “He’ll full of natural scientists and their equipment. probably be a vegetable.” “The plane was stuffed to the gills and I took an Atlas to the hospital. He looked struggling up this damned hill on the shortest up pleasantly, not at all like a turnip or a car- runway I’ve ever seen and, before I got her up to ence books. He just said, “They do. Just that one rot. His speech was unintelligible but had a speed, we were over the edge!” He paused for island. They climb trees. Real rattlesnakes. No familiar conversational ring to it. I opened the effect. rattles.” Atlas. “BOOM! She dropped like an elevator. I “But, Dad,” I explained, “there are other pit “I can’t find Christmas Island,” I said. He yelled at her ‘get your #!$*%$@ ass in the air!’” vipers without rattles, like copperheads and moc- leafed clumsily through the pages till he came to “What happened?” I asked, on cue, as I’d casins. You don’t need something called a rat- the South Pacific and pointed out the tiny island. been doing since childhood. tlesnake without rattles.” “Where’s Trinidad? You used to fly there but “That little baby dug in like an eagle trying to My father had the most pleasant of faces, eyes I never knew where it was.” catch a thermal. I could practically see her wings that met yours directly and an agreeable smile no He showed me Trinidad. wrap around the air. We got our tires wet, that’s matter what your objection or demand, no matter “And where are the rattleless rattlesnakes?” I all.” how angry, hysterical, or confused you were. In asked, grinning. My father had been telling me stories all my truth, he never said much, just conveyed the With great delight he found the Sea of Cortez life. They were always exciting, interesting, and sense that he loved you and was on your side, and and the tiny island of Santa Catalina. I knew then beyond verification, which had never much both- let you draw your own conclusions. he’d be all right. ered me. He’d flown every kind of plane every- It wasn’t just his kids who left encounters He lived another fifteen years and I never where and had brought back hundreds of movies thinking they’d won concessions. Landlords, challenged him again about the snakes. and still photos, lending authenticity to every- businessmen, solicitors, too, departed feeling sat- Yesterday, when I started this story, I searched thing he said. isfied until they realized they’d gotten out the the Internet for “rattleless rattlesnakes” and This new story was up there with the best and door without the rent, the signature, or the dona- learned immediately what I should have known I was smiling with unquestioning pleasure when tion. all along: that Santa Catalina Island was the only he added “Funny thing about that trip, one island Like many magicians, he simply let his audi- home of the rattleless rattlesnake, Crotalus had rattlesnakes without any rattles.” ence see what it wanted to see, so I saw that he catalinensis. The San Diego Natural History It all snapped back into place: my mother’s accepted my logic, that all those snakes were, if Museum had pictures and descriptions of these description of him as a pathological liar, the not gopher snakes, some kind of imported cop- slender snakes that climb through bushes to hunt intellectual superiority I’d adopted in college, my perhead. birds. The herpetologists surmise that ancestral zoology classes, and my snake books. Ten years later, when I’d been camping in snakes whose rattles didn’t develop had an evo- “Sure, Dad, sure,” I said, “but rattles define Baja California, he asked if I’d gone to the island lutionary advantage over their noisy cousins the rattlesnake; how can you have a rattlesnake and seen the rattleless rattlesnakes. Once again I when it came to sneaking up on birds. without them?” argued with him. Laughing pleasantly, not So my father was right. I’d apologize, if I You could never shake him from a position, patronizingly, he agreed that it was hard to could, for doubting him, but I don’t imagine he not with sarcasm, not with anger, not with refer- believe because they were very rare. ever really believed that I did. The years went by, filled with tales of Valerie Cooley lives in West Los Angeles and loves storms, crippled folk music, dancing, and crafts. She co-chairs the planes, airports without Banner Committee for the CTMS Summer Solstice landing lights, fanatical Festival where she is able to indulge her love of and menacing FAA pretty colors, fabrics, and the enthusiasm of the inspectors, movie stars people who put them together. on hunting trips to DEAR ALICE

Dear Alice, How do I start a band? - Closet Picker Dear Closet Picker, Pick that closet lock (or did you have trouble finding the key in the first place?), get out there and jam with folks. You’ve got Folkworks in your hands, now use it! I suggest that you go to a few different jams and find out who you’re comfortable with. After some time, you’ll find that you gravitate to a couple of players who mesh with you, whether in ability, taste, or personal chemistry. At that point, it’s all a matter of asking, “Will you play with me?” Alternatively, once you’ve gotten to that point, you could line up a gig beforehand and see who wants to join you for that adventure, and who knows? Maybe you’ll get along well together and do some more. - Alice

Dear Alice, I am hopeless when it comes to fashion. I never know what to wear to anything and frequently make bad choices, so I am asking your advice. I have become interested in contradancing, but cannot figure out what to wear to my first dance. Please help. - First-timer Dear First-timer, The key to your happiness is going to be comfort. You don’t want to be distracted by an itchy collar or wondering whether or not your skirt is too short while you’re trying to follow the caller. Also bear in mind that after a couple of dances (depending on your conditioning) you’re going to be sweating like crazy - some folks even bring a change of shirt and deodorant to the dances. So - leave the fairy wings at home, gauge your perspiration factor, and bring along appropriate dancing shoes. - Alice November-December 2003 FolkWorks Page 19

CD REVIEW PASSINGS Artist: ALISON KRAUSS + UNION STATION Title: ALISON KRAUSS + UNION STATION LIVE DVD Label: ROUNDER DVD VIDEO DESMOND STROBEL Release Date: , 2003 Dance Master Extrodinaire, passed away on BY DENNIS ROGER REED Monday, September 29th, 2003, in his farm- house in Galena, Illinois. He was an incredi- ill Monroe is hailed ble force, almost single-handledly creating Bas the father of the contradance community in Los Angeles , but to a new generation of (Who can forget the Bi-Monthly Balls?). He bluegrass fans, there is anoth- was teaching and inspiring dancers to the er name that in time may very day he died. He is survived by a son, come to supplant Monroe’s… Alison Krauss. Autie, and a heck of a lot of contradancers. Krauss would be the first to scoff at this concept, but arguably her name and her style of music, which incor- porates bluegrass but is not bound by it, has now reached an audience far wider than Monroe’s. Calling Krauss’s style bluegrass is a disservice to both the genre and Krauss. She takes the instrumentation of bluegrass and adds elements of sophisticated pop, gospel, rock, swing and even some jazz. As such, the stalwarts of bluegrass often have issue with Krauss and Union Station, but to the general music buying audience, her music is best labeled as “appealing.” So the release of “Alison Krauss + Union Station Live” on DVD is a her- alded event. The two disc set consists of a full concert performance, inter- views with each band member, and the usual “behind the music” features. Krauss is always generous in spotlighting band members, and the concert DVD is no exception, highlighting on O Brother Where Art Thou’s hit I Am a , and providing showcases for banjo/guitar player and Dobro™ king . The con- cert, filmed in Louisville, KY, is a multi-camera, professional production with excellent sound and film quality. Krauss and Union Station trot out all their hits, a few surprises and take no prisoners. Alison and Union Station are a totally adept unit, professional without being too slick. Krauss is sur- prisingly funny in her between song patter. Gone are the awkward pauses and somewhat too “aw shucks” gushing of her early career. Her road and bus stories have an off the cuff, spontaneous quality that make them that much more humorous. Primarily she spoofs her band members, but takes a few shots at herself as well. Union Station are a dream band, with pure hair- raising vocal harmonies, and instrumental chops that are often jazz-like in their improvisation, but still retaining the clear sound of bluegrass. Krauss’s more pop excursions, featuring the drumming of Larry Atamanuik, stray miles from bluegrass, but the obviously appreciative audience doesn’t mind. The performance is expert and entertaining. Besides the full concert video, a second DVD has almost an hour of interviews with all band members, discussing their backgrounds, influences, etc. For some reason, only Krauss, Douglas and Tyminski are asked about their instruments, so we’ll have to forego finding out what kind of bass plays, or what brand of drums Atamanuik pounds. Block isn’t asked about his banjo, but it looks like the two marvelous sounding guitars he plays during the concert are recent Bourgeois models. Still, there’s a sense of fun in the interview segments. Krauss occasionally lapses into goofy voices, and Tyminski is obviously a bit ill at ease, with a short seg- ment of his sweaty brow being toweled off. Krauss and Union Station come off as a likeable group of folks. Overall, this is a good investment for fans, and a good introduction for those interested in learning and hearing more. Page 20 FolkWorks November-December 2003 IF YOU LOVE ME

y friend Rachael — like me, a music are two reasons. Let me state them through anec- Let it go, Sally, Let it go and give it to me, Mteacher — is on the phone, almost in dotal stories. Let it go, Sally! Sally let it go with a One, tears, “So Marcy, a really good Some years ago I walked into a classroom and Two, Three. teacher, says ‘I’m not sending Lilly to music saw the words “NO JUICE” on the blackboard, I know that I’m your teacher—I know I’m today — she misbehaved in P.E. so I’m taking and under it, six names. Never mind that this is bigger than you, music away from her because she loves it.’” actually against the law — here’s the real prob- I don’t wanna take it from you—here’s “You can’t do that!” Rachael tells her, “I am lem. It was nine fifteen in the morning. Juice time what I want you to do... a credentialed teacher just like you and this is my was at ten-thirty. A child who misbehaves at Let it Go, Sally...... etc. music class and Lilly is one of my students this nine, may have three or four educational success- period and your P.E. teacher needs to deal with es before juice time. This child will be totally I find songs for teachers about anything...I misbehavior in the P.E. class. I confused. She has just find out what the classes are working on and I will deal with Lilly in my class spelled five words correct- find or write a song. I call the latter “prescrip- and perhaps I can give her a UNCLE RUTHIE ly—he has aced his math tive” songs. I have songs about opposites, the really positive experience and quiz. WHY ARE THESE long “I,” pooping in the toilet, children’s rights, be able to praise her for her KIDS BEING PUNISHED? you name it. If any of you teachers out there good behavior.” Because their teacher does would like to have a copy of any of my prescrip- The teachers retort was that not understand behavior tive songs, just let me know. P.E. was mandated by Lilly’s management. Praise is We have this wonderful organization called IEP (Individual Education always more effective than Nutrition Network in our schools. This week Plan) and music was not. And punishment. And if punish- every classroom received a big bag of different that Lilly would not be in ment is needed, (and some- kinds of apples, and a fact sheet on apples that music class that day and that times it is) it should be taught me a lot I didn’t know about apples, (and was that! immediate. I am a farm girl!) And I wrote a new Johnny Rachael’s day was ruined The second reason is that Appleseed song: by this encounter, so she called most teachers do not under- Swinging in his little cradle, me and almost succeeded in stand what good music in the apple tree ruining mine. “I’m not the sort teachers do. As a music Was a special baby boy, of teacher who goes running to teacher I have traveled to well known to you and me, her principal for every prob- many schools doing con- He loved red apples lem” she assured me, “but this certs for the kids and work- and he grew up like a weed, is so wrong! What can I do?” shops for the teachers in Never dreaming that someday Well, I am also not that sort which I show them that we’d call him, JOHNNY APPLESEED! of teacher, but I can talk about this problem here, music is not just something that occurs in a half (CHORUS) in my column. Because I know that many of hour music period, but should occur all day long So, thank you Johnny Appleseed; FolkWorks readers are music teachers as well as in the classroom. Music is a necessary form of you gave us what we really need musicians, and we have all had this problem — educational enrichment. It enriches language, Because you walked across our land, the devaluation of music class in the public math, history, geography, science, nutrition, and you left this apple in my hand! schools. emotional development. Music enriches our I also taught my older classes Malvina Two years ago a teacher in my school began lives. We all know that. Reynold’s lovely song, If You Love Me which is sending just three or four kids to music class, cit- But did you know that music happens not about love, roses, and apple trees. Copies avail- ing bad behavior as the reason. I objected, I told only in the cerebrum, but also in the “old brain,” able. her why I thought it was not an effective punish- the cerebellum, where emotional experiences are So, music teachers, tell your principals and ment, I suggested alternative strategies, and on stored. Music is the permanent glue of learning. teachers what it is we music teachers really do, the day that only two children appeared, I sched- Music can change (improve) behavior (it can and tell them, “‘If you love me’, let me do my uled a meeting with my principal, who explained also bring on negative behavior, but I don’t work work!” that in her school, music was a subject, a class; in the mainstream music field!). We had a great My radio show is on KPFK 90.7 FM not a reward or a punishment! Sometimes you big strong girl three years ago who would not let every Saturday morning at 10am... coming really have to go to the principal; don’t forget — go of any object. Her teacher asked me for a up, what else — an Apple Show. Tape it for the official title is not just “Principal” but song. your listening centers. And my e-mail is “Principal Teacher.” I came up with a paraphrase of and old pop [email protected]. Why does this problem occur? I think there song (Derivative is my middle name): OLD MOTHER LOGO REUNION CONCERT SATURDAY, , 2003 8:00 PM 2160 18TH STREET (18TH & ARIZONA) • SANTA MONICA TICKETS: $17/$15 FOLKWORKS MEMBERS ADVANCE PURCHASE RECOMMENDED SEND SASE TO: FOLKWORKS - P.O. BOX 55051, SHERMAN OAKS, CA 91413 SPONSORED BY November-December 2003 FolkWorks Page 21

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ALTAN, ERIC ANDERSON, ARA G, FRANKIE ARMSTRONG, ASHA'S BABA, BABES WITH AXES, REX MAYREIS, BAKSHEESH BOYS, JIM COPE, , TONY BARRAND, BARTON AND SWEENEY, MACNEILS, , CATHY BARTON AND DAVE PARA, BATTLEFIELD BAND, LOU AND PETER BERRYMAN, , TOM SAUBER, , LUKA BLOOM, EVO BLUESTEIN, , , ROY BOOKBINDER, BOTHY BAND, BOB BOVEE AND GAIL HEIL, BOYS OF THE LOUGH, GREG BROWN, , DAVID ASCHER, , , CAPERCAILLIE, ROSS ALTMAN, , TURLOUGH CAROLAN, AND TRACY GRAMMER, PETER CASE, JOANNA CAZDEN, , STEVE SHAPIRO, CHIEFTAINS, CHRISTY MOORE, , BRUCE COCKBURN, , , , CORDELIA'S DAD, JOE CRAVEN, BARBARA DANE, , ERIK DARLING, , STAN SMITH, , , ANI DIFRANCO, , RAMBLIN' JACK ELLIOTT, NORMA NORDSTROM, FERRON, BELA FLECK, FLOOK, FOR OLD TIMES SAKE, FOUR MEN AND A DOG, KAY & CLIFF GILPATRIC, BOB FRANKE, FUGS, BEPPE GAGAMBETTA,MBETTA, DICDICKK GAUGHAN, MATT REESE, VANCE GILBERT,GILB STEVE GILLETTE & CINDY MANGSEN,SEN, JIMMIE DALE GILMORE, CHRIS HENDERSHOT, JOHN GORKA, GREEN MAN, GREAT BIG SEA, CHRIS COOPER, SARA GREY, 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CD REVIEWS Artist : THE WICKED TINKERS Artist: VARIOUS ARTISTS Title : BANGER FOR BREAKFAST Title: J’AI ÉTÉ AU BAL (I WENT TO THE DANCE) Label : THISTLE PRICK PRODUCTIONS, 2003 Label: BRAZOS FILMS BY PAT MACSWYNEY BY TOM “TEARAWAY” SCHULTE

It was while playing together in the This is a film legendary filmmaker Les Blank (Werner Herzog Eats His Irish string band Buzzworld during the Shoe, Burden of Dreams). It is a shining example of how any celebration of mid-1990’s that Warren Casey first men- a roots genre should be. Les Blank takes us from the earliest roots of Cajun tioned The Wicked Tinkers and that I music springing from traditional French music of displaced Acadians mix- first heard what was to become their debut ing with Creoles to how the music continues to live and thrive in zydeco. recording Brutal; the day-glow yellow Along the way there are numerous interviews and lots of great, live music. cassette featuring a British Colonial clad , Queen Ida, , Wayne Toups and more are in kilt and safari helmet about to disem- highlighted in this lively, entertaining and informative feature. It exists as bowel some poor unfortunate subject of not only a celebration and exploration of the Cajun-zydeco spectrum the realm. Well, by track 2, Pumpkin’s through first-person accounts and testimonials but a video encyclopedia of Fancy, I was hooked but cautioned the history and variety of Louisiana’s aural exports. (4) Warren that the & lov- ing public at large would likely never be Artist: CLIFTON CHENIER ready for the Tinker’s brand of take-no-hostages Gaelic roots music cen- Title: THE BEST OF CLIFTON CHENIER- THE KING OF tered around the Highland Bagpipe, Snare Drum and a large bass drum from ZYDECO & LOUISIANA BLUES called a Tapan. Needless to say that nearly a decade later, the Label: ARHOOLIE • www.Arhoolie.com boys are still at it, with a tour schedule that keeps them on the road much of BY TOM “TEARAWAY” SCHULTE the year, a line of proprietary clothing and merchandise that puts Martha Stewart to shame, and a half dozen recordings to their credit including their Clifton Chenier is singularly responsible for blending the swamp sounds of newest release; Banger for Breakfast. French with the popular R&B sound to conjure up the still pop- Distilled from over 60 hours of high quality live recordings, Banger for ular zydeco. This music is wild and exuberant (Je me Reveiller le Matin (I Breakfast captures the Tinkers live and in their element at numerous Woke up this Morning)) or sincere and soulful (I’m Coming Home) on this Highland Games and Scottish Festivals throughout North America. The bilingual disc. Long-time Chenier producer Chris Strachwitz selected the recording features Aaron Shaw’s impeccable Highland piping along with tracks of this excellent, bluesy compendium from Arhoolie releases and includ- the steadfast Snare of relative newcomer Keith Jones, the gut-wrenching ed a previous unreleased alternate take of Chenier’s signature zydeco anthem growl of Wayne Belger’s Australian Aboriginal Didjeridoo and the really Zydeco Sont pas Sale (Snap Beans Without Salt). Chenier left this world in big (even by Macedonian standards!) Tapan of Warren Casey. Thrown in 1987 and the final track here is a 15:30 minute1978 radio interview with for good measure is plenty of hollering, Bronze Age Celtic Horn, Trump Chenier that allows us to here Strachwitz gently pull from Chenier the story of (jaw harp), Irish Bodhran, West African Djembe, a propane tank struck pre- fusing the traditional Louisiana accordion music with some fiery R&B. (4) cariously with a bal peen hammer, and a guest appearance by Scottish folk duo The Men of Worth. Peppered between the usual onslaught of jigs, Artist: MICHELLE MALONE reels, marches and the like is the Tinkers’ witty onstage banter: “Speaking Title: STOMPIN’ GROUND of pain and destruction,” “There’s nothing like playing bagpipes after a big Label: DAEMON RECORDS • www.MichelleMalone.com hotdog with onions” and “Good morning, it’s O.K. to get beer.” My favorite BY TOM “TEARAWAY” SCHULTE selections include the ambient soundscape of Aaron’s original composition The Seal Set and the traditional Those Marching O’Neills complete with Michelle Malone is a powerfully voiced folk-rock singer in the style of some of the most entrancing didgeridoo this side of the Dreamtime and a and Lucinda Williams. In her rockin’ blues songs she channels Snare and Tapan solo that leaves you screaming for more. In addition to 10 the early days of 1960’s electric rock when the muses of folk, blues and elec- previously unreleased sets, you’ll also hear plenty of classic Tinker reper- tric rock mixed freely. The fast-tempo shuffle of 2 Horns and 2 Wings could toire including perennial favorites, The Pumpkin’s Fancy and Wallop the easily be an early electric Dylan nugget. The whole album exudes both this Cat. energy and those roots on this historically aware album of show- Banger for Breakfast is both a great introduction to the Wicked Tinkers casing rock songs and compelling (Moanin’ Coat). The recurring for folks who haven’t heard them before as well as a long awaited treat for blues theme here causes this album to recall as times. (4) hardcore fans eager to relive the exuberance and energy of their live per- formances. All in all, the recording quality is superb, the performances phe- Artist: VARIOUS nomenal and the entire recording is so live you can practically taste the Title: AMERICAN LULLABY Haggis and Single Malt - Highly recommend! Label: ELLIPSIS ARTS Available at www.wickedtinkers.com BY TOM “TEARAWAY” SCHULTE

Artist: JUNE CARTER CASH In this compilation, Ellipsis Arts gathers together America’s finest voices to Title: WILDWOOD FLOWER sings its lullabies. Everything fits with sleepy-time, even when it is unex- Label: DUALTONE pected, such as Resophonic Lullaby by The Moonlights on Hawaiian steel BY BROOKE ALBERTS guitar and Home on the Range with extra verses by folk figure and champi- on yodeler Bill Staines. Meanwhile, is on hand for Prairie The posthumous release of June Carter Cash’s Wildwood Flower is made Lullaby and bluegrass belle Kathy Kallick delivers Woody Guthrie’s even more poignant by the passing on September 12th of her husband, ’s Lullaby. (4.5) Johnny Cash, who also features prominently on this CD. The album resem- bles a scrapbook, complete with “home movies” of the recording sessions in their living room and June giving a memory walk around her property included as video enhancement on the disc. Some of the tracks include aural snapshots of her past, including one of my favorite songs On The Trail of the Lonesome Pine, and a story of Lee Marvin’s antics which inspired her to write Big Yellow Peaches. One of the best tracks is Temptation - a duet with Johnny Cash sung with infectious deadpan humor and affection, with such lyrics as, “As a mud hole tempts a mosquito, baby/That’s how you tempted me.” Other than Temptation, she drew from the well of Carter Family songs, including her own compositions. Some of them, like Keep On the Sunny Side and Wildwood Flower, are so much a part of the American folk legacy that one tends to forget that someone actually had to write them. Driving down the freeway with my mother listening to Wildwood Flower, we heard Church in the Wildwood which reminded her of when she was a little girl in . Their relations would all get together for Decoration Day Graveyard Workings, where everyone would try and out-do each other in the potluck- offerings department, spread out quilts (that they called “pallets”), weed and tend the graves, and it was one of the songs that the old people would sing. She has chosen a pleasant mixture of styles, including blues, ballads, and gospel, and all feature lovely clean playing throughout. The are appropriate and don’t overpower her cozy, expressive voice, although I would like to have heard more autoharp, which she plays only on the final track, Wildwood Flower, which ends by not ending - her music goes on. Brooke Alberts is a member of the Irish band, The Praties and has her Masters degree in Medieval Studies November-December 2003 FolkWorks Page 23

YUVAL RON continued from page 3 was just for me to have this half an hour a day interested in that. Then I went further back where I make music. It was about music mak- and I researched music of the middle ages, That’s, by the way, that’s how all my learn- ing, you know, for myself. I’m really grateful to church music from Europe and from central ing about Sufism and Sufi music was all these Ruth Goodman, and I’ll never , Asia. Then I researched very early Jewish five years since 1998, working with Faruk, and because she heard me play in a couple of pri- prayers and Arabic prayers. All this research all these projects and spending time with vate parties…. It was just informal, where we was part of my compositional work. him….It’s all coming into my work with my just sit and have fun, not a professional situa- FF: Dance is also an integral part of the program. Ensemble….I started feeling that I miss the tion. Ruth was really insistent. She said to me, What inspired that decision? playing of the music…I realize I’m just envi- “You have to do something with this.” I YR: I have a connection to dance from the days sioning the music and then other people are thought in the beginning that it seemed to be that I started working as a composer for chore- playing it. I thought if I could just play…it’s really crazy and really risky, because I had my ographers…but like a lot of people, I didn’t going to add a lot of happiness to my life. It name established in film and TV business….I know that belly dancing is an art. What I knew would just add something that I don’t, that I felt that it didn’t make sense to launch another about belly dancing, like what people usually can’t get in any other way. The first thought career in another arena. Once you start per- know, is that they dance in restaurants…and was maybe I’ll form like a amateur blues band. forming professionally, you have to live it pro- men put dollars in the bra. Suddenly, in con- FF: Blues? I wasn’t expecting that one! fessionally. You have to prepare. You really certs of middle eastern musicians, I see they have to be committed to that. I was not, I did- YR: It was like the first thought. Maybe we will didn’t have money pushed into their clothing. n’t feel that that’s what I wanted to do. have like a garage band…just play blues and They didn’t go down to sit on somebody’s lap. It rock and roll for one afternoon on the weekend, FF: Are you committed now? was a whole different way of looking at it. It and that would be the release and the fun and YR: Yeah. Definitely. was more like a folkloric dance, part of the cul- the pleasure of playing I’m looking for. FF: Ruth was also instrumental in catalyzing the ture….I wanted to include that in our presen- FF: I know the manager of a great blues bar, Mystical Music of the Middle East concert, asking tation. The goal here really is to make people maybe I can get you in! you to organize a concert as a public prayer in understand and feel the beauty in the culture of YR Yeah. See, if I met you back then, maybe response to the second Intifada that began on the the middle east. that’s what I would end up doing. West Bank in May of 2001. It seems like a lot of FF: Do you have a different experience when you FF: No one would ever forgive me! But I can see research had to be done because the concert is play sacred versus . what you mean, composing is more of an abstrac- more than musical, it also identifies cultural and YR: I think that every music making is tion, something you can’t quite experience in your spiritual intersections. Had you already been sacred….When I play sacred music…like the body the same way as playing. involved in that research before Ruth approached things that are traditionally considered sacred, YR Right, right. Playing is really sensual. It’s you? meaning prayers of a specific religion, I really in your fingers. It’s more expressive. It’s YR: Yeah, it’s a good question, because, you observe that that we really have to tune our- immediate expression. Composing is expres- know, people are not aware of what you’re selves to a voice that is greater than us….We sion, too, but it’s a strange expression. It’s an pointing out. I couldn’t have done it just sud- don’t just take the instrument and we start idea. It takes a long time until you hear it. denly in three months. I actually did it for 20 playing the song and do it technically, meaning FF: Did you have any notion that the oud would years just for myself and for my compositional the fingers just go to the places, but rather, you later become your primary performance instru- work….In almost every dance piece I did take a breath…it’s like a meditation. You clear ment? research about ancient forms of music. I stud- your mind from all what happened to you ied the music that they wrote for dance a hun- before, all the interruptions and all the sound YR: It was not really to perform. I thought it dred years ago and in the 19th century. I was and voices; try to go into a blank space like a vacant place in your mind and your heart. Then you try to feel something inside of you that is going to express itself, and then you start PHOTO COLLAGE: YEAR IN REVIEW playing that prayer. You connect to something greater than yourself. And then, if you’re a great musician, you do the same thing when you play anything. FF: Is there a personal value or a particular moti- vation that underlies all the work that you do, a thread that connects its diversity? YR: I think that what I try to do is to have intensity, to have drama. I’m not attracted to things that are not captivating, that are just sit- ting there and they don’t call you, they don’t engage you. Whatever the style that I do, I try to make it engaging. My way of creating is not by making it necessarily light and funny and easy, but the other way. Engaging us in a way that it’s intense and dramatic and deep. I think that you can hear this thread in any of my music that you may listen to, that there’s that element. The Yuval Ron Ensemble will be performing their Mystical Music of the Middle East program at the Folk Music Center in Claremont on November 16th, 7:30pm. This is a very intimate setting, and the last opportunity to experience this amazing concert before it goes to Europe. Tickets go on sale October 26th. For more information and reservations, please call the Folk Music center at 909-624-2928. On Wednesday, November 12, 8:00pm (doors at 7:30pm). Yuval Ron will present a free lecture on Understanding the Mystical COPYRIGHT 2003 JUDY NAHMAN-STOUFFER ALL RIGHTS RESERVED Music of the Middle East. Reservations are required. Call 909-624-2928. To listen to Yuval By Judy Nahman-Stouffer, Folk Photography Top row left to right: Zhena folk chorus at Statewide Folkdance festival - Ron’s music and learn more about his work, A longtime singer, dancer and player, Judy is now dedicated to master Pandit Ulhas Bapat at the Getty Museum - Harp student “Capturing the Spirit” of the underground and aboveground please visit www.yuvalronmusic.com. at the Summer Solstice Music Festival - Les Yeux Noirs at the events of the Los Angeles folk community. She is available for Skirball Museum summer concert series all people-based events and also sells photos, graphic arts and Faun Finley creates cultural, spiritual, physical screen savers. Middle row left to right: Old Time workshop leader John Herrmann at the Summer and social programming for residents of a local Official photographer to: Solstice Music Festival - Singer Eva Ayllón with the Afro-Latin retirement community. She also teaches and per- FolkWorks Newspaper band Los Hijos del Sol at the Getty Museum - Contra dancers at forms ethnic-folkloric dance traditions, including Summer Solstice Folk Music Dance and Storytelling Festival the Summer Solstice Music Festival - International student Dreamshaper’s World Storytelling Festival dance troupe at Statewide Folkdance festival and English Country dance. She has a Mountain Lion Music Camp Bottom row left to right B.A. in Anthropology of Expressive Culture from See more photos at: Shape note singer at Angel’s Gate Regional Shapenote Sing- Mills College, and is currently studying for yoga www.geocities.com/hipadoodle Storyteller Megumi at the First Annual World Storytelling and expressive arts teaching certifications. www.dreamshapers.org/Festivalinfo.htm Festival - Raynald Ouellet performing at the Summer Solstice www.ctmsfolkmusic.org/Gallery/Fest2002/default.asp Music Festival - Drummer Mitch Hyare who played with the DJ, www.megumitales.com/photographs.htm Cheb i Sabbah, at the Getty Museum Page 24 FolkWorks November-DecemberSeptember-October 2003

BESS LOMAX HAWES continued from page 17 was in some horrible den of iniquity (and that was those songs he’d collected to his English pro- Almanac house.)” How did it get that reputation? fessor. His English professor gave it back to BLH: Uh-huh…and I kept it. It says here, “He immediately ordered Ms. Terrell him and said, “This is worthless, Lomax. You FW: And you kept it? to pack his bag and caught the next train…” must not waste your valuable time on this kind of junk. It’s populist. It has no literary quality. BLH: Yeah, he didn’t want it back…we all BLH: Ms. Terrell was his wife. He always It has nothing to recommend it.” So he would- picked up whatever instrument was not being referred to her by her maiden name. n’t let him turn in the paper. Father was so used at the time. Nobody put any money into it. FW: That was just Texas gentility? upset by this he went and burned the whole FW: Do you have any other good Woody stories? BLH: I don’t know. It was laughed about it in collection. BLH: He was a very complicated man and the family. Ms. Terrell laughed at it because FW: Oh my God! nobody knows to this day whether or not the when they checked into hotels, the hotel people BLH: And he had a little fire in the back of the disease that killed him was already showing up would assume he was traveling with Miss building he was living in. He later reconstruct- when he was that young. Terrell and their eyes would go up. ed them. He went and got them again. FW: Oh, really. FW: So he was a traveling den of iniquity him- self… “only moments before his arrival, Bess FW: He must have, because they were published BLH: Yeah. It’s a very insidious disease and learned he was coming, rushed to the attic room, in 1910. But he actually was so upset he burned no one really knew very much about it. packed her things and decamped to the apartment the original manuscript? FW: This is Huntington’s Chorea? of a girlfriend around the corner. Pete Seeger BLH: Oh yeah. He wanted to be a great schol- BLH: Yes, it apparently is hereditary. He was answered Lomax’s knock and found him on the ar. He wanted to be a great man. He wanted to just always extremely unpredictable. You stoop, red-faced. ‘Where,’ he boomed, ‘is my be a gentleman. He was just a country boy—he never knew whether he was going to be good or daughter?’ Then Seeger directed him around the didn’t get to the University of Texas until he bad—if he was going to love you or insult you corner.” It seems he was of the opinion that your was 18 or 20, nearly towards the end of his or whatever. He was very particular about companions were not very high class. Do you youth. He’d been working for years. wanting to be thought of as a man of the peo- know how he might have developed that opinion? FW: I see. ple. He wanted to be thought of as a good BLH: Well, Father was an intellectual snob BLH: And that was not ordinary in that peri- working man, which he wasn’t. like most people of his age were at that time. od—not at all. FW: He was middle class actually? He wanted me to be a college teacher and a Ph.D. and he wanted me to write the Great FW: Did your father take you on any collecting BLH: He was middle class and he wrote. trips when he was going to the southern prisons? That’s what he did, he wrote and wrote and American Novel or something. He didn’t want BLH: I went on one prison thing, once. I went wrote and wrote. I would get up in Almanac me to be running around the country with a into a prison and I went into a little room by house and come down…it was just a great big bunch of ratty looking folk singers. myself and sat down with this convict who was old New York brownstone…we all had bed- FW: So he was not your typical left wing folk going to sing me a song. rooms scattered all through it...it was kind of a singer. community house…I stayed there some of the BLH: No, heavens no. He voted for FW: Do you remember what state this was in? time and some of the time in my own apart- Republicans after Roosevelt died. In fact, I’m BLH: It was in Louisiana, and I was supposed ment when I could afford it. I had a job and I not even sure he voted for Roosevelt at first. to write down the music. Because father could- was working at that time. I would come down- He was very conservative. n’t remember a tune and he couldn’t take a… stairs to go to work and Woody would be FW: So you and Alan became left-wingers out of FW: He didn’t have his disc recorder? falling asleep all over the kitchen table, with teen-age rebellion against… his head on the table and his hands on the type- BLH: He didn’t have his recorder and he writer—the room just full of manuscript that BLH: I don’t think we rebelled so much as we wanted that song in particular. So I was sup- he’d written and just thrown out, like that, just insisted on doing it. We were very impressed posed to learn the tune and write it down in pitched 30 or 40 pages, single-spaced. He by the left wing of that period. And everybody music notation, which I tried to do. It’s not would have written all night. was really at that period…it was a groovy very good but it was my first one. thing to do. FW: And these were songs or prose? FW: Do you remember which one that was? FW: A groovy thing to do? BLH: Both. wrote a parody of A BLH: No I don’t. It was not a very well known Great Historical Bum about Woody—just one BLH: Uh-huh, to be in that movement, and song. verse… “My name is Woody Guthrie/I’m the there were various parts of it, various factions FW: But you actually went with him to do the great hysterical bum/Highly saturated/on of it, and they all argued, and disputed, and music notation? they fought. whiskey rye or rum/I’ve wrote a million BLH: Right, and they wouldn’t let him in with pages/And I’ve never read a one/And that’s FW: Did you learn to sing from your father? me—I had to go in the room with the convict about the biggest thing that I have ever done.” BLH: No, no we just sang at home. I mean we by myself. I don’t know why. Prisons are irra- FW: Here you are again…with Millard Lampell. sang as a family. tional. Tell me about Millard Lampell. FW: Did your mother sing too? FW: They let you in a room with a convict by BLH: Millard was a college boy from New BLH: Mm-hm. yourself, but they wouldn’t let you go in with Jersey, I think…he was a friend of Pete’s…I your father? Was he less reputable than the con- think Pete knew him first. He was an excellent, FW: So it was just part of growing up? victs? quick writer. If somebody wanted a song about BLH: Mm-hm. We sang in the car mostly. Car BLH: I just decided over the years that prisons their union, Millard would sit down and whack rides were very long and tedious in those days. are meant to drive you crazy. They’re set up it out right then. Or he would improvise it—he You had to do something to keep your spirits up. that way. They don’t make any effort to take was the one I think that got us improvising as FW: Well, you must have been singing unusual care of the things that are obviously silly. much as we did on stage. One of the games that songs because these were songs that had not been we would play on stage is that we would sing a In Part II Bess will talk about People’s Songs, collected—like the cowboy songs that John how she became a folklorist and her work with song that had a chorus, and each one of us Lomax… would make up a different verse. The Georgia Sea Island Singers, as well as how BLH: Well, we sang…there was a bunch of she wrote the MTA song. Stay tuned. FW: Well, he apparently added the third verse to family songs we sang. They’ve since been put Union Maid. The one that said “You girls want to in various books. Actually father’s repertoire be free/take a little tip from me/just get you a man included a lot of black . I think there who’s a union man/and join the ladies’ auxil- must have been black churches around there, iary”… because he knew several very good ones which ADVERTISING BLH: Yes…but that was some time later on. we got to sing with him. And then he knew a lot After the song was first written, nobody of songs that came out of the singing school thought anything about the woman’s problem. movement, which was active when he was a RATES Songs change all the time anyway…that’s young man. I’m sure he went to several of me… them. TO INCREASE FW: There you are in the group picture fighting FW: Was he a professor of English in Austin? the fascists, with Pete and Woody and Millard BLH: No he was not. He was the Registrar for IN 2004 and… the University of Texas. BLH: Arthur Stern and Sis. IF YOU ARE A CURRENT ADVERTISER, FW: Oh, really? YOUR RATES WILL REMAIN THE SAME. IF FW: It must have been something to have you all BLH: He never got anything beyond a BA YOU HAVE BEEN THINKING ABOUT PLAC- on stage together. degree. ING AN AD, DO NOT DELAY. EVERYONE BLH: If we ever could manage it. WHO PLACES AN AD BEFORE THE NEW FW: I understand that he tried to get the English YEAR, WILL KEEP OUR LOW RATES FW: Now in this book, The Last Cavalier, this department at the University of Texas at Austin to – PERMANENTLY. group that you’re living with is referred to as, if I help pay for his cowboy song collecting. DON’T MISS THIS OPPORTUNITY. may quote here, “When word reached Lomax (i.e. BLH: No. He submitted a paper that contained your father) that his younger daughter (i.e. you) November-December 2003 FolkWorks Page 25 Folk Singer and Suspected HOW CAN I KEEP Terrorist FROM TALKING here it was—at the bottom of the tool hour, which took me as long as it took to get to Tcompartment in my guitar case, under- Boise by air. I entertained myself on the drive by neath a dozen harmonicas, finger picks, a singing Tom Paxton’s song, “Thank you, thumb pick, political pins and a small screwdriver: Republic Airlines, for breaking the neck on my one antique wire cutter, to trim the ends off new guitar.” Thank you, Tom Paxton, for giving every guitar strings, so they don’t flail about wildly and musician fair warning. make your headstock look like Don King’s hair. So I took my precious tool out of the guitar The security screeners at LAX had never case and transferred it to my small personal bag, picked up on it, nor had it even occurred to me that with my shaving kit, toothbrush and extra pair of it was now illegal. But coming back from my first pants and shirt, perhaps the smallest bag ever concert in Boise, Idaho I wasn’t so lucky. They checked through airport baggage. went through my guitar case like they expected me Then I started racing against the clock. I had to to become the first “guitar bomber” and they go back through the ticket line again, which had would be telling their stories on Good Morning suddenly filled up with a much longer line than I America. No one was going to accuse them of not had waited through 20 minutes before. While BY ROSS ALTMAN connecting the dots. waiting I had plenty of time to get through Bob I could not have been more helpful, even point- Dylan’s absurdist masterpiece, Stuck Inside of ing out a partially concealed box containing my Mobile With the Memphis Blues Again, which elaborate show—knowing they would find my tuner. Then they started examining ends, “And here I sit so patiently, waiting to find innocent wire cutter and be sent back to the ticket my harmonicas, one by one, to see if I might be out what price/You had to pay to get out of going counter I had arranged to meet my accomplice smuggling something inside the reeds. Finally through all these things twice.” Abdullah Abdul Mohammed Bin Laden just in they found it, a small triumph of determined police By the time I got up to the counter—to as it time to carefully slip the real harmonica bomb in work—my guitar string wire cutter. happened the same pretty young woman who had my guitar case to get it on board through the sec- “You’ll have to surrender this,” they advised given me my boarding pass the first time—it was ond check. me. “It can’t go on board with you.” There was no 3:45pm, for a 4:00pm flight on Southwest They were taking no chances. Once again I had use trying to explain who I was to them—they Airlines. to remove my shoes. Once again I had to take off might check my FBI file from the sixties and fly I explained the situation as briefly as I could, my jacket with every metal object I possessed to me straight to Guantanamo Bay for a long vaca- not wanting to arouse the suspicions of the pas- go through the x-ray screener, and once again they tion. sengers within earshot behind me (“wire cutter” I took me aside and asked me to open up my guitar “I’ve had it for thirty years,” I told them, emphasized, not “box cutter”) and she made out case. While I was doing that I heard over the inter- already feeling the tears starting to well up at the the tag for my small black bag (or “Freedom Bag” com, “Last call for flight 1492 to Los Angeles.” thought of a thousand guitar strings it had faithful- as it actually said in bold white letters near the bot- It was then I started to hear the theme music ly trimmed to perfection. tom). Then she checked her watch. from The Twilight Zone and ’s metal- “Well, you can check it through baggage, but “You know it’s late,” she added, as she care- lic voice warning me that there was a “fifth dimen- you can’t take it on board with you.” “Wow—a fully attached a “Late” sticker to the tag on my sion.” I had found it—in Boise, Idaho. way out,” I thought. But I wasn’t about to send my bag. “It takes 12 to 13 minutes to get down to the Then just as suddenly I heard another voice guitar case and 1965 Guild D-50 into the dark baggage handlers, so it might not get on this say, “You’re cleared—you better hurry up and get cave of airline luggage handlers, possibly never to plane.” “What happens then?” I asked, with a on the plane.” The engines were already idling as be seen again. I had gone through too much trou- Johnny Mathis quiver in my voice. “It’ll go on the the stewardess welcomed the last passenger onto ble to get the supporting documents the musician’s next plane to L.A.,” she said. “When’s that?” I flight 1492 to Los Angeles. union provides to get permission to bring it on inquired. She dutifully checked her computer When I landed at LAX my small black bag car- board, driving cross-town to Local 47 during rush screen. “7:30pm,” she said, “with a stop in rying an antique wire cutter came flying out of the Oakland.” Before I could parse that sentence she chute—the last one to be sure—waving a bright added, “It’s 12 minutes to 4:00 and time’s a wast- yellow “Late” tag that some wonderful human COMMUNITY ing—you have to go through security again.” being in Boise must have ignored. BULLETIN Realizing my chances of ever seeing that bag again were slim to none, I kissed it goodbye and Ross Altman has a Ph.D. in English. Before BOARD started racing back to the security checkpoint, becoming a full-time folk singer he taught college English and Speech. He now sings around NEVENKA FOLK CHORUS hoping that someone would recognize the now desperate looking folk singer they had all but California for libraries, unions, schools, political SEEKING SOPRANO groups and folk festivals Nevenka, a L.A.-based women’s folk chorus, cleared ten minutes ago and wave me through. is seeking a soprano. Previous experience and No such luck. Perhaps I had staged the whole familiarity with the eastern European folk music and vocal style is preferred. To audition, please contact Trudy Israel at 818-907-7340 or [email protected] FOR SALE Nice stuff for sale- Silk ficus with real branches ($60) - 2 small bookcases ($10 each) - several framed modern prints (Kandinsky, Klee, Picasso) ($Various) - hanging brass/glass dining room fixture ADVERTISING RATES ($35). Call 818-943-2638 TO INCREASE PIANO FOR SALE 1923 Schulz Upright with bench. IN 2004 Good Condition - Recently tuned. Call Terry at 818-908-8902 IF YOU ARE A CURRENT RECORD YOUR SELL ADVERTISING ADVERTISER, YOUR RATES Sell Advertising for FolkWorks and get paid WILL REMAIN THE SAME. LIVE PERFORMANCE 20% commission for as long as the ad runs! IF YOU HAVE BEEN THINK- Full service ING ABOUT PLACING AN mobile van sound recording WINDS / STRINGS PLAYERS AD, DO NOT DELAY. Russian Orchestra Seeks Winds And Strings “Slim package, fat sound” PLACING AN AD BEFORE also Analog audio tape restoration Players. Call Carvel Bass At 213-452-3392 THE NEW YEAR, WILL ______LOCK IN THE LOW RATES Send us your community news; musical instru- – PERMANENTLY. ments for sale, public notices, non profit orga- www.PrecisionAudioSonics.com DON’T MISS THIS OPPORTUNITY. nizational announcements, weddings, etc. It 310-204-4430 may be edited, depending on space available. Page 26 FolkWorks November-December 2003

SCANDINAVIAN continued from page 7 Three icons of Swedish fiddling, Pers Hans ties associated with the classes. Olsson, Kalle Almloef, and Bjoern Ståbi, play Donna Tripp and Ted Martin have been ly killed the polska. At about the turn of the last tunes from Dalarna, the central folk province of teaching a weekly class (Mondays) in Anaheim century, industrialization and mobility hit Sweden. for over 20 years. They also teach twice a month Sweden in a big way. Suddenly the fashions of Traditional Norwegian Fiddle Music. (alternate Wednesdays) in San Diego. Contact the big cities began getting quickly out to the Shanachie #21003. Sven Nyhus, the icon of [email protected]. smaller towns. And the music and dance fashions Norwegian fiddling, plays tunes on the regular Cameron Flanders and John Chittum teach a of that age were the waltz, schottische (2-beat fiddle and the (fiddle with res- weekly class (Wednesdays) in Culver City. dance), , and the hambo. For a while onating drone strings). Contact [email protected]. people in the smaller towns incorporated the city Also: Chris Gruber has more information on the dances into their local tradition, creating a local Dance Musik. Two Southern Californians, music, contact [email protected]. unique hybrid dance most often called a hambo- Carol Olson (Riverside) and Paul Johnson (San WHERE CAN I HEAR AND SEE THIS polska. But that only lasted a decade or two. Diego), have recently released a private label Ultimately the polska dance tradition was virtu- MUSIC AND DANCE LIVE? CD. It is chock full (72 minutes) with the most On Friday, October 31 and Saturday, ally completely wiped out. The last concrete varied collection of Swedish and Norwegian record (an old film) of an authentic Orsa polska, November 1, Southern Californians will have an dance music I have ever seen. Their playing is opportunity to experience the best of Swedish for example, dates from about 1930. beautiful and authentic and the CD already has a The hambo, waltz, mazurka, and schottische folk music for listening and for dancing. Pers following among polska dancers in Sweden. Hans Olsson, arguably the finest and most influ- are still very much alive today in Sweden. Contact: [email protected]. Known as “gammaldans” (old dance) despite ential Swedish folk fiddler of the last 50 years, their relatively recent origin, they are popular in WHERE CAN I LEARN THESE will be in Los Angeles performing with Anders local dance clubs throughout the country. The DANCES AND TUNES? Bjernulf. They will play in small concert and hambo is considered, quite properly, the “offi- Centers of interest in polska-style dance can dance venues (see ad elsewhere in this issue). cial” dance of Sweden and there is an annual be found scattered across the United States from Pers Hans plays the music of Rättvik, a style contest each year in Hälsingland (on the coast Miami to Seattle and from Boston to San Diego, with a rich, hymn-like quality. Anders plays the about 100 miles north of Stockholm) where as perhaps a dozen or so cities in all where the music of Bingsjö, a place that Jonny Soling, many as 1,500 couples have competed. dance and music can be found on a regular another famous fiddler says (with a manic grin), (weekly or monthly) basis. Southern California is “invented electricity!” Both Pers Hans and Anders WHERE CAN I GET THIS MUSIC? fortunate to have three regular dance classes, all also know tunes from Orsa. Perhaps late in the There are two excellent CDs, easily obtained run through community centers and so relatively evening, after they have shown you their own through .com: inexpensive. There are also monthly dance par- tunes, they might play one of Lorik’s if you ask. Three Swedish Fiddlers. Shanachie #21001. Friday, October 31, 8:00pm, concert at Boulevard Music, 4316 Sepulveda Blvd. (at Culver Blvd.), Culver City. Tickets at 310-398- 2583 or at the door. Saturday, November 1, 7:30pm, concert with a dance to follow, Scandia Hall, 2031 E. Villa St., Pasadena. Tickets at the door. 562-884-5763 for information.

Chris Gruber has been dancing Swedish and Norwegian folk dances for over 12 years and fid- dling in these traditions for 6 years. He travels regularly to Sweden and is often involved in bring- ing Scandinavian teachers and performers to Southern California

MOVEMENT continued from page 12

NECK ROTATION Starting position: Stand or sit in a correct posture. Look straight ahead. Inhale. Action: while exhaling, rotate your chin over one shoulder and look behind. Be sure your shoulders face forward and only your head rotates. Stretch to light irritation and hold for 2 seconds. Inhale while you Neck Rotation return to the starting position. Repeat 4 to 10 times, depending on your fitness level. Repeat on the other side. NECK FORWARD FLEXION Starting position: Stand or sit in a correct posture. Look straight ahead. Inhale. Action: while exhaling, tuck your chin and roll your head down. Stretch to light irritation and hold for 2 seconds. Inhale while you return to the starting posi- tion. Repeat 4 to 10 times, Forward Flexion depending on your fitness level.

http://www.zookmania.com/zookman/ © 2002/2003 Zookmania Graphics. All rights reserved Jerry Weinert is a health educator, nurse massage therapist and string bass player from Tucson, AZ. [EDITOR’S NOTE: He is co-author of two health and wellness books. Zookman will be going on hiatus. Below is a personal note from its creator, Mike Tackett] The stretching illustrations are from his first book- Head To Toe: A Manual of Wellness & Flexibility. My thanks to those that followed Zookman; I hope it garnered a few chuckles. If anyone wants to see Southwest Wellness Educators: 888-527-2200. it back in print, let me known, or better yet, let everyone else know about the strip— family, friends, bosses, bartenders...that’s the only sure way to ultimate world conquest. November-December 2003 FolkWorks Page 27

SPECIAL EVENTS continued from page 28

7:00pm WILLIE NELSON (sold out) FolkWorks PICKS Lancaster Performing Arts Center WEDNESDAY 8:00pm SCOTTISH CHRISTMAS $50/40/25 NOVEMBER DECEMBER BONNIE RIDEOUT ALISON KRAUSS & UNION STATION – “Krauss Cerritos Performing Arts Center ERIC BIBB “…An innovative acoustic blues artist… FRIDAY DECEMBER 12 now stands at the vanguard of bluegrass, which has 8:00pm FREEBO and friends Free Those new to this talented artist will be impressed by not been known for its acceptance of women. While Bean Town his to balance traditionalism and originality” - Living 8:00pm THE COTTARS www.miramusic.net/cottars $20 flirting with the obvious crossover potential that [Cape Breton celtic band] /$18 CAC Members Blues Magazine Celtic Arts Center country radio stations could provide, Krauss has 8:00pm THE TOM CORBETT BAND www.tomcorbett.net $12.50 remained steadfastly in the bluegrass fold, performing Coffee Gallery Backstage SWEDISH FIDDLERS (Anders Bjernulf, Pers Hans SATURDAY Olsson) – Pers Hans a third generation Swedish fiddler and recording with her band Union Station. And 7:00pm SCAMBOOTY $12.50 while some might be wary of the fame she has gar- Coffee Gallery Backstage and personifier of the music of his home district of 7:00pm & 9:00pm THE COTTARS $10/$3 kids nered so far, few would argue her prowess behind the San Juan Capistrano Regional Library Rattvik is joined with Anders who has immersed him- 31495 El Camino Real, San Juan Capistrano ¥ 949-248-7469 self in the music of Bingsjo a province central to fiddle or as lead singer within the tight structures of 8:00pm TOM SAUBER Free Bean Town Sweden and its fiddling traditions. Having played bluegrass.” - Keith Brand 8:00pm CYNTIA SMITH $15 AND THE WATER LILIES /$5 Caltech students/children together for decades this is their first U.S. tour together. OLD MOTHER LOGO REUNION – An All-Woman Caltech Folk Music Society (Winnett) 8:00pm GO TELL IT ON THE MOUNTAIN $35-55 Old Time String Band, Mother Logo toured and with THE BLIND BOYS OF and AARON NATALIE McMASTER – “Now 30, MacMaster has NEVILLE, MAVIS STAPLES and JOHN MEDESKI been bringing the Cape Breton style of Celtic fiddle recorded between 1977 and 1987. Their sweet har- UCLA Live! Royce Hall 8:00pm JEFF LINSKY $15 music to a steadily growing audience since she was in monies and tight picking earned them a spot on the Fret House her late teens. It has remained the cornerstone of her bill with headliners like Byron Berline, , SUNDAY DECEMBER 14 11:00am HANUKKAH FAMILY FESTIVAL art, even as she’s incorporated elements of contempo- The Country Gentlemen, The Texas Playboys and with UNCLE RUTHIE and others scores of big names bands, old time and bluegrass Skirball Cultural Center rary pop and dance music over the course of seven 2:00pm & 7:00pm CARIBBEAN CHRISTMAS $15/$10 stu.,sr. CDs.” -Kevin McKeough - Strings Magazine alike. - Old Topanga Music Brazilian music with CSULB Steel Drum Orchestra Carpenter Performing Arts Center, Long Beach 7:30pm PETER CASE petercase.com $10/$8 students YUVAL RON TRIO – “…beautiful music that THE COTTARS – “this exceedingly gifted young Folk Music Center remains true to tradition. Full of rich soundss- foursome is captivating audiences, winning fans, and TUESDAY DECEMBER 16 7:30pm THE CHEEZY TORTELLINIS capes…the kind of that makes garnering critical acclaim all over North America Baker's Square 17921 Chatsworth St., Granada Hills you want to grab a turban and bellydance your way to with enthusiastic, refreshing performances of Irish 818-366-7258 or 818-700-8288 the Middle East!” - Katie from cdbaby.com and Scottish traditional music.” - Mid-South Celtic Bluegrass Association of Southern California WEDNESDAY Arts Alliance, Memphis, TN 7:30pm WHEN PIGS FLY GLOBAL GUITARS with DAVID LINDLEY & Nordic Fox Restaurant WALLY INGRAM plus Madascar guitarist GO TELL IT ON THE MOUNTAIN with THE THURSDAY DECEMBER 18 7:30pm CLAYFOOT STRUTTERS $20 D’GARY – “David Lindley’s virtuoso facility with BLIND BOYS OF ALABAMA and AARON Cerritos Performing Arts Center odd-shaped and stringed foreign boxes is legendary. NEVILLE, MAVIS STAPLES, and JOHN MEDES- FRIDAY 7:30pm CLAYFOOT STRUTTERS $20 He also has a sweet, engaging, cartoony voice. Wally KI – The Blind Boys of Alabama have spread the Cerritos Performing Arts Center spirit and energy of pure soul gospel music for over * LIAN ENSEMBLE with AROHI Ingram is a locomotive percussionist with full kit plus Persian and music chimes, blocks and a WWI German army helmet.” - 60 years, ever since the first version of the group Roy and Edna Disney-CalArts Theater formed at the Alabama Institute for the Negro Blind 661-253-7800 or 818-362-2315 Jay Babcock, L.A. Weekly SATURDAY DECEMBER 20 in 1939. Go Tell It On The Mountain tour is based on * LIAN ENSEMBLE with AROHI FLACO JIMENEZ – “What B.B. King is to the blues, see December 19 their new Christmas CD. 8:00pm GEOFF MULDAUR $15 or George Jones is to traditional country, Grammy- founding member of Kweskin String Band CLAYFOOT STRUTTERS – The Strutters bring you Coffee Gallery Backstage winning accordionist Flaco Jimenez is to the world 8:00pm CLAYFOOT STRUTTERS contradance tunes from New , Appalachian, Contradance of Tex-Mex Conjunto.” - Ramiro Burr, San Antonio Throop Church, 300 S. Los Robles, Pasadena Express-News Irish, Quebecois and other traditions, laid over a hot California Dance Co-operative ¥ www.CalDanceCoop.org 8:00pm TIM TEDROW and TERRI VREELAND Free bed of Texas swing, Cajun, Zydeco, Afropop, Bean Town and Latin grooves 8:00pm VASHTI $20/$10 students World Percussion Ensemble Annual Winter Solstice Concert Electric Lodge, 1416 Electric Ave., Venice ¥ 310-3061854 8:00pm PENNY NICHOLS and PATRICK LANDEZA $15 Russ & Julie’s House Concerts SUNDAY DECEMBER 21 * LIAN ENSEMBLE with AROHI ADVERTISE IN FOLKWORKS see December 19 8:00pm VASHTI $20/$10 students see Saturday December 20 Every now and then we get a chance to get our business in front of just the right people by supporting something 12:00am BALLET FOLKLORICO DE MEXICO FIESTA NAVIDAD that’s both unique and important. Think of it as doing well while doing good. Advertising in FolkWorks will give Universal Amphitheatre you that opportunity. 100 Universal City Plaza, Universal City ¥ 818-622-4440 MONDAY DECEMBER 22 With county-wide distribution of 10,000 papers per issue and on-line availability, the paper reaches pro- 2:15pm BALLET FOLKLORICO DE MEXICO FIESTA NAVIDAD fessional and amateur musicians, dancers, and other entertainers as well as those who appreciate and support see Dec 21 them. FolkWorks provides information about performers and performances, includes content for teachers, stu- WEDNESDAY DECEMBER 24 3:00- L.A. COUNTY HOLIDAY CELEBRATION Free dents and lovers of music and dance, lists concert and dance venues, introduces new artists and recognizes Jung Im Lee Korean Dance Academy Conjunto Jardiin (jarocho music) those who have delighted us for years. Sierra Park Elem. School Folklorico dancers FolkWorks is the only publication of it’s kind. As a non-profit 501(c)(3) organization, we depend on read- Manoochehr Sadeghi, Persian santur Celtic Spring (Irish ensemble), and more er contributions and advertising to continue. Your ad is important to the future of music and dance in our com- Dorothy Chandler Pavilion of the Music Center www.holidaycelebration.org ¥ 213-972-3099 munity. FRIDAY DECEMBER 26 Take a look at our website, www.FolkWorks.org and see for yourself the good company you’ll be in. Then 8:30 pm DENNIS ROGER REED Free Acoustic roots music contact us to place an ad in the next issue. Call 818-785-3839 or e-mail at [email protected] Alta Coffee. 506 31st St., Newport Beach ¥ 949-675-0233

GRAPHIC & WEB DESIGN ART DIRECTION THERE IS STILL TIME!! ADVERTISING • PACKAGING • BROCHURES • LOGOS COME TO THE FOLKWORKS PARTY Join FolkWorks at the Friend level or above (see page 21) before November 5th and you will be invited to the FolkWorks annual PARTY! ALAN STONE The party is on November 8th. CREATIVE SERVICES There will be lots of food, music and friendly, like-minded people. 818-909-7718 Sign up now and we’ll see you there. [email protected] 818-785-3839 or [email protected] for details www.stonecreatives.com Page 28 FolkWorks November-December 2003

SPECIAL EVENTS

FRIDAY OCTOBER 31 FRIDAY NOVEMBER 14 7:30pm ST. ANDREWS BALL * BRIAN JOSEPH Scottish Country Dance w. Live music Singer-songwriter 8:00pm SWEDISH FIDDLERS $15 7:30pm CHAVAALBERSTEIN $60 El Segundo Masonic Hall, 520 Main St., El Segundo Los Alamitos Anders Bjernulf, Pers Hans Olsson see November 13 Los Angeles Royal Scottish Country Dance Society Los Alamitos ¥ 562-430-0726 Boulevard Music 8:00pm STILL ON THE HILL $12.50 8:00pm TOM RUSSELL & ANDREW HARDIN * MONTEREY COWBOY POETRY & MUSIC FESTIVAL SATURDAY NOVEMBER 1 [folkgrass] The Acoustic Music Series (NC) AND WESTERN ART & GEAR SHOW Coffee Gallery Backstage 1:00pm DAY OF THE DEAD 8:00pm CLIFF WAGNER & THE OLD #7 Free see Dec 5 Mexican tradition incl. paper flower making 8:00pm CLADDAGH Free Bean Town 11:00am & 4:00pm DAN ZANES $15 adlt/$10 kids Bean Town Southwest Museum Heritage Court 8:00pm BELA FLECK & THE FLECKTONES $30-37.50 Childrens blues and roots classics 7:00pm & 9:30pm JANET KLEIN & HER PARLOR BOYS $15 8:00pm TOM BALL & KENNY SULTAN, $5 Wiltern Theater UCLA Live! (Schoenberg Hall) Ukulele Chanteuse GRAY MATTER and CHRIS CAIRNS 3790 Wilshire Boulevard 7:00pm THE BLUES PIRATES $12.50 Coffee Gallery Backstage Borchard Community Center, 190 Reina Rd., Newbury Park 213-480-3232 213-388-1400 ¥ www.thewiltern.com (Clark Kidder and Paul Shivers) 805-499-3511 [email protected] Coffee Gallery Backstage 7:30pm DAY OF THE DEAD CELEBRATION $35/$40 The Fireside Concert Series 8:00pm MORNING & JIM NICHOLS $15 John Anson Ford Amphitheatre Boulevard Music 7:30pm KALA JOJO www.kalajojo.com $12adv/$14door 8:00pm CHRIS SMITHER $19 7:30pm JUAN SANCHEZ ENSEMBLE $14adv.$16door Music and Stories From Africa www.smither.com SUNDAY NOVEMBER 23 Performances to Grow On Spanish Troubadour ¥ www.juanlsanchez.com Acoustic Music Series (Throop) Performances to Grow On 10:00am OAXACAN FOLK ART SHOW 8:00pm GUY VAN DUSER $15 Southwest Museum 7:30pm FESTIVAL of WELSH MUSIC $15/$12 Sr.-Child/$17Door SATURDAY NOVEMBER 15 [Guitar Legend] [Original & Traditional Welsh Choral & Harp Music] 9:00AM LOS ANGELES STORYTELLING FESTIVAL 1:00pm & 2:30pm SIGHTS AND SOUNDS OF NATIVE Boulevard Music Church of Our Saviour, 535 West Roses Rd., San Gabriel Davidson Conference Center, USC Campus DANCE AND DRUMS Tom 310-338-9588/Caroline 562-598-4635 Dreamshapers ¥ www.dreamshapers.org ¥ 310-667-8099 Wild Horse Singers and Eagle Spirit Dancers SUNDAY DECEMBER 7 Autry Museum of Western Heritage * MONTEREY COWBOY POETRY & MUSIC FESTIVAL Welsh Choir of Southern California 7:00pm MERLIN SNIDER www.merlinsnider.com $12.50 6:30pm KAREN MALLAND BRIAN JOSEPH $15 AND WESTERN ART & GEAR SHOW 7:30pm ERIC BIBB www.ericbibb.com $15 with Pretty Good Acquaintances: Dennis O'Hanlon (bass), see Dec 5 [folk-blues] Mark Indictor (fiddle), Tom Corbett (mandolin), Duncan House Concerts McCabe's Guitar Shop Deborah Snider (backup vocals) 7:00pm FLACO JIMENEZ www.flacojimenez.com $18 11:00am DAN ZANES $15 adult/$10 kids Coffee Gallery Backstage Conjunto / Tejano accordion great $15 Skirball members Childrens blues and roots classics 7:30pm SWEDISH FIDDLERS CONCERT & DANCE $15 UCLA Live! (Schoenberg Hall) Anders Bjernulf, Pers Hans Olsson 7:30pm CHAVAALBERSTEIN $60 Skirball Cultural Center $10 students Skandia Hall see November 13 7:00pm PETER TORK www.petertork.com $15 2031 E. Villa St., Pasadena ¥ 562-884-5763 7:30pm JAMES KEELAGHAN www.keelaghan.com $12 plus JAMES LEE STANLEY SPECIAL EVENTS page 27 7:30pm DAVID PARMLEY & 17.50/ $20(door) [Canadian singer-songwriter] /$10 TLT member Coffee Gallery Backstage CONTINENTAL DIVIDE /$12 Children & Students The Living Tradition 7:30pm UTAH PHILLIPS www.utahphillips.org $22.50 VENUE LOCATIONS with: BORDER RADIO 7:30 & 9:30pm FREEDY JOHNSTON $16 McCabe's Guitar Shop Encino Community Center, 4935 Balboa Blvd., Encino McCabe's Guitar Shop Bluegrass Association of Southern California TUESDAY NOVEMBER 25 ACOUSTIC MUSIC SERIES California Traditional Music Society 8:00pm N. RAVIKIRAN $25 8:00pm LORD OF THE DANCE $23-53 (NC) Neighborhood Church Indian music ( player) 8:00pm CHUCK PYLE $12 Orange County Performing Arts Center (Segerstrom Hall) 301 N. Orange Grove Blvd.,., Pasadena Occidental College, Herrick Chapel, 1600 Campus Rd., L.A. 600 Town Center Dr., Costa Mesa [Zen Cowboy, finger-style guitar] The Music Circle ¥ www.musiccircle.org ¥ 626-449-6987 (TC) Throop Church Boulevard Music www.ocpac.org ¥ 714-556-2787 8:00pm DAVID PIPER www.davidpiper.net Free 300 S. Los Robles Ave., Pasadena 8:00pm OMARA PORTUONDO $35-$55 singer-songwriter WEDNESDAY 626-791-0411 ¥ www.acousticmusicseries.com [Cuban Singer in Buena Vista Social Club] Java Books, 195 E Alessandro Blvd., Riverside 8:00pm LORD OF THE DANCE $23-53 AUTRY MUSEUM OF WESTERN HERITAGE UCLA Live! See November 25 909-789-8684 Heritage Court SUNDAY 8:00pm SHANGRI-LA CHINESE ACROBATS $14-22 8:00pm DAVID CROSBY www.davidcrosby.com $37-45 Lancaster Performing Arts Center 4700 Western Heritage Way, L.A 7:30pm FINAGLE $12/$10 CAC members Cal Tech, Pasadena Beckman Auditorium 323-667-2000 ¥ www.autry-museum.org www.finagle.net 888-2CALTECH ¥ www.events.caltech.edu FRIDAY [local Irish / Scottish band] 8:00pm CATHY FINK www.cathymarcy.com $15 BEAN TOWN Celtic Arts Center 2:00pm & 8:00pm LORD OF THE DANCE $23-53 and MARCY MARXER /$5 Caltech students/children See November 25 45 N. Baldwin Ave., Sierra Madre 7:30pm ANNE McCUE / NEAL CASAL $6.00 Caltech Folk Music Society (Winnett) 626-355-1596 www.annemccue.com 8:00pm NATIONAL DANCE COMPANY OF IRELAND $55/45/25 8:00pm BORDER RADIO Free Rhythm of Dance BLUEGRASS ASSOCIATION OF SO. CAL. nealcasal.com Bean Town Claremont Folk Music Center Cerritos Performing Arts Center Baker’s Square Restaurant 8:00pm RHYTHM BROTHERS www.rhythmbrothers.com $15 7:30pm DAY AFTER THANKSGIVING PARTY 17921 Chatsworth St. (at Zelzah), Granada Hills WEDNESDAY NOVEMBER 5 [Swing to Bluegrass] West L.A. Folk Dancers 818-366-7258 8:00pm NATALIE McMASTER $17 Adv/$18 Boulevard Music Brockton School, 1309 Armacost in W.L.A. www.natalieMacMaster.com 8:00pm JARS OF CLAY www.jarsofclay.com $34-44 Beverly or Irwin 310-202-6166 BOULEVARD MUSIC 4316 Sepulveda Blvd., Culver City [Cape Breton fiddle/dance master] and CAEDMON'S CALL www.caedmonscall.com 8:00pm MARK HUMPHREYS Free Knitting Factory Christian Folk Bean Town 310-398-2583 ¥ www.boulevardmusic.com Lancaster Performing Arts Center THURSDAY 8:15pm FIESTA NAVIDAD CALTECH FOLK MUSIC SOCIETY 8:00pm CRYSTAL GAYLE www.crystalgayle.com $30-35 SUNDAY NOVEMBER 16 featuring Los Camperos de Nati Cano, California Institute of Technology [Country singer] 11:00am-5:00pm LOS ANGELES MARIACHI FESTIVAL Free Linda Ronstadt, Ballet Folklorico Ollin Beckman Institute (Little Beckman) Lancaster Performing Arts Center Mexican music, folklorico, food Universal Amphitheatre & Winnett Lounges, Pasadena Mariachi Plaza, East L. A. ¥ 323-466-1156 100 Universal City Plaza, Universal City FRIDAY NOVEMBER 7 626-395-4652 ¥ 888-222-5832 4:00pm & 7:30pm BILL KNOPF & TOM CORBETT $12 8:30pm DENNIS ROGER REED Free www.its.caltech.edu/~folkmusi * CBA VETERAN'S DAY BLUEGRASS FESTIVAL w. DAVID FERGUSON, KATHY CRAIG Acoustic roots music Lost Highway, Kathy Kallick Band, Backcountry, Pacific www.tomcorbett.net Alta Coffee, 506 31st St., Newport Beach ¥ 949-675-0233 THE CELTIC ARTS CENTER Crest, Cliff Wagner & Old #7 and more. Blue Ridge Pickin' Parlor www.pickinparlor.com SATURDAY NOVEMBER 29 4843 Laurel Canyon Blvd., Studio City Yolo County Fairgrounds, Woodland, CA 17828 Chatsworth St., Granada Hills ¥ 818-282-9001 818-760-8322 www.celticartscenter.com Bob Thomas 916-989-4221 ¥ [email protected] 2:00pm & 8:00pm LORD OF THE DANCE $23-53 www.cbaontheweb.org 7:00pm JOHN YORK with JOHN CHARILLO (bass) $12.50 see November 25 CERRITOS PERFORMING ARTS CENTER opening JOHN TWIST * JULIAN SCOTTISH WEEKEND Coffee Gallery Backstage 2:00pm & 8:00pm NATIONAL DANCE COMPANY $55/45/25 12700 Center Court Dr., Cerritos Camp Stevens OF IRELAND 562 916-8501 or 800- 300-4345 Janet 760-929-0103 7:00pm JANET KLEIN and HER PARLOR BOYS $16 Rhythm of Dance www.cerritoscenter.com Royal Scottish Country Dance Society McCabe’s Guitar Shop Cerritos Performing Arts Center CLAREMONT FOLK MUSIC CENTER 7:00pm DENNIS ROGER REED Free 7:30pm YUVAL RON TRIO yuvalronmusic.com $10 students 8:00pm ARCHIE FRANCIS and Friends Free Acoustic roots music [Middle Eastern music] / $12 general Bean Town 220 Yale Ave, Claremont Borders Books, Music & Café, 25222 El Paseo, Mission Viejo Claremont Folk Music Center 909-624- 2928 ¥ www.folkmusiccenter.com SUNDAY NOVEMBER 30 949-367-0005 THE COACH HOUSE 8:00pm KEN WALDMAN www.kenwaldman.com $10 LISTING UPGRADE NOW AVAILABLE 2:15pm FIESTA NAVIDAD featuring Los Camperos de Nati Cano, with Linda Ronstadt 33157 Camino Capistrano, San Juan Capistrano Alaska’s fiddling poet 949-496-8927 and ROBBY LONGLEY [fiery Flamenco style guitar] Have your Special Event listed in larger font and Ballet Folklorico Ollin Coffee Gallery Backstage and highlighted in BOLD FACE. Universal Amphitheatre COFFEE GALLERY BACKSTAGE 100 Universal City Plaza, Universal City 8:00pm GREG BROWN & JOHN GORKA $45/$35/$25 ONLY $20 per event. 2029 N. Lake Ave., Altadena www.gregbrown.org 11:00am PETER HIMMELMAN $10/$5kids 626-398-7917 ¥ [email protected] www.johngorka.com Call 818-785-3839 Matinee Kids' Show www.coffeegallery.com Cerritos Perfroming Arts Center McCabe’s Guitar Shop or email - [email protected] for details. FRET HOUSE 8:00pm ELIZA GILKYSON www.elizagilkyson.com $16 2:00pm NATIONAL DANCE COMPANY $55/45/25 McCabe's Guitar Shop OF IRELAND 309 N. Citrus, Covina see November 29 626-339-7020 ¥ www.frethouse.com 8:00pm SUSIE GLAZE & FRIENDS www.susieglaze.com free MONDAY NOVEMBER 17 Bean Town * LUCINDA WILLIAMS www.lucindawilliams.com $37.50 8:00pm WILLIE NELSON $44-$64 JOHN ANSON FORD THEATRE El Rey Theatre Thousand Oaks Civic Arts Plaza (Fred Kavli Theatre) 2580 Cahuenga Blvd. East, Hollywood 8:00pm IAN WHITCOMB and FRED SOKOLOW $12 5515 Wilshire Blvd., L.A. ¥ 323-936-4790 Boulevard Music MONDAY DECEMBER 1 323-461-3673 ¥ www.fordamphitheatre.org 11:00am CATHY FINK AND MARCY MARXER $7 * CRUISE AND INTERNATIONAL FOLK DANCE SATURDAY NOVEMBER 8 Conejo Valley Children's Series LANCASTER PERFORMING ARTS CENTER Beverly & Irwin Barr and the West. L.A. Folk Dancers 750 W. Lancaster Blvd., Lancaster * CBA VETERAN'S DAY BLUEGRASS FESTIVAL Janet and Ray Scherr Forum Theatre (Children) 310-202-6166 see November 7 Thousand Oaks Civic Arts Plaza ¥ 805-650-6735 661-723-5950 ¥ www.lpac.org 8:00pm WILLIE NELSON $55-85 * JULIAN SCOTTISH WEEKEND TUESDAY NOVEMBER 18 McCallum Theatre THE LIVING TRADITION see November 7 * LUCINDA WILLIAMS Downtown Community Center 10:00am INTERTRIBAL MARKETPLACE $8/$6 sr. see Nov 17 TUESDAY 250 E. Center St., Anaheim * CRUISE AND INTERNATIONAL FOLK DANCE Southwest Museum of the American Indian 7:30pm HIGH HILLS no cover 949-646-1964 ¥ www.thelivingtradition.org 234 Museum Dr., L.A. ¥ 323-221-2164 see December 1 Baker's Square Restaurant McCABE’S GUITAR SHOP 7:30pm TOM RUSSELL & ANDREW HARDIN $22 17921 Chatsworth St., Granada Hills ¥ 818-366-7258 8:00pm BOB MALONE pianist/singer-songwriter plus ELIZA GILKYSON Bluegrass Association of Southern California House Concert 3101 Pico Blvd., Santa Monica 310-473-5873 ¥ [email protected] The Acoustic Music Series (NC) 8:00pm GARRISON KEILLOR $60/50/25 310-828-4497 ¥ www.mccabesguitar.com 8:00pm THE FINE BEAUTY OF THE ISLAND $16adv/$18door Cerritos Performing Arts Center 8:00pm ALISON KRAUSS & UNION STATION $20-65 McCALLUM THEATRE Musical theatre piece with harpist PATRICK BALL www.alisonkrauss.com 73000 Fred Waring Dr., Palm Desert 8:00pm CESARIA EVORA $25-80 Walt Disney Concert Hall Sylvia Woods Harp Center, 915 N. Glendale Ave, Glendale [Cape Verde, African singer] 866-889-ARTS ¥ www.mccallumtheatre.com 800-272-4277 ¥ harpcenter.com/concerts.php Walt Disney Concert Hall * CRUISE AND INTERNATIONAL FOLK DANCE 8:00pm KEN WALDMAN kenwaldman.com $12/<12 Free see December 1 NOBLE HOUSE CONCERTS WEDNESDAY NOVEMBER 19 Van Nuys 818-780-5979 The Underground, ; THURSDAY DECEMBER 4 The Underground 7:30pm WHEN PIGS FLY NORDIC FOX RESTAURANT Bethel Congregational Church, 536 North Euclid Ave, Ontario Nordic Fox Restaurant * CRUISE AND INTERNATIONAL FOLK DANCE 909-985-8368 ¥ jimcurrymusic.com see December 1 10924 Paramount Blvd., Downey 8:00pm BRIAN JOSEPH $12 562-869-1414 8:00pm ASHLEY MAHERwww.hrmusic.com/ashley/ashley.html $12 Brock Realty, L.A. ¥ 323-644-9081 8:00pm ROBIN HOLCOLM and $18 WAYNE HORVITZ /$10 Skirball members, students [Singer/songwriter] 8:30pm THE CLUMSY LOVERS www.clumsylovers.com PERFORMANCES TO GROW ON Noble House Concerts American folk tapestry Church of Religious Science Molly Malones, 575 S. Fairfax Ave., L.A. ¥ 323-935-1577 Skirball Cultural Center 8:00pm CHRISTINA ORTEGA free 101 South Laurel St, Ventura Bean Town FRIDAY NOVEMBER 21 8:00pm HOT CLUB OF COWTOWN $10 805-646-8907 ¥ ptgo.org with Seven Layer Soul www.hotclubofcowtown.com 8:00pm AVIATOR’S RAGTIME BALL $25 8:00pm SOMEBODY SAY AMEN $25-55 with THE HOLMES BROTHERS and DENNIS ROGER REED BAND RUSS AND JULIE’S HOUSE CONCERTS with Ian Whitcomb, Dean Mora & Sheila Murphy-Nelson Coach House, San Juan Capistrano www.lahacal.org/aviator plus THE CAMPBELL BROTHERS Oak Park (Agoura Hills/Westlake Village area) Throop Church, 300 S. Los Robles, Pasadena Cerritos Performing Arts Center 8:00pm WILLIE NELSON $40-60 818-707-2179 UCLA Live! 8:00pm PRESTON REED www.prestonreed.com $15 8:00pm GLOBAL GUITARS $20-40 www.jrp-graphics.com/houseconcerts.html [Guitar] with DAVID LINDLEY & WALLY INGRAM FRIDAY DECEMBER 5 SAN JUAN CAPISTRANO REGIONAL LIBRARY Fret House plus Madascar guitarist D'GARY UCLA Live! * CRUISE AND INTERNATIONAL FOLK DANCE 31495 El Camino Real, San Juan Capistrano see December 1 SUNDAY NOVEMBER 9 8:00pm SUE WERNER $18 949-248-7469 * CBA VETERAN'S DAY BLUEGRASS FESTIVAL McCabe’s Guitar Shop * MONTEREY COWBOY POETRY & MUSIC FESTIVAL SKIRBALL CULTURAL CENTER see November 7 AND WESTERN ART & GEAR SHOW 2701 North Sepulveda Blvd., Los Angeles 8:00pm CLAUDIA RUSSELL free featuring: Baxter Black, Sourdough Slim, Hot Club of * JULIAN SCOTTISH WEEKEND Bean Town Cowtown, Riders in the Sky, Glenn Orhlin and others 310-440-4578 ¥ www.skirball.org see November 7 8:00pm ORVILLE JOHNSON, MARK GRAHAM, $15 Monterey Conference Center, Monterey, SOUTHWEST MUSEUM 10:00am INTERTRIBAL MARKETPLACE $8/$6 sr. & TOM SAUBER www.montereycowboy.com ¥ 800-722-9652 234 Museum Dr., L.A Southwest Museum Boulevard Music 7:00pm DENNIS ROGER REED Free 234 Museum Dr., L.A.¥ 323-221-2164 323-221-2164 ¥ www.southwestmuseum.org SATURDAY NOVEMBER 22 Acoustic roots music 11:00am PETER ALSOP www.peteralsop.com $6adults/$3kids Borders Books, Music & Café THOUSAND OAKS CIVIC ARTS CENTER [Matinee Kids' Show] 10:00am OAXACAN FOLK ART SHOW Southwest Museum 25222 El Paseo, Mission Viejo ¥ 949-367-0005 2100 Thousand Oaks Blvd. McCabe’s Guitar Shop 805-449-2787 www.toaks.org/theatre 1:00pm &2:30pm MUSICAL TRIBUTE TO GENE AUTRY 8:00pm GUY VAN DUSER $15 2:00pm THE FINE BEAUTY OF THE ISLAND Fret House UCLA LIVE! see November 8 Verdugo Youth Musicians Association Autry Museum of Western Heritage 8:00pm MURIEL ANDERSON murielanderson.com $12 UCLA Campus 7:30pm KEN WALDMAN kenwaldman.com $10/$8 students opening: JERRY & LISA /$10 students Royce and Schoenberg Halls, Westwood opening: DANIEL SLOSBERG cruzatte.com 8:00pm MARK HANSON guitar $15 Fret House Claremont Folk Music Center Claremont Folk Music Center benefit for Music For Life Alliance 310-825-2101 or 310-825-4401 8:00pm MICHAEL MCNEVIN and PAUL KAMM & $15 www.uclalive.com WEDNESDAY NOVEMBER 12 SATURDAY DECEMBER 6 ELEANORE MACDONALD WALT DISNEY CONCERT HALL 8:00pm YUVAL RON yuvalronmusic.com Free Singer-songwriters 12:00am DOS VIENTOS Free [music of the Middle East lecture] Russ & Julie’s House Concerts Flamenco Guitar Duo 111 South Grand Ave., L.A. ¥ 323-850-2000 Claremont Folk Music Center ¥ 909-624-2928 8:00pm DAVID LINDLEY www.davidlindley.com $17.50 Skirball Cultural Center (Café Z) THURSDAY NOVEMBER 13 & WALLY INGRAM 8:00pm OLD MOTHER LOGO REUNION $17 Coach House. 33157 Camino Capistrano, San Juan Capistrano All Woman’s String Band /$15 FolkWorks members FOR UP-TO-DATE INFORMATION * FOOTWORKS PERCUSSIVE DANCE ENSEMBLE 949-496-8930 Mary Katherine Aldin - Alive and Picking Calendar McCallum Theatre Unitarian Church of Santa Monica 10:30am-11:30pm ZELJKO JERGAN 1260 18th St., Santa Monica www.aliveandpicking.com/calendar.html 7:30pm CHAVAALBERSTEIN www.aviv2.com/chava $60 Dances from Croatia 818-785-3839 • [email protected] [Israeli Folk Singer] Westchester Senior Center ¥ 310-474-1232 FolkWorks www.FolkWorks.org Orange Co. Perf. Arts Ctr (Founders Hall) California Traditional Music Society Jay and Judy Michtom - Folk Dance Scene Calendar Folk Dance Scene 818-368-1957 ¥ [email protected] Costa Mesa us.geocities.com/FDFedSouthInc/events/scenewkshp031122.htm Old Topanga Music FolkWorks thanks these folks for providing information.

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