JOHN HARTFORD/BOB CARLIN • CELTIC MUSIC • CONTRADANCING • KIDS MUSIC/BOOKS • CD REVIEWS

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Volume 2 Number 6 November/December 2002

A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY PAINTING“Don’t you know that Folk Music is THEillegal in Los Angeles?” TOWN ÐWarren Casey of the Wicked Tinkers MURALS IN LOS ANGELES

BY VALERIE COOLEY here is a good side to bad traffic and I found it the other day. The 405 south of Century had slowed to inches per minute Ð not unusual Ð but, for a change, I was in the spot I would have chosen, right alongside the L.A. T Marathon mural. I crept past, able to study the runners’ faces as they strode, clear-eyed and confident, through graffiti up to their chins. They were unconcerned and I was happy. Los Angeles has so many murals that almost any little excursion will net you a view of some, whether you stay on the freeway or bolt desper- ately for freedom into unfamiliar neighborhoods. You can see a few murals from the freeway Ð the picture of the Los Angeles Chamber Orchestra in downtown L.A. comes to mind – but you’ll see more (and more safely) if you get off the freeway and browse the surface streets. It is a fine way to cope with traffic that has gone from bad to worse. One of my better escapes was into Highland Park from the Pasadena Freeway. Figueroa Street was a virtual art gallery. The Arroyo Furniture Store’s long sidewall was crowded with Aztec, Mayan, Native American, and African American PHOTO BYPHOTO COOLEY VALERIE themes, including the feathered serpent, Mexico Ð Tenochitlan “The Wall That Talks,” 1966 – private – Arroyo Furniture Ð 6037 N. Figueroa at Ave 61, Highland Park. Quetzalcoatl and Cesar Chavez. The low walls of Artists: Andy Ledesma, John Zender Estrada, Rafael Corona, Jaime Ochoa, Dominic Ochoa, Isibel Martinez, Oscar de Leon, Mario two parking lots bore sophisticated graffiti art. Mancia, Jesse Silva, Anthony Ortega and Jerry Ortega. Farther along was a new construction site, with a chain link fence protecting little more than one can be seen from the street. Ironically, though, the Mexico’s bloody civil war started in 1910 and wall, the lone remnant of a recently demolished Beverly Hills post office still houses one of the lasted for years. While revolutionary soldiers building. On the street side of the wall was an few New Deal murals that illustrates the miseries fought for economic progress and human rights, angry mural protesting against politicians who of the Depression, and that alone might be worth political and artistic activists Diego Rivera, David spend money on the military but not on schools the cost of parking. Alfaro Siqueiros, and José Clemente Orozco – and libraries, and depicting them as book-burning In East L.A., on the other hand, you will find subsequently the three big names in Mexican art Spanish conquistadors and Nazis. The protest hundreds of murals. This is the mother lode of PAINTING THE TOWN page 21 must have worked because a new library was L.A. wall art. There’s everything from pre- being built on the site and the mural was to be Columbian designs, Virgins, Aztec warriors, trib- preserved. Down the road, however, was a mural utes to dead brothers, current social commentary, full of marchers bearing signs commemorated the revolutionary soldiers grappling with the powers IN THIS ISSUE EDITORIAL...... 2 people who fought in vain against California’s of corruption. The large Hispanic population there INTERVIEW...... 3 anti-immigrant proposition 187. has built on a legacy of the great Mexican revolu- Bob Carlin on John Hartford’s last album, Hamilton Ironworks Not long ago, in her Los Angeles Times col- tionary wall painters and their murals are power- KEYS TO THE HIGHWAY ...... 4 umn, Drive Time, Mary McNamara wrote about ful. Judith Baca, the artistic and organizational Striking the Right Chord the joys of getting lost in L.A. and, in my opinion, force behind many public mural programs, was THE VOICES IN MY HEAD...... 5 born there and her energy and vision have flowed Tribes, Vibes, & Metaphors these murals are one of those joys. Most of us are ANCIENT CHORD MUSIC...... 6 so oriented to our city in terms of freeways that out over the rest of the city, inspiring and empow- Liz Carroll and Malinky CD reviews we have forgotten about the roads people used 50 ering whole communities. CELTIC MUSIC RESOURCES...... 6 years ago to get across town. Seeking out murals, Baca is responsible for many of the murals Where to find CDs locally & on the Web a pleasure in itself, can also introduce you to alter- you’ll see elsewhere. In 1976, she and two other CONTRADANCE MUSIC...... 7 women (filmmaker Donna Deitch and artist A New Musical Genre nate routes to take for pleasure or expediency. CONTRADANCING ...... 7 Amaze your friends by veering off clogged free- Christina Schlesinger) started the Social and An Amusement Park Ride We Make For Ourselves ways and zipping across town on North Public Arts Resource Center (SPARC) in Venice, DAVE’S CORNER ...... 8 Broadway, Cesar Chavez, or Martin Luther King. a multi-cultural arts center that produces, exhibits, ON-GOING STORYTELLING EVENTS ...... 8 Point out murals along the way and savor the distributes and preserves public artwork. MUSICAL BOOKS FOR KIDS...... 9 small town atmosphere where people still buy HISTORY CLEAR YOUR THROAT ...... 10 things in tiny stores. If you do not have the time Los Angeles, with well over 1500 murals, has CSUN Student Discovers Tuvan Throat Music WOODY IN THE WOODS ...... 10 or the money to visit foreign countries, just zip off been described as the Mural Capital of the World. ON-GOING MUSIC HAPPENINGS...... 11 the freeway for an hour or two, and try to guess This is a recent phenomenon, a happy combina- CALENDAR OF EVENTS ...... 12/13 what languages are printed on those store signs. tion of nationalities, ethnicities, social changes, ON-GOING DANCE HAPPENINGS...... 14 The first thing to do is to make a permanent and circumstances. Most of the murals have been KIDS’ CORNER ...... 15 home in your car for Robin J. Dunitz’s book, produced since 1968. Prior to that there were New Column Dedicated to Folk Arts for Kids of All Ages Street Gallery, a Thomas Guide, and some Auto about a hundred mosaics that Millard Sheets and JOURNEY AROUND THE GLOBE ...... 15 Club street maps. I personally prefer big, conspic- others began designing for the Home Savings of Annual World Storytelling Festival uous maps because they seem to invite passersby America banks in the early 1950’s. Before that TOP TEN / FAVORITES...... 16 to stop and help. Dennis Stone, Dave Soyars, DorothyAuyong were the New Deal murals started during the FEATURED ORGANIZATION...... 17 The numbers and types of murals you see will Depression And even before that was the Russ & Julie’s House Concerts depend largely on the area you choose to visit. For Mexican Revolution which would eventually DONOR SUPPORT & RECOGNITION ...... 19 starters, don’t even bother cruising Beverly Hills have a tremendous effect on public art in the CD REVIEWS...... 22 for murals. Only two of the 13 that Dunitz lists United States, especially in California. SPECIAL EVENTS ...... 24 Page 2 FolkWorks November-December 2002

EDITORIAL

elcome to the You probably realize that PUBLISHERS & EDITORS Wconclusion of there is an amazing amount of Leda & Steve Shapiro another suc- work that goes into the creation LAYOUT & PRODUCTION cessful year of FolkWorks. of each issue of FolkWorks. It Alan Stone Creative Services We hope that you have been is done by a small but growing enjoying the newspaper and group of volunteers. After com- FEATURE WRITERS Joanna Cazden have been finding it useful. pleting the September/October The Voices in my Head The end of the year is a time issue, we realized that if we did Roger Goodman to reflect, a time to spend not get more help in doing all Keys to the Highway with friends and family, a the things that needed to be Gaili Schoen, Kids Corner time to give thanks and done, we would not be able to Dave Soyars, Dave’s Corner exchange gifts. continue publishing. We put out Dennis Stone, CD Reviews There is a renaissance an appeal and have received Mike Tackett, Zookman happening in the world of very positive responses from a folk music. The seeds that group of new people. We are in EDITORS have been sown over the the process of reorganizing the Marie Gruno ¥ Valerie Cooley last thirty years are now way we work: we are forming Chuck Galt ¥ Nicole Galland Stan Kohls ¥ Britt-Nicole Peterson blooming. There is more working committees and divvy- Diane Sherman wonderful folk and tradi- ing up the work. We look for- tional music available to us ward to making this succeed so CONTRIBUTING WRITERS Dorothy K. Auyong than in any time in history. BYPHOTO SONYA SONES that we can continue to improve Valerie Cooley ¥ Hilary Field It is the confluence of peo- BY LEDA & STEVE SHAPIRO both the publication and the Sharon Goldwasser ¥ Gus Garelick ple who are interested in organization and grow strong Jason Howe ¥ Rik McCormack this “sub-culture” and technology, the ability to easily into the future. If you are interested in participating, Tom (Tearaway) Schulte record music and distribute it though the Internet as see page 4 for a current list of the ways you can help well as the conventional means. On the other hand, the and do not hesitate to contact us. We will get you in DISTRIBUTION Chuck Galt ¥ Cliff Gilpatric fact that there is so much to choose from sometimes touch with the appropriate group leader. If you have Sue Hunter ¥ Dennis Louie makes it difficult to sort out the best from the rest. We suggestions for ways to improve that paper or for arti- Gretchen Naticchia ¥ Bill Ossa are all fortunate that some friends of FolkWorks are cles that you would like to see in the future, please Matt Reese ¥ Bea Romano obsessive about seeking out the latest and most inter- write or email us. Claudia Russell ¥ Daria Simolke esting new releases and, as a result, can help us out in Thanks to all the FolkWorks volunteers, writers, Stan Smith ¥ Dennis Stone this regard. editors and distributors. We would especially like to Lynn Worrilow ¥ John Wygonski So, dear friends, as you are thinking about gifts thank two people: Alan Stone who has spent an untold LOGO DESIGN during this holiday season, please consider browsing number of hours in the layout of the publication, and Tim Steinmeier through the CD reviews and our reviewers “Top 10” Stan Smith who has picked up the 11,000 papers in his Thanks to all those who have supported and or “Favorites” in this issue and use their as a guide. pickup truck for each issue for two years, sometimes inspired us, especially Warren Casey of the Use the Internet and browse through back issues of at a moments notice. On a final note, we apologize for Wicked Tinkers. FolkWorks for other ideas, as well. the poor print quality of the September/October issue. Published bi-monthly by FolkWorks a 501 While we are on the subject of gift giving, why not The printer we were using had difficulties with their (c)(3) non-profit organization an affiliate of offer the membership of FolkWorks? We have been press and, unfortunately, this was reflected in the qual- Country Dance and Song Society (CDSS). told by a lot of people how much they appreciate the ity of the type. We were unsuccessful in our attempts BOARD OF DIRECTORS paper and how much it is needed in this community. If at having them reprinted. However, as of this issue, we Kay Gilpatric ¥ Colin Quigley you share this feeling, please do not hesitate to be gen- have changed printers! Leda Shapiro ¥ Steve Shapiro erous. Happy holidays to all and we look forward to the Monika White next year. ADVISORY BOARD Bill Howard Howard & Roz Larman Lisa Richardson ¥ Tom Sauber CONTACT INFORMATION DESPERATELY SEEKING VOLUNTEERS MAILING ADDRESS: StillWRITERS - EDITORS Ð REVIEWERS - RESEARCHERS - CO-ORDINATORS P.O. Box 55051 Sherman Oaks, CA 91413 WE NEED YOUR HELP TO CONTINUE PUBLISHING THIS NEWSPAPER. Phone: (818) 785-3839 e-mail: [email protected] PLEASE EMAIL OR CALL IF YOU CAN GIVE US SOME TIME. Web page: www.FolkWorks.org ©2002 FolkWorks All Rights Reserved Call 818-785-3839 ¥ [email protected] 10,000 COPIES OF FOLKWORKS ARE DELIVERED TO THE FOLLOWING LOCATIONS: AD RATES ALTADENA Downey City Library NORTH HOLYWOOD Thunderbolt TORRANCE Size 1 X 3X 6X Coffee Gallery Downey High School Celtic Arts Center Unitarian Community Church Borders Books & Music Backstage Downey Library Duttons Books Un-Urban Cofee House Tower Record Full Page 625.00 575.00 525.00 BELLFLOWER Downer Music Hallenbecks Wild Oats - Centinela VAN NUYS 1/2 page 350.00 325.00 285.00 Bellflower City Library Mambo Grill Kulak’s Wild Oats - Montana Noble House Concerts 1/4 page 200.00 185.00 165.00 BEVERLY HILLS Nordic Fox Restaurant Traditional Music SIERRA MADRE VENICE Public Library Warren High School Shamrock Imports Bean Town Gourmet Coffee Warehouse 1/8 page 120.00 110.00 95.00 BRENTWOOD ENCINO NORTHRIDGE SHERMAN OAKS Venice Food Co-op 1/16 page 75.00 70.00 65.00 Duttons Books CTMS Center for Folk Music Barclay’s Coffee Borders Books & Music West Hollywood BUENA PARK GLENDALE Borders Books & Music Café Vibe Coffee House Bodhi Tree Books SPECIFICATIONS Tower Records Bakers Square PASADENA Coffee Roaster WEST L.A. 1 BURBANK Literati Café Full Page ...... 9 ⁄2 x 15" Borders Books & Music Borders Books & Music Guitar Center 1 3 Buchanon Arms Restaurant 2 8 Sylvia Woods Harp Center Equator Coffee House SILVERLAKE Odyssey Theatre 1/2 page H ...... 9 ⁄ x 7 ⁄ " Priscilla’s Gourmet Coffee 5 3 GRANADA HILLS Folktree Gallery Los Feliz Theater Rhino Records 1/4 page V...... 4 ⁄8 x 7 ⁄8" Public Library Blueridge Pickin’ Parlor Old Town Music Skylight Books West L.A. 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INTERVIEW MOVING BEYOND THE FIDDLE GHETTO AN INTERVIEW WITH BOB CARLIN, PRODUCER OF JOHN HARTFORD’S LAST ALBUM, HAMILTON IRONWORKS

BY GUS GARELICK

he following interview was broadcast matter if you play it or not; on my radio program, The Fiddling just play what you feel when Zone, on KRCB, Santa Rosa, you feel it. California, in February of this year. Gus: So, to prevent chaos Carlin spoke to me by telephone from from happening, did he just T his home in North Carolina. The point to people to play at Grammy Awards were just a few weeks away and certain times? Hamilton Ironworks had been nominated for an award in the category of Traditional Folk Music. Bob: It started out that way. Carlin had played banjo in the Hartford String But it turned into just know- Band for many years and appeared on all of John ing. You had to really pay Hartford’s fiddle albums, including Wild Hog in the attention. Sometimes, we Red Brush, Speed of the Old Longbow, Good Ole had big train wrecks. Other Boys, Fun of Open Discussion, and others. He times, it was pretty spectacu- begins the interview discussing the special tech- lar music. nique Hartford had developed Gus: How long did you in presenting traditional fiddle spend recording Hamilton music. Later on, he discusses Ironworks? why Hamilton Ironworks was Bob: Day and a half. It was such an important album. cut pretty quickly. But by ————————— that time, John was starting the final phase of his cancer. Bob: Hamilton Ironworks was Although he appeared to be done completely live. No over- in pretty good shape, he dubs. It was done very quickly. Some tunes, you’re tired very easily. The ses- hearing the first take. sions were pretty hard on Gus: The technique reminds me a lot of Speed of him. His playing got tired. the Old Longbow, John Hartford’s tribute to Ed I’d seen him when he could Haley. hardly walk very well, but Bob: Right. Starting with Fun of Open Discussion then he’d sit down and fiddle and Wild Hog in the Red Brush, where John plays for hours. But this time, it tunes Ed Haley might have played, but didn’t record, was much different. He was on to Speed of the Old Longbow, where John does just unable to play. So that’s BYPHOTO MARC CARBONELL some talking and plays tunes that Haley actually did one reason why the album don’t think it diminishes his power in any way. record—all these albums were done in pretty much was cut so quickly. We were spontaneous, and that’s Gus: So what about all the fiddling stories? Are the same way: live, lots of experimentation. There’s a what he wanted. they true? lot of planning in advance, but John liked to let spon- Gus: The thing I liked best about the album was the Bob: They’re all true. And they’re all real people. taneity take its own course. For a while, he had a stories, the fiddle folklore. Besides the great tunes, technique called “windows” Ð not to be confused with They might be codified, smoothed over, after so many all the stories behind the tunes were wonderful. Was years telling them over and over. I used to hear them Microsoft—but it was a way of developing an that spontaneous, too? arrangement spontaneously: pointing at people, years ago, John talking about fiddle music. I don’t Bob: No, not at all. Actually, he had a lot of that telling them what to do as we were going along. No know if it made it on the album, but Gene Goforth scripted out. John liked spontaneity, but he had one knew in advance where the solos were going to used to say, after hearing another fiddle player, “That strong ideas about the shape of things. You have to be, when to do backup, when to not play. used to be a pretty good piece at one time.” remember, this album was real important to him. It Gus: Yes, I love that story. Gus: So nobody except John knew how the tune wasn’t coincidental that this was his last studio would develop. recording. It was his way of paying back all the peo- Bob: John used that line all the time! And the story Bob: Well, on Hamilton Ironworks, his instructions ple who started him off, a coming full circle for him; about stealing the same watch twice—I heard that a were that he really wanted us to be background; the it was a culmination of the first phase of his reinves- lot. And I knew John’s uncle, Bill—the one who foreground was the fiddling and his stories about tigation of traditional fiddle music. He was revisiting throws the can of baked beans into the fire and they growing up in Missouri and all the folks he knew and those pieces, listening to his early tapes of fiddling explode. Hey, if you haven’t heard the album, folks, learned from. We had to be supportive; that was his done in the 1950’s, notating the stories and the tunes. you probably don’t know what I’m talking about. In only instruction. So, I knew the tunes pretty well in Not that each story was identical each time, but the some ways— besides paying tribute to people and all advance, and Mike Compton knew most of the tunes. structure was there. For a recent example, you might that, the real reason for the stories was this: John was He had been playing with us before he joined the have heard the album called Tribute to John trying to bring fiddle music outside of the fiddle ghet- Nashville Bluegrass Band. Right now, he’s on tour Hartford, recorded at Mountain Stage in West to. And I think he was succeeding. We’d go play with the “Oh Brother- Down from the Mountain” Virginia. That’s where he says “Well, I know why places for people you would never think would ever show. But Chris Sharp on guitar and Larry Perkins you’re all here tonight. You think I’m gonna die.” listen to fiddle music—and they totally enjoyed what on bass—they didn’t know the tunes at all. All we had Well, that wasn’t spontaneous. In fact, all week long we did. In the last years I played with John, we ended were chord charts and the instruction to just watch before that concert, he was calling up folks, like Sam up doing just as many fiddle tunes as songs. Which John. Bush, and saying “Hey, Sam, listen to this! What do was very different than when I started, when we did mostly John’s songs and a couple fiddle tunes. But Gus: Did John write out the chord charts? you think of that, isn’t that funny?” Then he’d say to me—“Now I’m going to get up and say this thing, people allowed John to do this, because he really Bob: No. Actually, Chris and all of us wrote them out. and don’t interrupt me. I’ve got it planned out.” So wanted to make the fiddling interesting to people, We started playing some tunes a day before the it wasn’t spontaneous, but it had a structure for and one way of making it interesting is telling stories recording, and Chris said, “I don’t know any of these. spontaneity to work. about the tunes and the fiddlers. Let’s at least play the same chords at the same time.” Gus: So, it appeared spontaneous, even if it wasn’t. Gus: The fiddle ghetto! I don’t believe I’ve ever But John didn’t care. He really liked the whole idea heard that expression before. But what about all of spontaneity. The Aero-plane band, which started a Do you think this is because John had been such a good performer all his life? those hard-core fiddlers inside the ghetto? How do lot of people knowing about John Hartford after they respond to John’s music? Gentle on my Mind—that was John’s first attempt at Bob: Yes, he was an extraordinary showman, even as doing spontaneous music. His motto was: it didn’t a small child. He was very conscious of that. But I Bob: They have mixed feelings about his “talking all CARLIN page 20 Page 4 FolkWorks November-December 2002 STRIKING THE RIGHT CHORD (OR HOW DO I KNOW WHAT CHORD TO PLAY NEXT?) ast issues focused on how notes relate to other notes to form a D chord. The more generic method of notation for chords uses Roman Pintervals. We saw that intervals can combine with other inter- numerals to indicate the same thing. So this “one-four-five” progression vals to form triads and chords. We discovered several would be written as I-IV-V. Once you are used to these numbers types of chords and found that their names followed from the instead of note names for chords, you can talk about chord pro- intervals involved. gressions regardless of the key you are in. This terminology Well, there’s more. Turns out that just as notes seek out is so commonly accepted that you might hear a conversa- other notes to keep them company as intervals and tion among musicians like the following. Question: “Is chords, chords seem to seek out other chords to keep there anything weird about the chords in this tune?” them company as chord progressions. A chord pro- Answer: “No, this is a simple ‘one-four-five’ in G.” gression is—as the name implies—a sequence of But wait, there’s more. chords. When playing a particular song in a particular Look at Figure 2. In Figure 2, all of the triads key, there are specific chords to be played in a specif- from Figure 1 are lined up to show a comparison of ic order. That sequence is the chord progression. the interval spacing in each one. Notice that all three There might be some confusion about the differ- of the I-IV-V chords are major. Look again at Figure 2 ence between the key of a chord and the key of a chord and direct your attention to the chord built on D, the progression, and there may be a good reason for that. second degree of the C major scale. This triad contains For example, we can play a G chord, which is a major a flatted 3rd interval, which makes it a minor chord. We chord that we would say is, “in the key of G.” Or, we can BY see this flatted 3rd interval in the chords built on the 2nd, accompany a song by playing a G chord, followed by a C ROGER 3rd and 6th degree of the scale, as shown in Figure 2, so all chord, then a G chord, a D chord and another G chord, and that GOODMAN three are minor chords. would be a chord progression that we would also say is, “in the When using the Roman numeral notation it is customary to key of G.” So, each chord may be viewed as an independent unit that is write major chords using upper case Roman numerals and minor chords built on the scale of the key of the same name as the chord itself, e.g. G. using lower case Roman numerals. These chords, then, would be noted When all of the chords involved in a piece of music are taken together as ii, iii, and vi. Since the first through sixth chords are accounted for, this as a progression, they are related leaves only the 7th degree of the as a group to the key of the song. scale to complete our list of Stay with me, here. Figure 1 - Chords/Triads built on each degree of the diatonic C major scale chords. The chord built on the 7th When selecting chords to CD EFG A BCD EF degree of the scale has a flatted 3rd accompany a particular song you 1-2-34-5-6-71-2-34 but it also has a flatted or 5th, can build a chord on each and any C---E--G which makes this a diminished note of the scale. Each chord still D--F---A chord (sound familiar?). can be understood as being built on E--G---B Diminished chords are noted as a note that names the key of that F---A--C “dim” or with a superscripted “o.” chord. For example the notes C-E- G---B--D So using the Roman numeral nota- G taken together make a major A--C---E tion, the diminished chord built on chord “in the key of C.” But you B- -D- -F the seventh degree of the scale can also play a C chord as part of a would be written “vii°.” chord progression for a song in the key of G. In this instance the C chord Turns out that there are seven chords to choose from when accompa- is part of the “G chord progression” because it is the major chord built nying a song or tune and they are the I, ii, iii, IV, V, vi and vii¡ chords. In on the fourth degree (or note) of the G scale. searching for that right chord to use, this knowledge should simplify your In an earlier issue, you saw that major chords are built by using the options. If it is a major chord that you want it will be a I, IV or V chord. 1st, 3rd and 5th notes of the major If it is minor it will be a ii, iii or vi scale (you may find past articles at Figure 2 – Resulting chord types from Figure 1 chord. Although you are least likely www.FolkWorks.org). In other | 1 b3 3 b5 5 | to need it, there is that seventh, words, every other note was used I C | C - - - E - - G | 1 Major diminished chord, the vii¡ chord. to form a major triad or chord. ii Dm | D - - F - - - A | 2 minor So, how do musicians know Look at Figure 1 to see how the iii Em | E - - G - - - B | 3 minor which chords to play? Basically every-other-note concept can be IV F | F - - - A - - C | 4 Major you have your choice of seven expanded and applied to each V G | G - - - B - - D | 5 Major chords once the key is set. Then degree of the scale. In Figure 1, vi A | A - - C - - - E | 6 minor your choices are limited to three pick a 1st note, say the C, look for viio B | B - - D - - F | 7 diminished once you know whether the chord the 3rd note (E) and the 5th note is to be major or minor. There are (G). If you play these three notes three major, three minor and one together, you have a major C chord. Try it with any of the other notes. diminished chords. And, as usual, there are, exceptions and many varia- This type of rule also applies to chord progressions. Most of the tions, but most chord progressions will follow these rules. Once again, songs you will encounter will use a chord progression built on the 1st, we find that applying a little musical knowledge can instantly narrow the 4th and 5th notes of the scale. Musicians usually talk about this as a search from a seemingly infinite number of chords to the right one. So “one-four-five” progression. In the key of G these would be a G, a C and keep playing, keep chording and, of course, stay tuned.

CLASSIFIEDS TO BRUCE WHO LOANED ME For Sale: UPRIGHT PIANO from YOUR YAMAHA GUITAR 3 the 20’s, M. Schulz Co. Great con- YEARS AGO I want to give you the dition (I think). $2,000.00 Call guitar back, but I don’t know how to (818) 909-7718 reach you. I never intended to keep For Sale: MINOLTA COPIER it, but you didn’t give me your last (model EP4230) with cabinet stand, name or phone number. Please call large glass for 11 x17, 50% to me at (323) 340-8010 and I’ll return 200%, good shape, large but works. it to you. Mike Perlowin. Still $100.00. Call (818) 430 6767 IS DESPERATELY SEEKING CELTICANA offers MUSICAL Wanted: USED MUSICAL ENRICHMENT LECTURES INSTRUMENTS, (even parts) for VOLUNTEERS & DISTRIBUTORS on the history of the hammered travelling music teacher. Anything dulcimer for your library, club or Call or email for details 818-785-3839 • [email protected] accepted from fiddle bridge to school. Contact Bea Romano at child’s glockenspiel! (818) 347-6728 (562) 861-7049 or (see page 2) [email protected] and on the web at www.celticana.net November-December 2002 FolkWorks Page 5 THE VOICES IN MY HEAD PRESENTS BY JOANNA CAZDEN TRIBES, VIBES, & METAPHORS

BY JOANNA CAZDEN ere is a story of uncertain origin, passed on by a FolkWorks- Hreading friend: “When a woman in a certain African tribe knows she is pregnant, she goes out into the wilderness with a few friends and together they pray and meditate until they hear the song of the child. They recognize that every soul has its own vibration that expresses its unique flavor and purpose. “When the women attune to the song, they sing it out loud. Then they return to the tribe and teach it to everyone else. When the child is born, the NEVENKA community gathers and sings the child’s song to him or her. The song is Nevenka, a Los Angeles-based women’s folk chorus performing songs sung for significant events in the child’s life, such as initiation into adult- of Eastern Europe, formed in 1976 by women who shared a common hood, and marriage. Finally, when the soul is about to pass from this world, interest in the complex harmonies, compelling rhythms and rich instru- the family and friends gather at the person’s bed, and they sing the person mental styles typical of Balkan music and dance. Nevenka’s repertoire to the next life.” includes songs from Bulgaria, Yugloslavia, Greece, Turkey and Russia Put aside the possibilities that this tribe is unnamed because it doesn’t that vary in style from traditional village melodies to arranged choral exist, and that the story is merely a poetic romance projected onto the pieces Third World. The tale has travelled along tendrils of the email-grapevine because so many of us link the ideas of “song” and “voice” with something “...haunting voices... exquisite harmonies profound about personal identity, some essential expression of an individ- and lilting melodies that intoxicate..” ual or group. - The Daily News The metaphors are everywhere. The “voice of the people” is heard Saturday, 8:00 pm Ð NOVEMBER 9, 2002 through the ballot box, if not in the streets. A “writer’s voice” resonates Unitarian Community Church, 1260 Eighteenth St. (at Arizona), Santa Monica between the words. An organization’s leader may be called a “mouth- Admission $15 advance $17 Door (FolkWorks members $13) piece.” Walt Whitman risked ridicule for the pure exaltation of his Song of Advance ticket purchase recommended - seating is limited. Myself. Please send SASE with payment to: Singing can be a deeply private experience, calming one’s senses FolkWorks before prayer, or helping to maintain sanity in a solitary prison cell. Even PO Box 55051 ¥ Sherman Oaks, CA 91413 warming-up the voice in an otherwise empty room can trigger both terror www.FolkWorks.org (818) 785-3839 ¥ email: [email protected] — a sense of exposed vulnerability — and joy. But more often, the act of singing implies a connection between peo- ple, a transmission of energy and meaning from one’s core being to a lover, child, family, or community. When my speech therapy clients lose their voices completely, or are advised to rest in silence as much as possible, GIG BOX they are astounded at how deeply this changes their relationships and their place in the world. BANDS FOR HIRE In Bill Staines All God’s Children Got a Place in the Choir, vocal music represents a larger harmony and belonging. Carol Gilligan’s ground-breaking (and still controversial) book about girls as a group used BUZZWORLD the title In a Different Voice. No musical hit reflected 1960’s consciousness Southern California’s premiere better than the Beach Boys’ Good Vibrations. Celtic-based acoustic / eclectic band. Chilean songwriter Violetta Para’ s classic Gracias A La Vida ends A unique blend of exuberant Irish with gratitude for “your song/which is my own song;” a nearly identical dance music with classic jazz, surf, sentiment closes the signature piece performed by my Yiddish chorus. And and spy music of the 1960’s. You’ve a famous composition by James Weldon Johnson and J. Rosamund heard them on projects as varied as Johnson, often called the Negro National Anthem, goes “Lift every voice James Cameron’s Titanic to accom- and sing/Till earth and heaven ring/Ring with the harmonies/Of Liberty!” panying performers like Ray Beyond the power of individual expression, and of public or tribal Charles, David Byrne and Brian Eno. Booking now: concerts, corporate identity, sound itself is held sacred in many religions. The Judeo-Christian events, private parties, weddings. (818) 904-0101 - glockwood@earth- Bible begins with The WORD; Hinduism & Buddhism honor OM as the link.net http://home.earthlink.net/~glockwood/BUZZWORLD/index.html fundamental sound of the universe. Sacred languages including Arabic, Hebrew, Sanskrit, and Latin are believed to transmit spiritual vibrations CRAICMORE /krak’mor/ directly through the sound, as well as meaning, of each syllable. Celtic music - “wonderfully Although religious metaphors about LIGHT generally refer to a “high- harmonious Gaelic vocals, both er” self, soul, or divinity, references to SOUND remain anchored in human Scots and Irish, ... crisp instrumen- experience. The voice, after all, is created inside the singer’s physical tals sets. Lead singer Nancy being. It emerges from the throat, itself a bridge between head and body. Johnston has a velvety voice...” Audible words and melodies physically vibrate the listener’s eardrum, and Dirty Linen, July, 2002. Fiddle, carry an intimate, almost tactile, message from one body/mind/soul to Penny whistle, guitar, bass, percus- another. This integration of many levels of be-ing seems central to the sion & vocals. Available for all power of Song. occasions. (818) 727-9890 ¥ www.craicmore.com Perhaps the ultimate book on singing-as-metaphor is Bruce Chatwin’s OLD #7 classic The Songlines. This gritty yet meditative journey through the out- Mississippi native, Cliff Wagner and his back of Australia evokes the unity of song, space, and habitat at the center band, “The Old #7” are entrenched in preserving of Aboriginal culture, along with related musings on the origins of lan- Appalachian Bluegrass, the very same music guage and the origins of humanity itself. It’s a magnificent work, highly played by The Stanley Brothers, Jimmy Martin, recommended for anyone drawn to the deeper meanings of voice and song. and Larry Sparks to name a few. Old #7’s sound So in this holiday season: give copies of The Songlines to your vocal- incorporates traditional three part harmonies and world-music pals. Savor the carols and brass choirs that muzak can’t and excellent instrumentals influenced by The totally trivialize. Reach through the darkness of the winter solstice for its Delta Blues and Honky Tonk which gives Cliff reassuring sparks of hope, and listen through midnight silences for the Wagner & The Old #7 their unique sound. sounds between the stars. Sing your own song, and have a great new year. http://www.s-w-b-a.com/bands/number7.htm Joanna Cazden is a singer-songwriter and licensed speech pathologist. Find her online at www.voiceofyourlife.com Your band can be listed here! $25/1x ¥ $60/3x ¥ $100/6x [email protected] ¥ 818-785-3839 Page 6 FolkWorks November-December 2002

CD REVIEWS

Artist: LIZ CARROLL Artist: MALINKY Title: LAKE EFFECT Title: 3 RAVENS Label: GREEN LINNET # GLCD1220 Label: GREENTRAX (SCOTLAND) # CDTRAX233 Release Date: AUGUST 2002 Release Date: AUGUST 2002

hicago, Illinois, the Windy City, is widely known in the music ver the last several decades, there has been a dramatic rise in Cworld for its native blues and jazz. However, since the end of the interest in Scotland’s folk music heritage. The Scottish Gaelic 19th century, when Francis O’Neill, the great collector of Irish O language has been reborn with music was Chief of Police, Chicago has also been a hotbed of traditional the help of popular folk-based bands such Irish music. Liz Carroll, a native Chicagoan of Irish parents, honed her fid- as Capercaille and the folk-rock group dle skills at the local Irish sessions. Recently, she has taken the Celtic music Runrig. During the last ten years, a flood of scene by storm and emerged as one of the world’s top Irish fiddlers. new folk artists have emerged, creating Since first gaining attention in 1975 new and experimental folk music that com- when she won the Senior All-Ireland Fiddle bines rock, Middle-Eastern, African, and Championship at the age of 18, Liz has world-beat rhythms with a solid climbed to the highest level of her art. She Gaelic/Celtic foundation. Some of these has recorded ground-breaking albums both bands are Old Blind Dogs, Wolfstone, and as solo artist and group member and has Deaf Shepherd. Singers such as Catherine- won numerous championships and awards. Ann McPhee and Capercaille’s Karen Among these awards was the inclusion in Matheson have inspired many vocalists to discover and renew their interests 1988 of her first album, Liz Carroll, as a in the ancient Gaelic/Celtic heritage. This renewed spirit has continued into select record of American folk by the the new century, and one of the new bright lights is the group Malinky. Library of Congress. Liz was also presented Malinky made an immediate impact on the Scottish folk music scene. In a National Heritage Award Fellowship in 2000, fRoots Magazine described their debut album Last Leaves as "one of 1994 by Hillary Clinton, an award that recognized Liz as a “Master the most memorable and refreshing debuts to have passed this way in a long Traditional Artist” who has con- time," and the program Scotland on tributed to the shaping of our artistic Sunday chose it as one of the out- traditions and to preserving the cul- standing folk-roots releases of 2000. tural diversity of the United States. Ancient Chord Music With striking vocals, a strong song- Other honors include Chicago Mayor CD AND CONCERT REVIEWS BY DENNIS R. STONE based repertoire, plus an instrumen- Richard M. Daley’s proclaiming Music reviews written for this column mainly concentrate tal flair, Malinky produces one of September 18, 1999 as Liz Carroll on the folk music realms of Celtic, but will also occasionally the most distinctive sounds to Day and being named Irish venture into Scandinavia, Eastern Europe and the Middle East. emerge from the recent Scottish folk- Traditional Musician of the Year Crossover artists with a large folk music element and influence scene. 2000 by Earle Hitchner of the Irish will also be addressed. This column will not be closed to any Malinky’s new album, 3 Ravens, Echo. other folk or world music genres, so you may also see reviews by noteworthy artists that reach beyond the previously mentioned traditions. displays a new five-piece band. The The breakthrough release Lost in The purpose of this column is not only to review new releases by popular artists in key members from the first album, the Loop (2000), won an AFIM Indie the aforementioned music genres, but to also introduce quality releases by more Karine Polwart (vocals, guitar, Award by the Association for obscure, hard to find and unknown artists. These are the artists whose music releases bouzouki) and Steve Byrne (vocals, Independent Music, naming the would be absent from the local audio music shops due to domestic and/or internation- guitar, bouzouki) are joined by Mark album as best in the Celtic/British al distribution restrictions. I believe that many folk music enthusiasts in the Los Angeles region would embrace these artists, if only they knew of their existence, and how to Dunlop (vocals, whistles, bodhrán) Isles category. All of these honors obtain their music. and Jon Bews (vocals, fiddle). The and awards were earned by Liz’s All artists in these music fields, whether established on major labels or independ- newest fifth member from Ireland is fiery energy and brilliant musician- ently produced are welcome to send FolkWorks their music for review consideration. the renowned accordionist and whis- ship. Promotional material can be sent to FolkWorks at P.O. Box 55051 Sherman Oaks, CA tle player Leo McCann. This new Deeply rooted in the Irish folk tra- 91413 or directly to the reviewer, Dennis R. Stone Ancient Chord Music P.O. Box 5032 Downey, CA 90241-8032. Inquiries and/or feedback are welcome by writing to lineup maintains the acoustic atmos- dition, yet packed with a fresh con- FolkWorks or the reviewer at the previously mentioned mailing addresses or by email phere of Malinky’s debut album, but temporary approach in arrangements at: [email protected] their power and live presence are and presentation, Liz’s music can The Rating guide has been eliminated since I am only reviewing in this greatly enhanced and renewed. In only be described as astonishing. A column, recordings that receive my highest recommendation addition to some traditional songs, master at interpreting traditional each band member has contributed dance tunes, she is also a master of new songs or tunes to the album, composition, with many of her works now being included at pub sessions which further emphasizes the depth of talent within this band. throughout the world. Her music ranges from breathtakingly beautiful and Karine Polwart recently left the Battlefield Band to devote her energies haunting airs to blistering sets of reels and jigs that showcase a smooth, full time to Malinky. Her voice is a key element of Malinky’s distinctive flashing, fluid style that, at times, can hit jaw-dropping, break-neck speeds, sound. Her English and Scottish vocals demands your attention. Their com- all with an amazing flair that sets her apart from other fiddlers. manding presence is especially obvious in the songs Thaney, The Sound of The much-anticipated new album, Lake Effect, continues to astonish and a Tear not Cried, and inspire. Although paying Follow the Heron. tribute to Liz’s hometown Especially noteworthy and its influence on her Celtic Music Resources is the title track 3 music, the album will be WHERE TO FIND CDs LOCALLY & ON THE WEB Ravens, which flows as welcome in Ireland (or into a Breton arrange- anywhere else Irish tradi- It’s the holiday season, so you might want to be going out to find some CDs for gifts. Here’s a short list ment of the instru- tional music is appreciat- of places to check locally and on the Web from our Celtic music aficionado, Dennis Stone and publisher mental The Raven’s ed), as well as on the Steve Shapiro. Return. Steve Byrne shores of Lake Michigan. ¥ Amoeba Music (6400 Sunset Blvd., ¥ The Irish Import Shop (738 North Vine St., lends his fine voice Produced by Liz and ex- Hollywood (323) 245-6400) - the best Celtic Hollywood (323) 467-6714) - many CD’s to his song The Lang Solas guitarist John section in L.A. from Ireland and Scotland not found anywhere Road Doon and to the Doyle, the album features ¥ Hear Music (1429 3rd St., Santa Monica (310) else locally. ballad The Trawlin’ fabulous playing by John 319-9527) - good section with titles not found ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ Trade. Mark Dunlop himself on guitar and elsewhere in the city. On the Web, check out the following sites: turns in an equally bouzouki. Other guests ¥ Tower Records (8801 Sunset Blvd., Tayberry Music ¥ www.tayberry.com fine vocal on the who accompany Liz Hollywood (310) 657-7300) - for their best Celtic Grooves Imports ¥ www.celticgrooves.com traditional song I include The Turtle Island selections. Lark in the Morning ¥ www.larkinam.com Dreamed Last Night String Quartet, Irish accor- ¥ Bodhi Tree Bookstore (8585 Melrose Ave., The Celtic Trader ¥ www.celtictrader.com of My True Love. The dionist Máirtin O’Connor, West Hollywood (310) 659-1733) - has some Elderly Instruments ¥ www.elderly.com/recordings most notable instru- and fiddler Liz Knowles, unusual selections of Celtic not found at other Hobgoblin Music ¥ www.hobgoblin-usa.com mental tracks are the plus Kieran O’Hare, stores in the area. Homespun Video ¥ www.homespuntapes.com set of original tunes Jackie Moran, Emedin ¥ Sylvia Woods Harp Center (915 N. Glendale House of Music Traditions ¥ www.hmtrad.com Leaving Rum, which Rivera, Jim DeWan, Avenue, Glendale (818) 956-1363) - has main- Green Linnet ¥ www.greenlinnet.com showcases the talents Michael Aharon and Solas ly harp based Celtic music, but the selections GreenTrax Recordings ¥ www.greentrax.com of Leo McCann and bassist Chico Huff. are hard to find locally. Shanachie Entertainment ¥ www.shanachie.com Jon Bews; the strath- Most of the thirteen ¥ Aron’s Records (1150 N. Highland Ave., Los Country Dance and Song Society ¥ www.cdss.org spey and slip-jig set tracks on Lake Effect, Angeles (323) 469-4700) - has some good Yorkston Athletic, and include tunes that were titles and finds in their new and used folk sec- the three-tune set tions. CARROLL page 22 MALINKY page 22 November-December 2002 FolkWorks Page 7 CONTRADANCE MUSIC A NEW MUSICAL GENRE

BY SHARON GOLDWASSER icture a community dance in New England in the early 1800’s. Perhaps it is set in a rural farmhouse kitchen, or in the town meet- CONTRADANCING ing or grange hall. Friends and neighbors gather together for an evening of social dancing and conversation. The evening’s program lists contradances, quadrilles, and couple dances such as schottis- AN AMUSEMENT PARK RIDE P ches and waltzes. As for the music: a fiddle accompanied by piano WE MAKE FOR OURSELVES or pump organ is a common combination, but the band might well recruit any instruments available in the community, including winds or brass! The band’s ADAPTED FROM WWW.SBCDS.ORG/CONTRADANCE/WHATIS/ repertoire of dance tunes includes jigs, reels and hornpipes as well as miscella- neous couple dances. Some of the dances, for example Hull’s Victory or The irst, let’s set the record straight, contradance has nothing to do Chorus Jig, call for a specific tune of the same name. Choices for other dances Fwith country line dancing, absolutely nothing whatsoever! are up to the whim and repertoire of the fiddler and his companions. Some of Nada. Zilch. And if it did I would deny it. Perhaps you would the tunes are drawn from a developing regional “New England” repertoire (with think that this is biased and you would be right. Certainly some people English roots), and others are borrowed from Irish, Scottish, and French- enjoy both contradancing and country line dancing. Contradance groups Canadian traditions. Whatever the tunes, contradance music is characterized by receive absolutely no funding from Oliver North (remember him?). No two essential features: clear phrasing and strong, well-defined rhythm. classes are required, or even offered (in general), except for a (not Imagine if we could transport these musicians and dancers to a modern required) half an hour or a fifteen-minute introduction to contradance contradance. Would they feel at home with the music and dancing? Would before many regular dance events. they find the contemporary music and dances comfortably familiar, or for- So what is a contradance? To start with, there is a caller that usually eign to their own experience? Is 21st century contradance music simply works with a group of live musicians, guiding new and experienced expanding to fit contemporary culture, or has it progressed into a new genre dancers alike through a variety of dance figures. The dancer and his or her altogether? partner execute a series of moves with each other and with other dancers During the years since this hypothetical community dance was held, con- in the set. They then repeat the same figures with another couple, and so tradancing has experienced ups and downs in popularity but maintained its on. The figures used in contradancing are similar to those of old-time existence in pockets throughout rural New England. The most recent folk square dancing. They are music revival, around the 1960’s and early 1970’s, dispersed contradancing combined in different and music from its New England birthplace and introduced it to scores of ways for each dance. urban communities across the United States. Accompanying the geographi- The caller teaches cal expansion, regional and popular musical have been incorporated by con- each dance before it is tradance bands. actually done to the When contradancing rose in popularity in the 1970’s, a new cohort of music. This gives every- musicians was initiated into playing for dances. In many areas, an “open one an idea of what to band” was typical, consisting of an indefinite set of members, usually under expect so the move- the guidance of a small core of more experienced leaders. The traditional fid- ments can be easily exe- dle and piano were still often central to the band, but guitars, mandolin, cuted. The caller leads banjo, bass, penny whistle, flute, recorder, accordion, concertina and ham- the dances while they are being done to music, mered dulcimer were also welcome members of the cast of instruments. DAWN DANCERS - by Sarah Davis The dance bands that flourished in the 1960’s and 1970’s were drawing so dancers are able to on a large body of traditional fiddle tunes, like those found in the book New follow the instructions as they perform each movement to the music. England Fiddler’s Repertoire. Recordings of the Canterbury Country Dance Eventually, once the dancers appear to have mastered the dance, the caller Orchestra and Rodney and Randy Miller’s New England Chestnuts are great stops calling, leaving the dancers to enjoy the movement with music examples of that kind of sound. The melody instruments generally played alone. tunes in unison, with piano and guitar providing the rhythmic chordal Contradancers do not wear costumes (except on Halloween) or any accompaniment. Sometimes a single tune was played for an entire dance and particular style of clothes. Some groups ask that you bring a separate pair sometimes two or three tunes were organized into a medley. Still, the overall of soft-soled (non-scuffing) shoes to protect the dance floor. Tennis shoes approach to the dance music primarily reflected straightforward repetitions are quite adequate for a first-time dancer. of fiddle tunes. Very little footwork is required in contradancing. The most common As contradancing increased in popularity, changes in the mind-set among type of movement is a smooth walking step. dancers, callers and musicians began to influence each other. Some dancers At most dance events in became more serious about their participation in contradancing. No longer North America, each dance just an occasional social event, it evolved into a form of serious recreational is done with a different activity. In addition to attending local dances once or twice a week, many partner, although people dancers became “dance-gypsies,” travelling to other cities or on jaunts to who are dating or come to week-end dance events or summer camps. The dances changed to include the dance with a significant less variety in couple dances and fewer squares (the descendants of the early other, might dance with quadrilles) and focused more on contras. Dances featuring certain figures, each other more than once. particularly those like “balance-and-swing your partner,” and moves that People of all ages and increased participation by the “inactive” couple, became more prominent. lifestyles, including chil- The music has co-evolved with all of these changes as well. dren, are welcome. Figuring a typical evening of 12 contras, each lasting about 10 minutes, Contradances are a place the average contradance fiddler probably bows about 60,000 notes (give or PROMENADE - by Sarah Davis where people from many take a few). For a musician playing regularly for contras, the repetitive nature walks of life come together of the music sets up a distinct potential for boredom. Creative musicians to dance and socialize. Some dancers often go out to a restaurant after the began to see possibilities in contradance music that would continue to pique dance, have a potluck before or during the dance, or hang out with musi- their own interest: adding percussion, rhythmic variation, dynamics, har- cians in jam sessions and song circles. monies and improvisation to the melodies. Others explored the possibilities An evening that includes contradancing might be called a contradance, of combining traditional fiddle tunes with the rhythms and flavors of such an old-time contradance, an old-time country dance, a barn dance, or diverse musical styles as swing, jazz or reggae. Some musicians focused on something similar. Most contradance events will include a few other adapting southern old-time music to contradancing. And because dancers dances: traditional squares, waltzes, hambos, polkas, swing, and even reacted positively to many of these changes, musicians and bands have kept Greek dancing! exploring and experimenting. It has been said: "A contradance is like an amusement park ride we Among the musicians involved in the departure from tradition, Rodney make for ourselves." Miller is renowned as one of the pioneers in expanding the boundaries of tra- Ultimately, the only real answer to the question "What is a con- ditional contradance music. Assisted by Peter Barnes, John McGann and tradance?" comes when you try it. (For further information, see the other talented musicians, he recorded two highly influential albums: schedule On-Going Dance Happenings listed on page 14) Airplang and Airplang II, which were released in 1985 and 1987 respective- For more in-depth discussion of what a contradance is, as well as links ly. Another example of contra music experimentation can be found on a to the multitude of contradance sites on the Web, go to recording by David Kaynor’s band Fourgone Conclusions, which was www.sbcds.org/contradance/whatis/. recorded even earlier, in 1982. So what does contradance music sound like now? Some bands, like Bob Gary Shapiro, the owner of this website, is a caller in the Santa Barbara McQuillen’s group New England Tradition, have retained a straightforward area. He is not a known relative of the publishers of FolkWorks.

CONTRA MUSIC page 23 Page 8 FolkWorks November-December 2002

Dave Soyars is the bass player for L.A. Celtic band tives. Gold [Lost Highway, 2001] (!), was omnipresent Craicmore, an aspiring singer/songwriter, and a print on year-end best of 2001 lists. “New York, New York,” journalist with over fifteen years experience. His col- an ambivalent love song to both a departed lover and umn features happenings on the folk music scene both the city (written pre-9/11, in case you’re wondering) is locally and nationally, with commentary on record- a great song, and Adams, who is also remarkably pro- ings, as well as live shows, and occasionally films and lific, is often in the gossip pages with his drunken books. Please feel free to e-mail him at antics. Much of the record is no more than competent [email protected] or write him c/o FolkWorks. imitations of the Rolling Stones or the Band, but when ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ he’s good he’s worthy of the attention. Demolition [Lost efore I turn to the main subject of this column, Highway] (!) is brand new, and more appropriate for Bsinger-songwriters, I’ve got to tell you about a readers of this publication due to its more acoustic new record deserving of special attention. nature. Apparently not the official follow-up to Gold

(Actually it does relate, but it’s the only one this issue BYPHOTO MARIAN KATZ but rather a transitional record of recordings that he had in which the main songwriter is not the main per- hanging around, its casualness is actually refreshing in former.) I’d like to highly recommend, of all things, a light of all the hype. commercial country record. It’s All Relative by Pam Rufus Wainwright is the son of Loudon Wainwright Tillis, [Lucky Dog] (!!) may be a slick product of com- III, and his style couldn’t be more different from his mercial Nashville, but the singing is beautiful and the dad’s. His Poses [Dreamworks] (!) is a set of short pop songs, all at least co-written by her dad, Mel Tillis, are DAVE’S songs based mainly around piano rather than guitar, all good and occasionally great. Papa Tillis may be best though his dad’s One Man Guy is given a wry twist remembered as a stuttering talk show guest, but he’s a (Rufus is openly gay). He’s really more of a pop com- highly underrated songwriter, and his daughter not only poser than a typical singer/songwriter (good compar- sings beautifully on her tribute to him, but she also pro- ORNER isons might be the late great Nilsson or early Randy duced it, a rare occurrence for a woman in the boys club C Newman, though he’s nowhere near as good a singer as that is country music. It also features great playing, and the former or as good a lyricist as the latter), but his guest duets by, among others, Dolly Parton and Ray Benson of Asleep at the songs often have a kind of emotional relevance that anybody who’s been in Wheel. This will be a huge country hit, but don’t let that stop you from buy- any kind of relationship can relate to. ing it. It’s not the kind of record I recommend often, all the more reason why David Baerwald released one of my favorite records of the 1990’s, I wanted to tell you about it. Triage [A&M] (!!), but it was much more of a rock record than his new one, Now on to songwriters. I’ve spent little time on them up ’til now because which features instrumentation that wouldn’t sound out of place at your most don’t interest me. They primarily either write clichés or write so hyper- local folk club. The songs on Here Comes the New Folk Underground [Lost personally that they ignore any hint of any universal emotion. A writing Highway] (!!) are not the vitriolic ones of Triage (one song’s subject is the teacher once told me that the ultimate purpose of poetry is self-expression. CIA’s alleged hand in bringing drugs into inner cities, others include fright- I told her that poetry, to me (like songwriting) is about a choice to express ening vignettes about the corrupted idealism of cops, soldiers and record oneself in that particular medium. I so often find myself asking: “Why are executives), but they are streetwise and literate meditations on the meaning you singing instead of visiting your shrink? Why should I care about what of life and love. Hellbound Train updates blues imagery while preparing you’re singing about?” If the answer is just a clever use of words or music, rich and poor alike for a trip down below, other songs stand most love song or the subject a bad date somebody had twenty years ago, I generally tune clichés on their head. it out. A good song should give you a feeling of empathy rather than sym- Finally, here’s a laundry list of other songwriters I like (though none of pathy, or at least a feeling that somebody is singing from their gut rather them have new records out): Vic Chesnutt; Leonard Cohen; Elvis Costello than whining. I had to struggle to find songwriters with recent recordings (usually); Iris DeMent; Bob Dylan; Robb Johnson; Shane McGowan; Joni that manage to get to that place, but here are a few that occasionally do. Mitchell; Leon Rosselson; Ian Telfer, John Jones and Alan Prosser of Ryan Adams is the hype of the moment, the songwriter that has critics Oysterband (OK, the Oysters do have a new one but I haven’t heard it); from the likes of the Village Voice and L.A. Times running out of superla- Gillian Welch. Watch for ‘em next year, watch for me next issue. Again, I’d be thrilled to have somebody introduce me to anyone I’ve left off the above list. RATING SCALE: [!!!] Classic, sure to be looked back on as such for generations to come. [!!] Great, one of the year’s finest. If you have even a vague interest in the artist, consider this my whole-hearted recommendation that you go out and purchase it immediately. [!] Very good, with considerable appeal for a fan of the artist(s). If you pur- chase it, you likely won’t be disappointed. [—] Good/solid, what you would expect. [X] Avoid. Either ill-conceived, or artistically inept in some way.

On-going Storytelling Events

GREATER LOS ANGELES LOS ANGELES COMMUNITY SUNLAND-TUJUNGA STORYSWAP STORYTELLERS 2nd Saturdays ¥ 8:00 pm 2nd Thursdays ¥ 7:30 pm Sunland-Tujunga Library Storytelling Group Temple Beth Torah ¥ 11827 Venice Blvd. 7771 Foothill Blvd. ¥ (818) 541-9449 Audrey Kopp ¥ (310) 823 7482 TALEBEARERS [email protected] a Toastmasters Storytelling Group FAMILY STORYTELLING 4th Wednesdays ¥ 7:00 pm Saturdays/Sundays Temple Beth Torah 11:00 am, noon, 1:00 am ¥ Free 11827 Venice Blvd., Mar Vista ¥ (310) 838-6744 Storytelling in Spanish on alternating Saturdays. ORANGE COUNTY Getty Center Family Room COSTA MESA SOUTH COAST 1200 Getty Center Drive, L.A. STORYTELLERS GUILD (310) 440-7300 3rd Thursdays ¥ 7:00 pm LEIMERT PARK Piecemakers Village GRIOT WORKSHOP 2845 Mesa Verde E. ¥ (909) 496-1960 3rd Wednesdays ¥ 7:00 pm SOUTH COAST STORYTELLERS Ja-Phyl’s Place, 4346 Degnan Blvd. Saturdays & Sundays ¥ 2:00-3:00 pm (310) 677-8099 Bowers Kidseum SAN GABRIEL VALLEY STORYTELLERS 1802 North Main St., Santa Ana 3rd Tuesdays ¥ 7:30 pm (714) 480-1520 ¥ www.bowers.org/link3c.htm Allendale Library MISSION VIEJO STORYTELLING 1130 S. Marengo Ave., Pasadena Wednesdays ¥ 7:00 to 8:00pm (626)792-8512 Borders Books and Music LONG BEACH STORYTELLERS 25222 El Paseo ¥ (949) 496-1960 1st Wednesdays ¥ 7:00 pm COSTA MESA STORYTELLING El Dorado Library BY LAURA BEASLEY 2900 Studebaker Rd. ¥ (310) 548-5045 Wednesdays ¥ 10:00 am South Coast Plaza ¥ (949) 496-1960 November-December 2002 FolkWorks Page 9 Musical Books for Kids

BY HILARY FIELD (REPRINTED WITH PERMISSION) ne way to be musical with services. We just skip over those. ily heads home and decides “Mommy’s accompanying CD of Benjamin Ochildren is through books. From recitatives to rap music, words taking us to the zoo tomorrow, zoo Britten’s composition as well as Dukas’ There are illustrated books have always played a major part in the tomorrow, zoo tomorrow.” The Sorcerer’s Apprentice. of songs, books with strong rhythms and rhythm of music. There are a number of All the Pretty Little Horses, a For a taste of jazz, try Charlie lyrical poetry, and for older children, children’s books that are strongly rhyth- Traditional Lullaby, stands out for its Parker Played Be Bop by Chris informative books about the history and mic and fun to read aloud. There is a sheer aesthetic beauty. Linda Saport Raschka. The text of this book is styles of music. Here are some that my definite feeling of duple time in the illustrates this famous American lullaby inspired by a recording of Parker’s A family has enjoyed. alphabet book, Chicka Chicka Boom with gorgeous scenes of a mother rock- Night in Tunisia. “Charlie Parker played Sandra Boynton has wonderful Boom, written by the aforementioned ing and comforting her child with be bop. Charlie Parker played saxo- board books to share with the youngest team of Bill Martin Jr. and John images of “when you wake, you’ll have phone. The music sounded like be bop. set. Boynton uses words that are so Archambault, and illustrated by Lois cake, and all the pretty little horses.” Never leave your cat alone.” The phras- rhythmic and musical they practically Ehlert. “A told B and B told C, I’ll meet Another beautiful book is My Favorite es and refrains bring out the syncopated dance off the page. As the animals gath- you at the top of the coconut tree. Whee! Things, illustrated by Renée Graef. rhythms and riffs of jazz, “Alphabet er to swing and sway in Barnyard Said D to E F G, I’ll beat you to the top Graef does a wonderful job illustrating alphabet, alphabet, alph, Chickadee, Dance, it is hard not to feel like a square of the coconut tree. Chicka Chicka this Rodgers and Hammerstein song chickadee, chickadee, chick, Overshoes, dance caller while reading, “stand with Boom Boom! Will there be enough from the beloved musical movie, “The overshoes, overshoes, o, Reeti-footi, the donkey, slide with the sheep, scram- room?” In Bruce Deegan’s Jamberry, Sound of Music.” Unlike some chil- reeti-footi, reeti-footi, ree.” ble with the little chicks-cheep, cheep, the rhymes lilt in three quarter time as a dren’s books, where the illustrations are These are just a sampling of the cheep! With a Neigh and a Moo and a bear and a boy romp in berry fields. somewhat like cartoons, these two many musical and rhythmic books for Cockadoodledoo, another little prome- “One berry, Two berry, Pick me a books have an artistic value that children children. Many of these books include nade two by two!” Dance with the ani- Blueberry,... Raspberry, Jazzberry, and adults will find attractive and mov- the music, and some have accompany- mals as they prepare for bed in Pajama Razzmatazzberry, Berryband, Merry- ing. ing recordings. Books are a wonderful Time “Pajammy to the left. Pajammy to band, Jamming in Berryland.” In Zin, Zin, A Violin, written by Lloyd way to engage in musical play with the right. (Jamma jamma jammma jam- Freight Train by Donald Crews, the text Moss and illustrated by Marjorie children, regardless of one’s own musi- mma P! J!) Everybody’s wearing them chugs along like a train, with very sim- Priceman, begins with the “mournful cal experience. Many adults naturally for dancing tonight. (Jamma jamma ple and rhythmic words. “A train runs moan and silken tone of one trombone” read to children with a sense of rhythm, jammma jammma P! J!)…It is Pajama across this track. Red caboose at the and continues to add instruments to the accent, dynamics, tempo, and inflection, Time, (Hush, Hush) it is Pajama Time, back.” Trains are a favorite with chil- chamber ensemble. “The strings all soar, all of which are important parts of a (Hush, Hush.) It’s Pajama Time! dren, and they will love following the the reeds implore, the brasses roar with child’s musical development. Have fun (Shhhhhhhhhhh.) train as it moves along to the end, notes galore. It’s music that we all adore. reading while you chant, bounce, sing, The partnership of Eric Carle and “Moving in darkness. Moving in day- It’s what we go to concerts for.” This and play! Bill Martin Jr. has produced classic chil- light. Going, going… gone.” colorful book is a playful and musical dren’s literature. The very well known Iza Trapani has a series of books of way to teach the instruments of the Hilary Field, classical guitarist and Brown Bear, Brown Bear, What Do you familiar nursery rhymes and songs that orchestra and the names of different recording artist, heads the guitar program See, has a lovely lilt to the text, accom- she has retold and illustrated in delight- musical groups. Another fine book to at Seattle Pacific University, and is one of panied by Carle’s outstanding illustra- ful and whimsical ways. Shoo Fly, help introduce children to the orchestra the founders of Mulberry Bush Music and tions. Another Bill Martin Jr. book, this Don’t Bother Me tells the story of a little is The Young Person’s Guide to the Movement. She may be contacted at (206) time written with John Archambault and mouse and a terribly bothersome fly. Orchestra by Anita Ganeri and Ben 686-2201 or at hilary@mulberrybush- illustrated by James Endicott, is Listen Twelve new verses follow the mouse Kingsley. This book comes with an music.com to the Rain. This lyrical book is a poem and the fly through their day, until their describing the sounds of the world when parents finally tuck them into bed (“I it rains, from “the slow soft sprinkle, the belong to somebody.”) In Trapani’s drip-drop tinkle, the first wet whisper of Twinkle, Twinkle, Little Star, the star  the rain” to “the lightning-flashing thun- answers a little girl, and takes her on a presents der-crashing sounding pounding roaring magical journey. Trapani’s series rain, leaving all outdoors a muddle, a includes other classic nursery songs, 2002–03 Performing Arts Series mishy mushy muddy puddle.” such as Itsy Bitsy Spider and I’m a Little Mother Goose is always a favorite. Teapot. This is a fun spin on these very Many of these very familiar nursery well know songs, and a nice way to add songs and chants use a strong sense of interest to your children’s song collec- meter and rhyme. Bouncing infants or tion. toddlers on your lap while reading helps Another great thing about illustrated them to absorb the steady beat and sense books of songs is that you do not have to of meter. Preschoolers will have fun remember all the words, just sing them substituting words and rhymes, while as you read the book! Going to the Zoo, they start to understand the concept of a classic Tom Paxton song, is available phonics. Of course, some Mother as an illustrated book by Karen Lee Goose rhymes are politically incorrect Schmidt. Kids love to go the zoo, and for today’s world, such as the rhyme the catchy chorus is likely to get them to about the old woman who lived in a sing along. Dad and kids take a trip to shoe, who would certainly be a candi- the zoo and visit the bears, lions, kanga- date for a call from children’s social roos, and others, until an exhausted fam-

Renowned Scottish folk singer Jean Redpath joins Ensemble Galilei for an evening of Celtic, early, and original music. From the courts of medieval Spain and 18th century France to the Isles of Scotland and Ireland, this ensemble reflects the passion of traditional music. Friday, January 10, 2003 8 p.m. • Beckman Auditorium • $25, 21, 17; $10 Youth

SEASON COSPONSOR: Order toll-free: 1(888)2Caltech COMMUNITY PARTNER: MEDIA COSPONSOR: (888)222–5832 or (626)395–4652 Caltech Folk Music www.events.caltech.edu Society Page 10 FolkWorks November-December 2002 Clear Your Throat CSUN STUDENT DISCOVERS TUVAN THROAT MUSIC

BY JASON HOWE inging has been a part of my life since the cians to try to arrange their music in a form both Professor Levin if the belief still lingered and he Sage of eleven when I was formally intro- attractive and accessible to Western musicians.” said: “young women are also learning xoomei in duced to barbershop harmony and have Tuvan music is not abstract like much of increasing numbers.” This was exciting news to been hooked ever since. One intriguing character- Western music. Because of the sound mimesis, it me. To this day, I’ve yet to hear a women perform istic of barbershop harmony is the production of is highly representational. It is not rare to find xoomei. It will be interesting to see what role the overtones, the lingering ghost-like tones that you extended pauses between breaths in a traditional female voice will play in advancing the authentic can hear clearly even though no one is singing Tuvan song. To a Westerner, these long pauses xoomei sound. them. obstruct the flow of the music, but Tuvan xoomei Since the introduction and acceptance of I had a feeling that Music 307 at Cal State singers do not think of sung phrases as a critical xoomei in the West, interest in Tuvan music has Northridge would be an interesting class, consid- piece of a song. Instead, the phrases in Tuvan been growing by leaps and bounds. New Tuvan ering my musical background, yet had no idea I music are vehicles that create imagery. The long ensembles are emerging and focusing more on would soon stumble onto music that would blow pauses provide the singers with time to listen to tours, festivals and in some cases, as an occupa- me away. The first time I heard Tuvan xoomei the sounds of nature around them and, later, gen- tion. Despite their interest in interaction with (throat singing) I knew I’d have to learn more erate a response. It is evident that Tuvan musicians Western musicians and their music, newer groups about this mysterious and beautiful singing tech- are taking selfless steps to change arrangements like Huun Huur Tu and others are striving to pre- nique. simply to reach a wider audience and share the serve the authenticity of their tradition by bringing Xoomei is a technique in which a single vocal- wonder and aesthetic values of their music. ist simultaneously produces two pitches: a funda- Huun Huur Tu formed in 1992 in an effort to TUVAN page 22 mental note and, above it, a series of harmonics. concentrate on the traditional songs of their home- The unique singing style of xoomei originates land. They are well known in Tuva and have in Tuva, a highly rural region of grasslands, gained popularity in the West. Their concerts forests, and mountain ridges. Tuva lies at the geo- demonstrate the significance of combining tradi- graphical center of Asia on the northern border of tion and innovation. Much of their innovation can WOODY Mongolia. The summers are hot and dry and the be attributed to the various backgrounds of the winters are blustery and very cold. Many Tuvans members of the quartet. Although the group does still live as nomadic shepherds, migrating season- not have all its original members, the two new IN THE ally with their herds. members have brought new expertise and singing The remote and vast landscapes of Tuva paint styles to the group. The combination of different a picture of serenity and harmony within nature. xoomei singing styles like sygt (the slight opening WOODS This relationship is the inspiration behind Tuvan of the lips to produce the “whistle”), and Kargyraa xoomei and the sound mimesis that is part of the (style in which harmonics can be reinforced as music. Xoomei derives, in part, from animism, the high as the 43rd harmonic) plus new expertise on BY RIK MCCORMACK belief that natural objects and phenomena have instruments such as xomus (mouth harp), ediski hat better way to spend a hot souls or are inhabited by spirits. According to (single reed instrument), khirlee (a thin, spun piece WSunday afternoon than to sit Theodore Levin, an ethnomusicologist at of wood), amyrga (hunting horn), and the chada- under the oak trees at the Dartmouth College: “The spirituality of mountains gan (zither) gives the group new ways to interpret Theatricum Botanicum in Topanga Canyon and rivers is manifested not only through their their music. The mixing of different xoomei styles and listen to the Geer family and assorted kin physical shape and location but also through the and specific instruments gives them new vitality pay tribute to their friend and former room- sounds they produce or can be made to produce by and innovation unique to their music culture. mate, Woody Guthrie. human agency. The echo of a cliff, for example, These stylistic variations still manage to represent Woody in the Woods was originally may be imbued with spiritual significance. the core idea of sound mimesis and ancient ani- developed by Will Geer, who, with Guthrie’s Animals, too, are said to possess spiritual power mistic beliefs. help, built the rambling theatre. The produc- sonically. Humans can assimilate this power by Since the late 1980’s, Huun Huur Tu has built tion is an informal portrait of Guthrie’s life imitating their sounds.” The belief in animism a reputation as the foremost international repre- through his words and songs. remains at the heart of Tuvan musical tradition, yet sentative of Tuva’s rare music culture. They have Narrated by Geer’s wife, Herta Ware, and traditions tend to change as communities grow and toured extensively in the United States, Europe, son, Thad Geer, the show had a perky start new generations are born. Japan and recently in Australia. Because Tuvan with Guthrie’s Chicken Sneeze, humorously In 1987, Levin became the first American to do musicians are, in a sense, taking their traditions, led by Peter Alsop as Guthrie. The produc- ethnographic fieldwork in what was then the musical heritage and ancient beliefs on the road, I tion was a well- Soviet Autonomous Republic of Tuva. He sur- wondered if xoomei singers and musicians felt any crafted patchwork veyed the expressive culture of the sheep and rein- kind of criticism in their homelands for this. I of songs, anec- deer herders of Tuva, focusing on xoomei. asked Professor Levin about this and he said: dotes and little- Professor Levin played a major role in bringing “Yes, there has been criticism, in particular from known facts. For Tuvan musicians to the United States and I was Zoya Kirgiz, who runs the Xoomei Center within example, it was fortunate enough to get in touch with him and dis- the Ministry of Culture. She represents a conser- noted that Guthrie cuss some of the questions I had. I asked what vative position that advocates governmental con- wrote 27 songs changes had taken place within Tuvan music cul- trol of Tuvan traditional music and the licensing of about the Grand ture in the late 1980’s and early 1990’s following throat-singers to ensure that they represent a ‘pure’ Coulee Dam. its introduction in the West. Levin explained that form of the tradition and are not corrupted by Throw in a few songs by Guthrie’s there was “mostly, an increasing interest in tradi- Western influences. It’s not clear how much sup- Photo Courtesy of the Woody tional music and, in particular. throat singing, port there is for this position, but it certainly Guthrie Archives pals, Leadbelly largely in response to the perception that there was exists.” Professor Levin supported my opinion and Pete Seeger, strong interest in the West.” It seems that the that censorship and its advocates know no bound- and a tremendously emotive acapella version recognition and acceptance of one’s music culture aries. You may travel to the ends of the Earth and of Deportees by Ellen Geer and you have a by another usually promotes an internal awareness still find individuals and groups that uphold a loving portrait of a man who, many years of both, and ignites interest and further exploration time-evaporated sense of musical stagnancy. after his death, can still show us how to to achieve an understanding of how music itself Music culture is a phenomenon that must continue righteously protest and still make us laugh. can impact and shape our individual lives. to grow in order to survive. xoomei singers and PERSONNEL In 1993, Professor Levin brought members of Tuvan musicians have no doubt embraced this Herta Ware Narrator, vocals the Tuvan ensemble Huun Huur Tu (whose name idea and continue to expand their listening audi- Thad Geer Narrator, vocals describes a particular play of light through grass ences through their amazing animistic sound Peter Alsop Guitar, vocals that happens on the steppes just before sunrise or mimesis, new directions in musical configura- Ellen Geer Banjo, accordian, vocals after sunset) to the U.S. This visit sparked collab- tions, and their commitment to preserving tradi- Melora Marshall Guitar, vocals orations with Western musicians like Frank Zappa tion through music. Laura Kass Fiddle, washboard, vocals and Ry Cooder. According to Professor Levin: I was particularly curious to know how Tuvan Wally High Washtub bass, vocals “These collaborations seeded the interest of young women and youth were reacting to the growing Willow Geer-Alsop Flute, vocals people in their own musical future and showed popularity and recognition of their music. Kelly McDaniel Strum Stick, vocals them that they had a cultural property of great Professor Levin observed: “there’s much more value. I don’t think that the Zappa recording ses- interest among young people now. Witness the Rik McCormack Ð Topanga House Painting sion or Ry Cooder’s sound track to Geronimo growth of music festivals and competitions.” In (310) 455-3666 were ever widely played in Tuva, but news of the past, Tuvan people believed that singing them filtered back and certainly influenced musi- xoomei caused infertility in women. I asked November-December 2002 FolkWorks Page 11 on-going music happenings MUSIC, MUSIC and more MUSIC

HOUSE SPECIAL EVENTS CALTECH FOLK MUSIC SOCIETY Buster’s, South Pasadena (626) 441-0744 CLUBS/RESTAURANTS www.cco.caltech.edu/~folkmusi Coffee Cartel, Redondo Beach (310) 316-6554 These are informal, intimate special events that California Institute of Technology ¥ Pasadena CAFE LARGO people hold in their homes. Some are listed under (888) 222-5832 Coffee Gallery Backstage 432 N. Fairfax Ave. Los Angeles ¥ (323)852-1073 SPECIAL EVENTS in this issue. Call your local 2029 N. Lake, Altadena GENGHIS COHEN hosts for scheduled artists. CELTIC ARTS CENTER (626) 398-7917 www.coffeegallery.com 4843 Laurel Canyon Blvd., Valley Village 740 N. Fairfax, Los Angeles Scott Duncan’s-Westchester (310) 410-4642 (818) 760-8322 ¥ www.celticartscenter.com Coffee Junction, Tarzana (323) 653-0653 (818) 342-3405 ¥ www.thecoffeejunction.com Noble House Concerts CERRITOS CENTER FOR THE CONGA ROOM 5705 Noble Ave., Van Nuys (818) 780-5979 PERFORMING ARTS Coffee Klatch, Rancho Cucamonga 5364 Wilshire Blvd., Los Angeles (323) 930-1696 Marie and Ken’s - Beverlywood (310) 836-0779 12700 Center Court Drive, Cerritos (909) 944-JAVA (562) 916-8501 ¥ www.cerritoscenter.com Coffee Klatch, San Dimas (909) 599-0452 Russ & Julie’s-Agoura Hills/Westlake Village [email protected] www.jrp-graphics.com/houseconcerts.html Coffee Tavern, Long Beach (562) 424-4774 [email protected] CTMS CENTER FOR FOLK MUSIC 16953 Ventura Blvd., Encino Hallenbecks Ryan Guitar’s-Westminster (714) 894-0590 (818) 817-7756 ¥ www.ctms-folkmusic.org 5510 Cahuenga Blvd., North Hollywood (818) 985-5916 ¥ www.hallenbecks.com The Tedrow’s-Glendora (626) 963-2159 FOLKWORKS CONCERTS Kris & Terry Vreeland’s-South Pasadena www.FolkWorks.org Highland Grounds, Hollywood (323) 255-1501 (818) 785-3839 [email protected] (323) 466-1507 www.highlandgrounds.com Bright Moments in a Common Place-hosted by THE FRET HOUSE It’s a Grind, Long Beach (Atlantic Ave) David Zink, Altadena (626) 794-8588 309 N. Citrus, Covina (562) 981-0028 (818) 339-7020 ¥ covina.com/frethouse It’s a Grind, Long Beach (Spring St.) GRAND PERFORMANCES (562) 497-9848 California Plaza, 350 S. Grand Ave., Los Angeles Kulak's Woodshed (213) 687-2159 5230-1/2 Laurel Canyon Blvd.,North Hollywood LISTENING ROOM CONCERT SERIES (818) 766-9913 www.kulakswoodshed.com Fremont Centre Theatre Lu Lu’s Beehive, Studio City (818) 986-2233 1000 Fremont, South Pasadena Novel Cafe, Santa Monica (310) 396-8566 (626)441-5977 ¥ www.listeningroomconcerts.com www.fremontcentretheatre.com/ Portfolio Cafe, Long Beach (562) 434-2486 listening-room.htm Priscilla’s Gourmet Coffee, Burbank THE LIVING TRADITION (818) 843-5707 250 E. Center St. Anaheim Sacred Grounds, San Pedro (310) 514-0800 www.thelivingtradition.org (949) 559-1419 Sponda Music & Espresso Bar, Hermosa Beach (310) 798-9204. McCABE’S GUITAR SHOP www.mccabesguitar.com Un-Urban Coffehouse, Santa Monica 3101 Pico Boulevard, Santa Monica (310) 315-0056 (310) 828-4497 Concert Hotline (310) 828-4403 SAN JUAN CAPISTRANO COFFEE MULTICULTURALARTS SERIES www.musicatthelibrary.com SHADE TREE STRINGED INSTRUMENTS www.shadetreeguitars.com 28062 Forbes Road, Laguna Niguel (949) 364-5270 SKIRBALL CULTURAL CENTER www.skirball.org THURSDAY 2701 N. Sepulveda Blvd., L.A. 7:00-9:00pm Down Home (310) 440-4500 Chuck Taggart (variety includ- UCLA PERFORMING ARTS CENTER ing Celtic, Cajun, Old-time, CONCERT VENUES Royce or Shoenberg Halls, Westwood New Orleans, Quebecois) ACOUSTIC MUSIC SERIES (310) 825-4401 ¥ www.performingarts.ucla.edu KCSN (88.5FM) www.kcsn.org [email protected] ¥ (626) 791-0411 COFFEE HOUSES THE BARCLAY 14 Below, Santa Monica (310) 451-5040 SATURDAY 4255 Campus Drive, Irvine 6:00-8:00am Wildwood Flower (949) 854-4646 Anastasia’s Asylum, Santa Monica (310) 394-7113 Ben Elder (mostly Bluegrass) BOULEVARD MUSIC KPFK (90.7FM) 4316 Sepulveda Blvd., Culver City Awakening Coffee House, Los Alamitos www.kpfk.org (562) 430-5578 (310) 398-2583. [email protected] 7:30-10:00am Bluegrass Express www.boulevardmusic.com Barclay’s Coffee, Northridge (818) 885-7744 Marvin O’Dell (Bluegrass) BLUE RIDGE PICKIN’ PARLOR Beantown, Monrovia (626) 305-1377 KCSN (88.5FM) (818) 700-8288 Beantown, Sierra Madre (626) 355-1596 www.kcsn.org 8:00-10:00am Heartfelt Music John and Deanne Davis (mostly Singer-Songwriters) JAM SESSIONS / OPEN MIKES / ON-GOING GIGS KPFK (90.7FM) www.kpfk.org AWAKENING COFFEE HOUSE EL CAMINO COLLEGE SONGMAKERS 3rd Sundays 3:00-7:00pm Bluegrass Jam Wednesdays - Sing-Along at the Huffs 1:00-3:00pm Cosmic Barrio 10932 Pine St., Los Alamitos ¥ (562) 430-5578 1st Sundays 1 to 5 pm (12 to 4 DST) Simi Valley 8:00pm-Midnight (805) 527-7349 Tom Nixon (eclectic mix) KPFK (90.7FM) BAKERS’ SQUARE 16007 Crenshaw Blvd., Torrance 1st Fridays - North County Hoot, Bill Elliott (310) 631-0600 Granada Hills ¥ (818) 363-0942 www.kpfk.org Bluegrass ¨ 3rd Tuesdays FINN McCOOL 1st Saturdays - Orange County Hoot 6:00pm A Prairie Home Companion 17921 Chatsworth St. (at Zelzah), Granada Hills Sundays, 4:00pm-7:00pm - Irish Music Sesson Anaheim Hills KPCC (89.3FM) (818) 366-7258 or 700-8288 2702 Main St., Santa Monica ¥ (310) 452-1734 8:00pm - Midnight (714) 282-8112 www.kpcc.org 1st Saturdays - Camarillo Hoot Camarillo prairiehomecompanion.com BLUE RIDGE PICKIN’ PARLOR THE FRET HOUSE 8:00pm - Midnight (805) 484-7596 Bluegrass Jam 1st Saturdays Open Mike, signup 7: 30 2nd Saturdays - Valley Glen Hoot, Van Nuys SUNDAY Every other Saturday 309 N. Citrus, Covina 3rd Saturdays - Southbay Hoot Slow jam 6-7:30pm ¥ Big guns 7:30- (626) 339-7020 ¥ www.covina.com/frethouse 7:00-10:00am Bluegrass, etc Redondo Beach ¥ 8:00pm - Midnight (310) 376-0222 Frank Hoppe (Bluegrass, Bluegrass Night & Open Mike 3rd Sundays HALLENBECKS - East Valley Hoot, Van Nuys Old-time with emphasis on 3rd Thursdays, 8:00pm ¥ $5.00 1:00-5:00pm (818) 780-5979 Tuesdays, signup 7:30pm - Open Mike - Free historical recordings) 17828 Chatsworth St., Granada Hills 5510 Cahuenga Blvd., North Hollywood 4th Saturdays - West Valley Hoot KCSN (88.5FM) (818) 282-9001 (818) 985-5916 ¥ www.hallenbecks.com Woodland Hills ¥ 8:00pm - Midnight (818) 887-0446 CELTIC ARTS CENTER www.kscn.org HIGHLAND GROUNDS SANTA MONICA TRADITIONAL FOLK 12:00pm A Prairie Home Companion¨ Irish Music Session MUSIC CLUB Wednesdays - 8:00 - 11:00pm KPCC (89.3FM) Mondays - 9:00pm (1st Mondays @ 8:00pm) 1st Saturdays 7:30-11:30pm 742 N. Highlind Ave., Hollywood www.kpcc.org Beginners Session (213) 466-1507 ¥ www.highlandground.com Sha'Arei Am (Santa Monica Synagogue) 2nd & 4th Sundays, 4:00-6:00pm prairiehomecompanion.com THE HIDEWAY 1448 18th St., Santa Monica 4843 Laurel Canyon Blvd, Valley Village [email protected] 2:00pm The Irish Hour Radio Show (818) 760-8322 ¥ www.celticartscenter.com Wednesdays - 8:00 -11:00pm - Bluegrass 12122 Kagel Canyon Rd, Little Tujunga Canyon. TORRANCE ELKS LOUNGE 1190 AM (not available in all CELTIC SONG GROUP Dana Thorin (626) 799-2901 [email protected] Bluegrass Jam areas) 2nd Fridays -West Los Angeles 4th Sundays 1:00-5:00pm, 7:00-10:00pm FOLKSCENE Janet Cornwell (818) 348-3024 KULAK'S WOODSHED Ros & Howard Larman Mondays 7:30pm - Open Mike, Free 1820 Abalone Ave., Torrance. THE CINEMA - Bill Elliott (310) 631-0600 KPFK (90.7FM) Tuesdays 8:00pm - Freebo & Friends www.kpfk.org AMERICAN ROOTS MUSIC SHOWCASE THE UGLY MUG CAFE Wednesdays 8:00pm - House Rent Party 10:00pm Sunday Night Folk Wednesdays - The Tip Jar 3rd Sundays 7:00-9:00pm - Bluegrass Jam Session w/David Stone & Amy Yago with Jimmy K. 3967 Sepulveda Blvd., Culver City ¥ (310) 390-1328 5230 1/2 Laurel Canyon Blvd., North Hollywood 261 N. Glassell, Orange KRLA COMHALTAS CEOLTOIRI EIREANN - (818) 766-9913 (714) 997-5610 or (714) 524-0597 (870AM) LARRY BANE BRANCH LAMPOST PIZZA VIVA FRESH RESTAURANT KPFK also has morning and evening Live Irish traditional music session, Fridays 7:30-10:30pm - Bluegrass bands Thursdays 7:30 - 8:30pm - Fiddle Night programming which sometimes include singing and dancing 7071 Warner Ave., Huntington Beach Mondays 7:30 - 8:30pm - Losin’ Brothers. folk or world music. 1st Sundays 4:00-6:00pm (714) 841-5552 Other roots music throughout the week. The Moose Lodge ON THE INTERNET: McCABE’S GUITAR STORE 900 Riverside Dr., Burbank (818) 845-2425. 1901 W. Burbank Blvd., Burbank FolkScene with Roz and Howard Larman (818) 898-2263 [email protected] Open Mic VINCENZO’S First Sundays 6:30pm ¥ Free after 1st Sundays Bluegrass (live music, interviews with performers, spe- CTMS CENTER FOR FOLK MUSIC 3101 Pico Blvd., Santa Monica ¥ (310) 828-4497 Saturdays 7:30-10:30pm - Grateful Dudes cial features and latest in recorded music Old-time Jam from America, the British Isles and Ireland) ME-N-ED’S 24500 Lyons Ave., Newhall. 1st Sundays 4:00-8:00pm (805) 259-6733 www.kpig.com 16953 Ventura Blvd. Encino ¥ (818) 817-7756 Saturdays 6:30-10:30pm 4115 Paramount Blvd. (at Carson), Lakewood WELSH CHOIR OF SO. CALIFORNIA Thistle & Shamrock (562) 421-8908. Sundays 1:30pm www.npr.org/programs/thistle THE MULLIGAN Rutthy (818) 507-0337 The Irish Hour Radio Show Thursdays, 7:30pm-10:00pm - Irish Music Session www.cableradionetwork.com every Sunday 16153 Victory Blvd., Van Nuys ¥ (818) 988-9786 @1:05pm Page 12 FolkWorks November-December 2002 NOVEMBER 2002

Folk Happenings at a Glance. Check out details by following the page references. OGM: On-going Music-page 11 ¥ OGD: On-going Dance-page 14 ¥ SE: Special Events-page 24

Sunday Monday Tuesday Wednesday Thursday Friday Saturday NOVEMBER PICKS 1 2 KILA (Nov 1 & 2) MUSIC IN THE MOUNTAINS (SE) MUSIC IN THE MOUNTAINS (SE) Jazz and Jigs, Frills and Wigs, Uileann Pipes and a Lambeg Drum. SEVERIN BROWNE & JAMES COBERY CONJUNTO JARDIN (SE) SMITH,THE TATTERS (SE) THE TATTERS (SE) CHUSCALES (SE) HUUN-HUUR-TU (Nov 2) DENNIS ROGER REED THE PETER CASE BAND (SE) and DAN FULLER (SE) “The Tuvans will ride into your brain and leave hoofprints up and down your spine.” - THE SAN FRANCISCO BAY GUARDIAN TOM RUSSELL MARY GAUTHIER (SE) NEVENKA (Nov 9) & ANDREW HARDIN (SE) TIN HAT TRIO (SE) JOE PAQUIN and PAUL LAQUES (SE) Experience true “Surround Sound” with folk Songs of Bulgaria, Greece, Macedonia, and Persia by Los Angeles base Women’s KILA (SE) SALIF KEITA (SE) Choir in a intimate setting. BORDER RADIO (SE) THE RHYTHM BROTHERS (SE) IAN WHITCOMB KILA (SE) LOS ANGELES WORLD STORYTELLING FESTIVAL (Nov 9) plus FRED SOKOLOW (SE) HUUN-HUUR-TU (SE) Contra (OGD) Greek (OGD) For a metropolitan area that prides itself as being the communications capitol of the United States, and possibly the world, Los IRISH DANCE (SE) International (OGD) Scottish (OGD) Angeles is one of the few major metropolitan areas without its own storytelling festival….Until now!!! RICK SHEA & BRANTLEY KEARNS (SE) Vincenzo’s (OGM) Contra (OGD) Me-N-Ed’s (OGM) INTERTRIBAL MARKETPLACE (Nov 9 & 10) Songmakers (OGM) Songmakers (OGM) Vicenzo’s (OGM) Over 100 Native American artists will participate with dancing, food and fun for all! Lampost Pizza (OGM) Santa Monica Folk Music Club (OGM) The Fret House (OGM) 3 4 5 6 7 8 9

MUSIC IN THE MOUNTAINS (SE) COPPER WIMMEN, BOB & WENDY, Armenian (OGD) TOM RUSSELL (SE) TOM RUSSELL (SE) PETER MULVERY NEVENKA (SE) DAN CROW (SE) KEN WALDMAN, MOURITZ, International (OGD) Balkan (OGD) African (OGD) plus MARK ERELLI (SE) RIDERS OF THE PURPLE SAGE (SE) REUBEN DAVID EGAN, LISA International (OGD) Israeli (OGD) International (OGD) English (OGD) JOHN McEUEN (SE) KEN WALDMAN AND FRIENDS (SE) SANDERS, ELLY K, and musical COSY SHERIDAN (SE) Polish (OGD) host BRETT PERKINS (SE) Scottish (OGD) Israeli (OGD) International (OGD) THE BERNIE PEARL TRIO (SE) Cajun (OGD) Scottish (OGD) Balkan (OGD) Hallenbecks (OGM) Scandinavian (OGD) Irish (OGD) LOS ANGELES WORLD Contra (OGD) STORYTELLING FESTIVAL (SE) El Camino College (OGM) International (OGD) Scottish (OGD) Israeli (OGD) Greek (OGD) INTERTRIBAL MARKETPLACE (SE) McCabe’s (OGM) Irish (OGD) The Cinema (OGM) Scottish (OGD) Hungarian (OGD) BERNIE PEARL (SE) Highland Grounds (OGM) Israeli (OGD) The Hideway (OGM) Big Jim’s (OGM) International (OGD) COSY SHERIDAN (SE) Welsh Choir of So. California (OGM) Morris (OGD) Songmakers (OGM) Viva Fresh (OGM) Scottish (OGD) CHRISTINA ORTEGA Comhaltas Ceoltoiri Eireann (OGM) Scandinavian (OGD) Highland Grounds (OGM) Vincenzo’s (OGM) plus CONJUNTO LOS POCHOS (SE) Scottish (OGD) Celtic Song Group (OGM) TOM AND PATRICK SAUBER (SE) Celtic Arts Center (OGM) Lampost Pizza (OGM) Contra (OGD) Viva Fresh (OGM) Me-N-Ed’s (OGM) Kulak’s Woodshed (OGM) Songmakers (OGM) Vicenzo’s (OGM)

10 11 12 13 14 15 16

GREG GREENWAY (SE) Balkan (OGD) LISA TURNER PASIÓN TANGO (SE) RICHARD SMITH JAMES KEELAGHAN (SE) BRYNDLE *Sold Out (SE) JAPANESE FOLK TALES MEGUMI (SE) International (OGD) MUSIC SHOWCASE (SE) Balkan (OGD) with JULIE ADAMS (SE) NICK ARIONDO LEO KOTTKE w/ MIKE GORDON (SE) INTERTRIBAL MARKETPLACE (SE) Irish (OGD) Armenian (OGD) International (OGD) PASIÓN TANGO (SE) & SUZY WILLIAMS (SE) “SCOTTISH SPECTACULAR” MUSIC BILLY BEEMAN (SE) Israeli (OGD) International (OGD) Israeli (OGD) FLORY JAGODA & FAMILY (SE) JILL COHN (SE) AND DANCE FESTIVAL (SE) BOUBACAR TRAORE (SE) Morris (OGD) Israeli (OGD) Scandinavian (OGD) JILL COHN (SE) RICHARD SMITH (SE) TANYA SAVORY plus JON WILCOX (SE) TOM PALEY (SE) Scandinavian (OGD) Scottish (OGD) Scottish (OGD) African (OGD) GRAHAM PARKER with TOM FREUND (SE) LAURENCE JUBER (SE) JEAN SUDBURY & KURT McINNIS: Scottish (OGD) Hallenbecks (OGM) The Cinema (OGM) International (OGD) PASIÓN TANGO (SE) JOHN REISCHMAN & THE JAYBIRDS FULL MANDOLICITY (SE) Celtic Arts Center (OGM) The Hideway (OGM) Irish (OGD) plus PHIL SALAZAR RICHARD ALCOY (SE) THE WITCHER BROTHERS (SE) Viva Fresh (OGM) Highland Grounds (OGM) Israeli (OGD) & JONATHAN McEUEN (SE) Contra (OGD) Contra (OGD) Kulak’s Woodshed (OGM) Scottish (OGD) RIDERS OF THE PURPLE SAGE (SE) International (OGD) Big Jim’s (OGM) Greek (OGD) NEW WEST (SE) Polish (OGD) Viva Fresh (OGM) International (OGD) RICK SHEA Scottish (OGD) Scottish (OGD) & BRANTLEY KEARNS (SE) Highland Grounds (OGM) Vincenzo’s (OGM) SEVERIN BROWNE (SE) Welsh Choir of So. California (OGM) Lampost Pizza (OGM) Contra (OGD) International (OGD) Me-N-Ed’s (OGM) Songmakers (OGM) Vicenzo’s (OGM)

17 18 19 20 21 22 ANDY RAU BAND (SE) LAURENCE JUBER (SE) PETER HIMMELMAN (SE) Balkan (OGD) HWY. 52 (SE) GEORGE WINSTON (SE) African (OGD) JIM MALCOLM (SE) TELLEBRATION (SE) LEON MOBLEY (SE) International (OGD) Armenian (OGD) Balkan (OGD) International (OGD) NERISSA & KATRYNA NIELDS (SE) OAXACAN FOLK ART SHOW International (OGD) Irish (OGD) International (OGD) International (OGD) Irish (OGD) TOM CORBETT & BILL KNOPF (SE)) & SALE (SE) Polish (OGD) Israeli (OGD) Israeli (OGD) Israeli (OGD) Israeli (OGD) Greek (OGD) LOWEN & NAVARRO (SE) Scottish (OGD) Morris (OGD) Scottish (OGD) Scandinavian (OGD) Scottish (OGD) Hungarian (OGD) JIM MALCOLM (SE) Awakening Coffee House (OGM) Scandinavian (OGD) Baker’s Square (OGM) Scottish (OGD) Big Jim’s (OGM) International (OGD) PETE HUTTLINGER Highland Grounds (OGM) Scottish (OGD) Hallenbecks (OGM) The Cinema (OGM) Viva Fresh (OGM) Scottish (OGD) plus DORIAN MICHAEL Songmakers (OGM) Celtic Arts Center (OGM) The Hideway (OGM) Vincenzo’s (OGM) & KENNY BLACKWELL (SE) Welsh Choir of So. California (OGM) Viva Fresh (OGM) Highland Grounds (OGM) Lampost Pizza (OGM) Contra (OGD) The Ugly Mug Café (OGM) Kulak’s Woodshed (OGM) 23 Me-N-Ed’s (OGM) Songmakers (OGM) Vicenzo’s (OGM)

24 25 26 27 28 29 30

OAXACAN FOLK ART SHOW MICHAEL MARTIN MURPHEY (SE) Armenian (OGD) Balkan (OGD) SKANDIA FESTIVAL (SE) SKANDIA FESTIVAL (SE) SKANDIA FESTIVAL (SE) & SALE (SE) Balkan (OGD) International (OGD) International (OGD) MARK HUMPHREYS (SE) BROTHER YUSUF (SE) DUSTY ROGERS International (OGD) Israeli (OGD) Israeli (OGD) Greek (OGD) Contra (OGD) & THE HIGH RIDERS (SE) Irish (OGD) Scottish (OGD) Scandinavian (OGD) International (OGD) Me-N-Ed’s (OGM) JIM MALCOLM (SE) Israeli (OGD) Hallenbecks (OGM) Scottish (OGD) Scottish (OGD) International (OGD) Morris (OGD) The Cinema (OGM) Vincenzo’s (OGM) Polish (OGD) Scandinavian (OGD) The Hideway (OGM) Lampost Pizza (OGM) Scottish (OGD) Scottish (OGD) Highland Grounds (OGM) Torrance Elks (OGM) Celtic Arts Center (OGM) Welsh Choir of So. California (OGM) HAPPY Viva Fresh (OGM) HAPPY Kulak’s Woodshed (OGM) THANKSGIVING CHANUKKAH November-December 2002 FolkWorks Page 13 DECEMBER 2002

Folk Happenings at a Glance. Check out details by following the page references. OGM: On-going Music-page 11 ¥ OGD: On-going Dance-page 14 ¥ SE: Special Events-page 24

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 5 6 7

SKANDIA FESTIVAL (SE) JAMES LEE STANLEY, EVERYTHING Armenian (OGD) THE BOYS OF THE LOUGH (SE) African (OGD) ALTAN (SE) JOHN STEWART (SE) International (OGD) DIVINE, JIMMY MUFFIN, SAROD International (OGD) Balkan (OGD) English (OGD) BERNICE LEWIS (SE) CONJUNTO JARDIN (SE) SONG, others musical host BRETT Israeli (OGD) International (OGD) International (OGD) Contra (OGD) Polish (OGD) PERKINS (SE) LIGHT IN THE DARKNESS (SE) Scottish (OGD) Israeli (OGD) Irish (OGD) Greek (OGD) Scottish (OGD) Balkan (OGD) SWEET HONEY IN THE ROCK (SE) Hallenbecks (OGM) Scandinavian (OGD) Israeli (OGD) International (OGD) El Camino College (OGM) International (OGD) KIERAN KANE & KEVIN WELSH (SE) Scottish (OGD) Scottish (OGD) Scottish (OGD) McCabe’s (OGM) Irish (OGD) JONATHAN McEUEN (SE) The Cinema (OGM) Big Jim’s (OGM) Vincenzo’s (OGM) Highland Grounds (OGM) Israeli (OGD) GUY VAN DUSER (SE) The Hideway (OGM) Viva Fresh (OGM) Songmakers (OGM) Welsh Choir of So. California (OGM) Morris (OGD) Contra (OGD) Songmakers (OGM) Lampost Pizza (OGM) Comhaltas Ceoltoiri Eireann (OGM) Scandinavian (OGD) Me-N-Ed’s (OGM) Highland Grounds (OGM) Scottish (OGD) Songmakers (OGM) Celtic Arts Center (OGM) Vicenzo’s (OGM) Viva Fresh (OGM) Santa Monica Folk Music Club (OGM) Kulak’s Woodshed (OGM) The Fret House (OGM)

8 9 10 11 12 13 14

LIZ WEIR (SE) Balkan (OGD) Armenian (OGD) Balkan (OGD) CHRISTMAS FROM Cajun (OGD) GERRY O’BEIRNE (SE) JACKI BREGER (SE) International (OGD) International (OGD) International (OGD) A CELTIC TABLE (SE) Contra (OGD) JEFF LINSKY (SE) STILL ON THE HILL (SE) Irish (OGD) Israeli (OGD) Israeli (OGD) African (OGD) Greek (OGD) WILLY CLAFIN (SE) BERNICE LEWIS (SE) Israeli (OGD) Scottish (OGD) Scandinavian (OGD) International (OGD) Hungarian (OGD) LUCY KAPLANSKY (SE) Contra (OGD) Morris (OGD) Hallenbecks (OGM) Scottish (OGD) Irish (OGD) International (OGD) THE WITCHER BROTHERS (SE) International (OGD) Scandinavian (OGD) The Cinema (OGM) Israeli (OGD) Scottish (OGD) Contra (OGD) Polish (OGD) Scottish (OGD) The Hideway (OGM) Scottish (OGD) Vincenzo’s (OGM) Me-N-Ed’s (OGM) Scottish (OGD) Celtic Arts Center (OGM) Highland Grounds (OGM) Big Jim’s (OGM) Celtic Song Group (OGM) Songmakers (OGM) Highland Grounds (OGM) Viva Fresh (OGM) Viva Fresh (OGM) Lampost Pizza (OGM) Vicenzo’s (OGM) Welsh Choir of So. California (OGM) Kulak’s Woodshed (OGM)

15 16 17 18 19 20 21

CSULB STEEL DRUM Balkan (OGD) BORDER RADIO (SE) Balkan (OGD) African (OGD) WEST LA FOLK DANCERS PARTY (SE) BROCELIANDE (SE) ORCHESTRA (SE) International (OGD) Armenian (OGD) International (OGD) English (OGD) Contra (OGD) Contra (OGD) International (OGD) Irish (OGD) International (OGD) Israeli (OGD) International (OGD) Greek (OGD) International (OGD) Polish (OGD) Israeli (OGD) Israeli (OGD) Scandinavian (OGD) Irish (OGD) International (OGD) Me-N-Ed’s (OGM) Scottish (OGD) Morris (OGD) Scottish (OGD) Scottish (OGD) Israeli (OGD) Scottish (OGD) Songmakers (OGM) Awakening Coffee House (OGM) Scandinavian (OGD) Baker’s Square (OGM) The Cinema (OGM) Scottish (OGD) Vincenzo’s (OGM) Vicenzo’s (OGM) Highland Grounds (OGM) Scottish (OGD) Hallenbecks (OGM) The Hideway (OGM) Big Jim’s (OGM) Lampost Pizza (OGM) Songmakers (OGM) Celtic Arts Center (OGM) Highland Grounds (OGM) Viva Fresh (OGM) Welsh Choir of So. California (OGM) Viva Fresh (OGM) The Ugly Mug Café (OGM) Kulak’s Woodshed (OGM)

22 23 24 25 26 27 28

BELINDA GAIL (SE) Balkan (OGD) LA. COUNTY ARTS COMMISSION African (OGD) Greek (OGD) FOLKDANCE WEEKEND (SE) International (OGD) International (OGD) HOLIDAY CELEBRATION (SE) International (OGD) Hungarian (OGD) JOHN BELAND (SE) Polish (OGD) Irish (OGD) MERRY Irish (OGD) International (OGD) Contra (OGD) Scottish (OGD) Israeli (OGD) CHRISTMAS Israeli (OGD) Scottish (OGD) Me-N-Ed’s (OGM) Torrance Elks (OGM) Morris (OGD) Scottish (OGD) Vincenzo’s (OGM) Songmakers (OGM) Welsh Choir of So. California (OGM) Scandinavian (OGD) Big Jim’s (OGM) Lampost Pizza (OGM) Vicenzo’s (OGM) Scottish (OGD) Viva Fresh (OGM) Celtic Arts Center (OGM) Viva Fresh (OGM) Kulak’s Woodshed (OGM) HAPPY KWANZAA

29 30 31 DECEMBER PICKS FOLKDANCE WEEKEND (SE) FOLKDANCE WEEKEND (SE) FOLKDANCE WEEKEND (SE) BOYS OF THE LOUGH (Dec 4) International (OGD) Balkan (OGD) “...the Boys are the crème de la crème... unadulterated pure integrity. Their latest album is unbeat- Polish (OGD) International (OGD) - CLASSIC CD MAGAZINE (Jan Fairley) Scottish (OGD) Irish (OGD) able.” Welsh Choir of So. California (OGM) Israeli (OGD) HAPPY NEW YEAR ALTAN (Dec 6) Morris (OGD) “…seamlessly blend dazzling instrumental prowess and the gorgeously delicate vocals of Mairead Scandinavian (OGD) Ni Mhaonaigh” - CHICAGO WEEKLY Scottish (OGD) Celtic Arts Center (OGM) SWEET HONEY IN THE ROCK (Dec 7) Kulak’s Woodshed (OGM) “Sweet Honey’s commitment to the Black music forms of its heritage, ancestral and modern, as a unify- ing, communal force against oppression [is] just the starting point.” - Jim Bessman, THE PRESS NETWORK BROCELIANDE (Dec 21) Featuring stellar vocal and instrumental harmonies, their entrancing sound is built on the interweav- ing of up to 4-part vocals with the lyrical music of the Celtic harp, octave mandolin, cello, guitar, flutes, whistles, percussion, harmonica, and melodian. Page 14 FolkWorks November-December 2002

ON-GOING DANCE HAPPENINGS DANCING, DANCING and more DANCING

AFRICAN DANCING INTERNATIONAL FOLK DANCING WEST L.A. FOLK DANCERS SKANDIA SOUTH Mondays Lesson 7:45-10:45pm Mondays 7:30-10:30pm Thursdays 7:00-8:30pm ALTADENA FOLK DANCERS Fridays 7:45-10:45pm Downtown Community Center Call for update Wednesdays 10:30-11:30am Brockton School ¥ 1309 Armacost Ave., West L.A 250 E. Center, Anaheim YORUBA HOUSE Thursdays 3:00-4:00pm Beverly Barr (310) 202-6166 Ted Martin (714) 533-8667 [email protected] (310) 838-4843 (310) 475-4440 Altadena Senior Cntr ¥ 560 E Mariposa St., Altadena [email protected] Karila (818) 957-3383 SCOTTISH DANCING [email protected] WESTWOOD CO-OP FOLK DANCERS www.primemet.com/~yoruba ANAHEIM INTERNATIONAL Thursdays 7:30-10:45pm $4 AMERICAN LEGION HALL FOLKDANCERS Sundays Highland - 5:00-7:00pm ARMENIAN DANCING Felicia Mahood Sr Club Wednesdays 7:30-9:30 ¥ 511 S. Harbor, Anaheim 11338 Santa Monica Blvd (at Corinth), L.A. Advanced - 7:30 - 9:30pm OUNJIAN’S ARMENIAN DANCE CLASS CAL TECH FOLK DANCERS Tom Trilling ¥ (310) 391-4062 412 South Camino Real, Redondo Beach Tuesdays 7:45-10:00pm Tuesdays 8:00-11:55pm Fred DeMarse (310) 791-7471 [email protected] 17231 Sherman Way, Van Nuys WEST VALLEY FOLK DANCERS Cal Tech, Dabney Lounge, Pasadena Fridays 7:30-10:15pm $3 BEVERLY HILLS COMMUNITY CENTER Susan Ounjian (818) 845-7555 Nancy Milligan (626) 797-5157 Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park Thursdays - Beginners/ Intermediate [email protected] BALKAN DANCING Jay Michtom (818) 368-1957 ¥ [email protected] 7:30 - 9:00pm - $5.00 CONEJO VALLEY La Cienega and Gregory Way CAFE DANSSA Mondays 7:30-9:30pm $1-2 IRISH DANCING (between Wilshire/ Olympic Blvds.) 11533 W. Pico Blvd., Los Angeles Conejo School CLEARY SCHOOL OF IRISH DANCE Ann McBride (818) 841-8161 ¥ [email protected] Wednesday 7:30-10:30pm 280 Conejo School Road, Thousand Oaks www.irish-dance.net ¥ (818) 503-4577 CALTECH Ð DABNEY LOUNGE Sherrie Cochran: [email protected] Jill Lundgren (805)497-1957 (626) 293-8523 CELTIC ARTS CENTER Wednesdays ÐBeginner/Intermediate 8-10:30pm hometown.aol.com/worldance1/CafeDanssaHome DUNAJ INT’L DANCE ENSEMBLE Mondays 8:00-9:00pm (ex. 1st Mondays) Cal Tech campus-Doug MacDonald (909)624-9496 Pagephoto.html Wednesdays 7:30-10:00pm Irish Ceili, 4843 Laurel Canyon Blvd, Valley Village [email protected] Wiseplace 1411 N. Broadway, Santa Ana (818) 752-3488 SAN PEDRO BALKAN FOLK DANCERS COLUMBUS-TUSTIN GYM [email protected] LOS ANGELES IRISH SET DANCERS Wednesdays Beginner - 7:00 - 8:30pm Mondays 7:30-9:30pm Richard Duree (714) 641-7450 YWCA 437 West 9th St., San Pedro Mondays 7:30pm - 9:30pm Intermediate - 8:30 - 10pm Zaga Grgas (310) 832-4317 FOLK DANCE FUN The Burbank Moose Lodge 17522 Beneta Way, Tustin 3rd Saturdays 7:30-9:30 pm 1901 W. Burbank Blvd., Burbank Shirley Saturensky (949) 851-5060 CAJUN DANCING 8648 Woodman Ave., Van Nuys Thursdays 7:30pm - 9:30pm DANCE STUDIO, VALLEY COLLEGE 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm Ruth Gore (818) 349-0877 The Glendale Moose Lodge Mondays Beginner - 7:00 - 8:30pm South Pasadena War Memorial Hall HOLLYWOOD PEASANTS 357 W. Arden Ave., Glendale Intermed - 8:00 - 10pm 435 S. Fair Oaks Ave., South Pasadena OF CULVER CITY Michael Patrick Breen (818) 842-4881 Ethel at Hatteras St., Van Nuys Laguna Folk Dancers www.IrishDanceLosAngeles.com Aase Hansen (818) 845-5726 ¥ [email protected] LALA LINE (626) 441-7333 Sundays 7:00 - 10:00pm For additional Cajun/Zydeco dancing: MARTIN MORRISEY SCHOOL EDISON COMMUNITY CENTER 384 Legion St. & Glenneyre, Laguna users.aol.com/zydecobrad/zydeco.html OF IRISH DANCE Thursdays Beginner - 7:30 - 9:00pm Ted Martin (714) 893-8888 (818) 343-1151 Intermediate - 7:30 - 9:30pm CONTRA DANCING INTERNATIONAL FOLK DANCE CLUB O’CONNOR-KENNEDY SCHOOL Renee Boblette Bob Patterson (714) 731-2363 CALIFORNIA DANCE CO-OPERATIVE AT UCLA OF IRISH DANCE GOTTA DANCE II DANCE STUDIO www.CalDanceCoop.org Mondays 9:00-11:00 pm- Free (818) 773-3633 ¥ [email protected] Thursdays - Intermed/Advanced - 8:00-10:00pm UCLA Ackerman Student Union Building THOMPSON SCHOOL OF IRISH DANCE Sonia’s Dance Center 1st Fridays - Lesson 7:30 Dance 8:00-11:00pm Room 2414 ¥ 2nd Floor Lounge Westwood South Pasadena War Memorial Hall Cecily Thompson (562) 867-5166 ¥ [email protected] 8664 Lindley Ave., Northridge (310) 284-3636 ¥ [email protected] Deanna St. Amand (818) 761-4750 [email protected] 435 S. Fair Oaks Ave., South Pasadena ISRAELI DANCING Barbara Stewart (818) 951-8255 LA CANADA FOLKDANCERS LINDBERG PARK RECREATION BUILDING Mondays 7:30-9:30 pm ARCADIA FOLK DANCERS Tuesdays 6:30-7:30pm children; 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm La Canada Elementary School Tuesdays 7:30-9:00pm Brentwood Youth House 7:30-10:15pm adults 4540 De Nova St., La Canada Shaarei Torah, 550 N 2 St., Arcadia 5041 Rhoda Way, Culver City ¥ (310) 820-1181 731 So. Bundy, Brentwood Lila Moore (818) 790-5893 David Edery, (310) 275-6847 James Hutson (310) 474-8105 LONG BEACH COLLEGE ESTATES PARK LAGUNA FOLK DANCERS COSTA MESA ISRAELI DANCERS Fridays - Beginners/ Intermediate -7:30 - 9:30pm 1st Saturdays - Lesson 7:30 Dance 8:00-11:00pm Wednesdays 8:00-10:00pm Wednesdays 7:00-11:30pm Helen Winton (562) 430-0666 All Saints Epoiscopal Church Sundays 8:00-10:00pm JCC of Orange County ¥ 250 Baker St., Costa Mesa LUTHERAN CHURCH OF THE MASTER 3847 Terracina Drive, Riverside Laguna Community Center Yoni Carr (760) 631-0802 [email protected] 1st & 3rd Fridays Beginner/Intermediate Meg (909) 359-6984 ¥ [email protected] 384 Legion Ave & Glenneyre, Laguna LA CRESCENTA DANCERS 7:00 - 9:00pm 2nd Saturdays Richard Duree (714)641-7450 - Lesson 7:30 Dance 8:00-11:00pm Wednesdays 7:00-8:30pm 725 East Ave J Lancaster [email protected] Sierra Madre Masonic Temple Church of Religious Science Aase Hansen (818) 845-5726 33 E. Sierra Madre Blvd., Sierra Madre LEISURE WORLD FOLK DANCERS 4845 Dunsmore Ave., La Crescenta NEWPORT-MESA BALLET STUDIO Hotline (818) 951-2003 Tuesdays 8:30-11:00am Saturdays 8:30-11:00am Karila (818) 957-3383 Fridays Beginner - 7:30 - 9:30pm Club House 1, Leisure World, Laguna Hills 2nd Sundays 2:00-5:00pm MASONIC LODGE DANCERS Intermediate - 7:30 - 9:30pm Florence Kanderer (949) 425-8456 Frazier Park Community Building, Park Drive Mondays 7:00-12:30am, Thursdays 7:00pm- Shirley Saturensky (714) 557-4662 Frazier Park MOUNTAIN DANCERS Westwood Masonic Lodge RANCHO SANTA SUSANA COMM. CTR. Sue Hunter (661) 245-0625 ¥ [email protected] Tuesdays 7:00-9:30pm 2244 Westwood Blvd, Los Angeles Mondays Children - 6:30 - 7:30pm Oneyonta Congregational Church 2nd Sundays 4:00-7:00pm Slow Jam 2:00pm Israel Yakovee (818) 886-5004 Beginner - 7:30 - 9:00pm 1515 Garfield Ave., South Pasadena La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne ISRAELI FOLK DANCING AT UCLA 5005-C Los Angeles Ave., Simi Valley Gretchen Naticchia (909) 624-7511 Rick Daenitz (626) 797-16191 Mondays 9pm UCLA Ackerman Union 2414 ROYAL SCOTTISH COUNTRY DNC. SOC. [email protected] NARODNI FOLKDANCERS Wednesdays 5:00-7:00pm UCLA Location TBA Knights of Columbus Hall Thursdays 7:30-10:30pm $3 3rd Fridays - Lesson 7:30 Dance 8:00-11:00pm James Zimmer [email protected] Tuesdays Beginner - 7:00pm Intermed - 8:15pm California Heights United Methodist Church South Pasadena War Memorial Hall (310) 284-3636 224-1/2 S. Sepulveda Blvd., Manhattan Beach 3759 Orange Ave., Long Beach 435 S. Fair Oaks Ave., South Pasadena ISRAELI DANCE WITH JAMES ZIMMER Wilma Fee (310) 546-2005 (310) 378-0039 John Matthews (562) 424-6377 ¥ [email protected] James Hutson (310) 474-8105 Tuesdays 8-11 pm [email protected] PASADENA FOLKDANCE CO-OP 3rd Saturdays West Valley JCC, Ferne Milken Sports Center SCOTTISH COUNTRY DANCE Fridays 7:45-11pm Teaching to 9pm $2 Throop Memorial Church 22622 Vanowen Street, West Hills Wednesdays (562) 916-8470 Throop Unitarian Church 300 S. Los Robles Ave, Pasadena Thursdays 8-9:30 pm Jack Rennie ¥ [email protected] Drew Tronvig (310) 459-7179 [email protected] 300 S. Los Robles, Pasadena Encino Community Center, LA Recreation & Parks Marshall Cates (626) 792-9118 4935 Balboa Blvd, Encino (818)995-1690 SOUTH PASADENA WAR MEMORIAL 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm [email protected] 4th Fridays 9 pm Free Sundays Beginner - 7:00 - 9:00pm Brentwood Youth House 435 Fair Oaks Ave., South Pasadena RESEDA INT’L FOLK DANCERS Maltz Center, Temple Emanuel-Beverly Hills 731 South Bundy Drive Alfred McDonald (626) 836-0902 Thursdays 3:00-4:45pm 8844 Burton Way B.H. Jeff Spero (310) 396-3322 ¥ [email protected] [email protected] Reseda Senior Center ¥ 18255 Victory Blvd Reseda [email protected] (310) 284-3638 5th Saturday - Dance 7:00-11:00pm JoAnne McColloch (818) 340-6432 UNIVERSITY OF JUDAISM ST. PAUL’S EPISCOPAL CHURCH Throop Memorial Church Thursdays Beginner - 7:30 - 9:30pm ROBERTSON FOLK DANCE Wednesdays 7:30-10pm 300 S. Los Robles Ave, Pasadena Intermediate - 7:30 - 9:30pm Mondays 10:00-11:30am 5600 Mulholland Drive, Los Angeles Chuck Galt (562) 427-2176 [email protected] Don Karwelis (714) 730-8124 1641 Preuss Rd., Los Angeles (310) 278-5383 Natalie Stern (818) 343-8009 THE DANCE ACADEMY THE LIVING TRADITION SIERRA MADRE FOLK DANCE CLASS VINTAGE ISRAELI Mondays Intermed - 8:00-10:00pm www.thelivingtradition.org Mondays 8:00-9:30pm Anisa’s School of Dance 24705 Narbonne at 247th St., Lomita Sierra Madre Recreation Building 14252 Ventura Blvd., Sherman Oaks 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm Jack Rennie (310) 377-1675 [email protected] Bellflower Women’s Club 611 E. Sierra Madre Blvd., Sierra Madre [email protected] 9402 Oak St. (at Clark), Bellflower Ann Armstrong (626) 358-5942 TORRANCE CULTURAL CENTER MORRIS DANCING Fridays Beginner - 7:00 - 8:30pm Jill Morrill: (949) 559-1419 [email protected] SOUTH BAY FOLK DANCERS Intermediate - 8:00 - 10:00pm 2nd Fridays 7:45-9:45pm PENNYROYAL MORRIS 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Between Torrance & Madrona, Torrance Torrance Cultural Center Mondays 7:00pm Downtown Community Center Jack Rennie (310) 377-1675 [email protected] 3330 Civic Center Dr., Torrance Debi Shakti & Ed Vargo (818) 892-4491 250 E. Center St.@Philadelphia, Anaheim Sunset Morris ¥ Santa Monica Jill Morrill: (949) 559-1419 [email protected] Beth Steckler (310) 372-8040 VENTURA COLLEGE DANCE STUDIO Jim Cochrane (310) 533-8468 [email protected] Fridays Beginner - 7:00 - 8:30pm TUESDAY GYPSIES Intermediate - 8:00 - 10:00pm ENGLISH COUNTRY DANCING Tuesdays 7:30-10:30pm $4.50 SUNSET MORRIS 4667 Telegraph Road, Ventura CALIFORNIA DANCE CO-OPERATIVE Culver City Masonic Lodge Clive Henrick (310) 839 7827 [email protected] Mary Brandon (818) 222-4584 www.CalDanceCoop.org 9635 Venice Blvd., Culver City WILD WOOD MORRIS 1st & 3rd Thursdays 8:00-10:00pm Gerda Ben-Zeev: 310-474-1232 [email protected] 6270 E. Los Santos Drive, Long Beach WAVERLY SCOTTISH DANCERS First United Methodist Church Millicent Stein (310) 390-1069 Julie James (562) 493-7151 Wednesdays - 7:30pm Adams Middle School Auditorium 1551 El Prado, Torrance TROUPE MOSAIC [email protected] wildwoodmorris.com 2425 Sixteenth St., Santa Monica Giovanni DeAmici (310) 793-7499 Tuesdays 6:30-8:30pm POLISH DANCING Jerry Lubin (310) 820-1181 [email protected] Gottlieb Dance Studio ¥ 9743 Noble Ave., North Hills Mara Johnson (818) 831-1854 GORALE POLISH FOLK DANCERS GREEK DANCING Sundays 6:00-8:00pm BEFORE ATTENDING ANY EVENT KYPSELI GREEK DANCE CENTER VESELO SELO FOLK DANCERS Pope John Paul Polish Center Contact the event producer to verify information before Fridays 8:00-11:30pm $5.00 Thursdays, Fridays 7:30-10:30pm 3999 Rose Dr., Yorba Linda attending any event. (Things change!!!) Skandia Hall 2031 E. Villa St., Pasadena (intermediate class) Rick Kobzi (714) 774-3569 ¥ [email protected] CORRECTIONS Joan Friedberg (818)795-8924 Saturdays 8:00-11:00pm FolkWorks attempts to provide current and accurate infor- Dalia Miller (818) 990-5542 Hillcrest Park Recreation Center PERSIAN DANCING mation on all events but this is not always possible. Please 1155 North Lemon & Valley View, Fullerton SHIDA PEGAHI send corrections to: [email protected] or call [email protected] (818) 785-3839. Lorraine Rothman (714) 680-4356 Tuesdays 6:00pm ¥ (310) 287-1017 HUNGARIAN DANCING WESTCHESTER LARIATS (Youth Group) LIST YOUR EVENT! SCANDINAVIAN DANCING To have your on-going dance event listed in FolkWorks HUNGARIAN CLASS (BEGINNING) Mondays 3:30-9:30pm $30 or $40/10-wk session provide the following information: 2nd & 4th Fridays 8:30-10:30pm $7.00 Westchester United Methodist Church SKANDIA DANCE CLUB ¥ Indicate if it’s an on-going or one-time event Gypsy Camp 3265 Motor Ave., Los Angeles 8065 Emerson Ave., Los Angeles Wednesdays 7:30 - 10:00pm $5 ¥ Catagory/Type of Dance (i.e., Cajun, Folk) Jon Rand (310) 202-9024 ¥ [email protected] Diane Winthrop (310) 376-8756 [email protected] Lindberg Park ¥ 5401 Rhoda Way, Culver City ¥ Location Name ¥ Event Day(s) and Time WEST HOLLYWOOD FOLK DANCERS Sparky (310) 827-3618 ¥ Ted Martin ¥ Cost ¥ Event Sponsor or Organization ¥ Location Address and City Wednesday 10:15-11:45am [email protected] Cameron Flanders & John Chittum ¥ Contact Name, Phone and/or Email West Hollywood Park, San Vicente & Melrose Send to: [email protected] or call (818) 785-3839 W. Hollywood ¥ Tikva Mason (310) 652-8706 November-December 2002 FolkWorks Page 15

Daniel: It's my best guess. From the journals of the Here are some other suggestions for GREAT expedition, we know that Cruzatte played a lot, but holiday gifts to make "folk stuff" a part of your they don't tell us exactly what he played. The tunes children’s lives: on the CD are all tunes that were being played and CDs: BY GAILI SCHOEN sung at the time. There are a number of other Lewis Howjadoo a great collection of traditional chil- and Clark CDs out there, but this is the only one that dren’s folk tunes by legendary folk musician features authentic music that could have been played John McCutcheon (www.folkmusic.com) on the expedition, solely on the instruments that the Granny Does Your Dog Bite a book and CD of expedition carried or had access to. wonderful Oldtime tunes gathered by folklorist Gaili: The tunes sound just great, and I know that Gerald Milnes. (Order it from him at you use the kind of fiddle and even the fiddle case [email protected]) that Cruzatte would have used back then. It has a A Little Music on the Prairie features music great sound--a bit different than a modern fiddle. from the classic Little House books by Laura Gaili Schoen with daughters Kylie Monagan, 11 (left) and Maura Monagan, 9 (right) Daniel: Yes and harder to keep in tune. Ingalls Wilder (order from the Country Dance and Song Society at www.cdss.org/ or call 413- Gaili: Why did you make this Pierre Cruzatte CD? Welcome to my new column dedicated to informa- 268-7426) tion about Folk Arts appropriate for kids of all Daniel: Well, I’ve been performing as Pierre My family’s very favorite story CD (and we listen ages. I’m beginning with an interview with the Cruzatte for awhile. to them all the time) is by Sharon Kennedy well-known Los Angeles fiddler Daniel Slosberg Gaili: In schools… called Irish Folk Tales for Children. You can order it from Sharon Kennedy at (www.cruzatte.com), creator of a new recording Daniel: ...and libraries, historical sites, museums, sharonkennedy.com/main.html. called: Pierre Cruzatte: A Musical Journey Along theaters, festivals, wherever they’ll have me. My the Lewis and Clark Trail. interest in Cruzatte arose out of my interest in music. BOOKS: ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ It amazed me when I found out that music played Check out the "Historic Communities" Series by Bobbie Kalman published by Crabtree Gaili: Daniel, who was Pierre Cruzatte? such a important part in the Lewis and Clark expe- dition, and that’s not something most people think Publishing Co. for titles such as Daniel: Pierre Cruzatte was the main boatman and about when they think about the expedition. We Early Family Home, Life on the Trail, and fiddler on the Lewis and Clark expedition. He spoke think of these guys gritting their teeth and forging Women of the West French; his father was French across the country. But according to When I was Young in the Mountains and his mother was an Omaha Lewis and Clark’s journals, they a picture book by Cynthia Rylant Indian. He had only one eye played and they sang and they danced, The Patchwork Quilt and was nearsighted in that a lot. a picture book by Valerie Flournoy one. He was best known for For kid’s books about the Lewis and Clark shooting Captain Lewis in the Gaili: I noticed that on one of your tunes we hear the sound of paddling. Expedition check these out: backside while they were How We Crossed the West: The Adventures of hunting on the way home. Are they likely to have sung songs like that all the time? I mean they spent A Lewis & Clark, by Rosalyn Schanzer is Gaili: Oops! LOT of paddling their canoes. Did Daniel’s favorite picture book about the Lewis Daniel: But, really his most singing help them pass the time? and Clark expedition. important function was that he With permission of William Stein Across America: The Story of Lewis and Clark Daniel: Yes; they relied on these by Jacqueline Morley with lots of little pictures played fiddle, frequently, not French or part-French boatmen as only for the men on the expedition, but also for the highlighting some of the most important dates guides, as river boatmen, and these guys were well- and events of the expedition Indian nations they encountered. It was often a diplo- known for singing while they paddled. And these matic tool. The members of the expedition would sing Sacajawea a chapter book by Joseph Bruchac is songs such as V’la Bon Vent are hundreds of years also recommended by Daniel, and tells about and play for the Indians, and the Indians would sing old and were real common voyageur songs. So I’m and play for them. It was kind of a bonding. the expedition from the points of view of 99.9% sure they sang these songs on the expedition William Clark and Sacajawea, the expedition’s Gaili: So the music on your CD is music that was in boats and around the fire. only woman. played on the Lewis and Clark expedition? Gaili: How can people order your CD? Gaili Schoen is a film composer living as folkily as Daniel: The easiest way is to go to www.native- one can in Southern California. Her daughters can ground.com or call Native Ground Music at 1-800- sing over 20 verses to the song What Can You Do 752-2656 to order the CD or cassette. Or, they can JOURNEY With A Drunken Sailor which she sees as a great visit my website which is www.cruzatte.com and I’ll AROUND THE accomplishment. GLOBE have information about it there as well. ANNUAL WORLD STORYTELLING FESTIVAL KIDS & FAMILY STUFF

ome on out to the 1st Los Angeles Rosie, is the story of the charismatic Rosie and her Annual World Storytelling Festival fea- UCLA FOWLER MUSEUM OF CULTURAL HISTORY C KIDS IN THE COURTYARD SERIES whimsical friends as they turn everyday chores and turing 25 of the finest California story- happenings into wild adventures and grand operas. tellers spinning yarns and recounting tales of November 24th, Sunday 1Ð4pm Dance lessons - Join former UCLA instructor May Mori Sunday, December 22, 11:00am many cultures. (Fujima Fujisumi) in a Japanese fan dance workshop. Little Bear’s Birthday Party On November 9th, 2002, the USC Davidson Program is FREE. Ages 3 and up -$7 General / $5 Skirball Members Conference Center will be transformed into a No experience or reservations required. For reservations: (310) 440-4636 A birthday party for Maurice Sendak’s cherished Little Global Village for story lovers. The festival begins December 8th, Sunday 1Ð4pm at 9am with workshops on the “how to” of story- Bear. All the birthday party funÐcake, SendakÐrelated Origami Ornaments - Make Japanese style ornaments games, music and a party favor for everyone. telling. Chumash poet and storyteller Georgiana for your home. Program is FREE. Valoyce Sanchez will open the morning concert No reservations required. McCABE’S GUITAR SHOP December 14th, Saturday 1Ð4pm November 3rd, Sunday - 11am with a traditional Native American blessing. The (tickets on sale October 14th) afternoon will continue with tales for kids, scary Matsuri Kites with artists Flora Ito. Program is FREE Reservations required: (310) 825-8655 Dan Crow Ð A favorite of the pint-sized crowd, his stories, personal tales, myths, legends, and more. songs have been sung by Winnie the Pooh, Bambi and Karen Golden will tell from the Jewish tradition, SKIRBALL CULTURAL CENTER Dumbo. while Alidz Agbabian will tell Armenian tales. Sunday, November 3, 11:00am Tickets: $6 Adults, $3 children (free under 2 years old) Megumi will tell Japanese tales; Antonio Sacre, Create with Kathryn: Book Illustrating for Children November 17th, Sunday - 11am Cuban American, will tell his family stories, and Ages 3 and up - $7 General / $5 Skirball Members - (tickets on sale October 28th) For reservations: (310) 440-4636 Peter Himmelman Ð Better known perhaps by adults, Ysamur Flores will share sacred myths...and that Santa Monica-based children’s book illustrator Kathryn his children’s show involves the children in impromptu is only a few of the tellers! Hewitt offers a creative workshop for children. compositions. Festival co-director Leslie Perry says, “It is a Thursday, November 7, 6:30-8:30pm Tickets: $10 Adults, $5 children 2-10 (free under 2 multicultural extravaganza.” Audience members In the Skirball’s Night Kitchen: A Pajama Party years old) can take a chance to tell their own tales at the sto- Ages 4 and up - $7 General / $5 Skirball Members December 8th, Sunday - 11am ryswapping corner. The final concert at 7pm will For reservations: (310) 440-4636 (tickets on sale November 18th) feature tales for a “Global Village.” Children are invited to wear their pajamas and come for Jacki Breger Ð Talented performer who will get the Tickets are only $30 for the day, $25 in advance, a reading of Maurice Sendak’s classic tale, In the Night whole family singing. or $10 for individual events...for folks 6 to106. Kitchen, to feast on cake and milk, and enjoy a private Tickets: $6 Adults, $3 Children, (free under 2 years old) after-hours exhibition tour. For information call Festival co-director ON THE RADIO Sunday, December 8, 1:00pm Michael D. McCarty at (310) 677-8099 or email Sundays 8:30am On Rosie’s StoopÐThe Night Kitchen Radio Theater him at [email protected]. Halfway Down the Stairs, with Uncle Ruthie $12 General / $7 Skirball Members and Children KPFK-FM (90.7) This Festival is sponsored in part by For reservations: (323) 655-8587 DreamShapers and a grant from the Los Angeles On Rosie’s Stoop, based on Maurice Sendak’s Really Cultural Affairs Department. Page 16 FolkWorks November-December 2002

Dennis R. Stone’s Top Ten of 2002 Dave Soyars’ Top 10 of 2002

Fairport Convention: Liege & Lief [Island Remasters] (England) Altan: The Blue Idol [Narada]—Next to Danú, my favorite musical ❶2002 ❶purveyors of the Celtic craft. This is their best record in years, a The legendary Fairport lineup of Richard Thompson, Simon Nicol, diverse one featuring everything they do best, with perfectly played Dave Swarbrick, Ashley Hutchings, Dave Mattacks and the late, great instrumentals of varying speeds and arrangements, and great vocals, Sandy Denny. Perhaps Fairport’s finest moment in their 35 year histo- including one gorgeous duet between Mairéad Ní Mhaonaigh and ry. A pioneering, pivotal folk-rock album, originally released in 1969 Dolly Parton. that contains traditional English and Celtic folk ballads and tunes, plus Danú: All Things Considered [Shanachie]—Just a smidgeon less original compositions. This re-mastered 2002 edition contains two ❷amazing than their second record, Think Before You Think, the additional tracks, one that was never released, an extensive booklet of young wonders of Celtic music are again beautifully produced and liner notes and photos, plus superb sound quality. realized. Not as good as seeing them live, but still brilliant. Liz Carroll: Lake Effect [Green Linnet] 2002 Pam Tillis: It’s All Relative [Lucky Dog]—See Dave’s Corner on ❷One of America’s best Irish fiddler’s gives us another superb release, ❸page 8. chuck full of blistering dance tunes and beautiful airs. Lake Effect Liz Carroll: Lake Effect [Green Linnet]—Not only is Carroll one not only showcases Liz, but again she has included a stellar lineup of ❹of the better fiddlers I know of, but she writes her own tunes which musicians to accompany her which include John Doyle, Martin sit comfortably with the traditional jigs and reels she performs. Plus O’Connor, Liz Knowles and more. peerless rhythm guitarist John Doyle is the main accompanist. Milladoiro: O Nino Do Sol [Discmedi Blau] (Spain) 2002 Los Lobos: Good Morning Aztlan [Mammoth]—I suppose it’s a ❸Another classic from Galicia Spain’s most important Celtic group. ❺stretch to call this a folk record, although Mexican and English folk Once more, the group leads us on a contemporary chamber-folk jour- music are both big influences on them. And in the age where every- ney of great depth and beauty. The album contains a mix of tradi- one performs on microchips, hearing rock music like this rooted in tional and original dance tunes, and several vocal tracks, which real blues rather than 1970’s boogie, and played on actual electric include Galician singer Laura Amado and American Kathy Matea guitars and drums, is getting to be a lost art. who sings the James Taylor song Millworker. This CD has not yet Linda Thompson: Fashionably Late [Rounder]—Well worth the been released in the States. ❻wait. The ex-wife of guitar god Richard Thompson (who appears on Annbjorg Lien: Aliens Alive [NorthSide Records] 2002 one track here) returns after a 15 year with a better record than any- ❹Norwegian fiddler master Annbjorg Lien and her all star band thing her ex has done in years. Great singing, traditional styled [which includes Vasen guitarist Roger Tallroth] bring us brilliant live songs, and guests. performances which span her career. Culled from concerts from her David Baerwald: Here Comes the New Folk Underground [Lost 2001 Norwegian tour, her music can only be described as superb ❼ Highway]—See Dave’s Corner on page 8. progressive-folk. ➑Salif Keita: Moffou [Universal]—One of the greatest singers in the Altan: The Blue Idol [Narada-World] 2002 world resisted the urge to slick up the production as much as he had ❺You simply cannot go wrong with this CD if you love traditional on other occasions, and the result on an acoustic record of startling Irish folk music. The CD contains Altan’s usual mix of gorgeous beauty. songs and rousing dance tunes and is a pure delight. The album also Bohola: Bohola [Shanachie]—Accordion, fiddle, guitar and vocals features guest musicians which include Irish vocalist/guitarist Paul ❾from a trio that make more noise than many’s the five piece, and has Brady and Dolly Parton. Another winner from the veteran Irish done a remarkable job of translating their improvisatory/lengthy group. tune/song sets to the studio. Cara Dillon: Cara Dillon [Sanctuary Records] 2001 ❿Natalie MacMaster: Live [Rounder]—A simple concept, but a ❻One of the purest and sweetest voices in traditional music today, this great job catching the spirit of both sides of what she does. 2 CDs of outstanding debut album features mainly folk-rock arrangements of great Cape Breton fiddling and dancing—one at a barn dance, one at traditional and original ballads from Ireland and Scotland. With a a concert with electric band. good band to back her, fine arrangements and a good sounding recording mix, this CD has brought this young Irish vocal- Dorothy’s Favorite Celtic Bands ist to the forefront. BY DOROTHY AUYONG ❼ Skyedance: Live In Spain [Culburnie Records] 2002 This is the third album and first “live” recording by master Scottish orothy Auyong is a rare book cataloger at the Huntington Library fiddler Alasdair Fraser and his all star band. Recorded on tour at var- in San Marino. She came by her affection for Celtic music about 7 ious concerts in Spain during 2001, this album showcases tight D years ago when a friend said the fatal words, “have you ever heard arrangements of original and traditional tunes from Scotland and the of a band called Silly Wizard?” and lent her a CD. She’s been attempting to Spanish regions in northern Spain that have a folk music kinship to spread the affliction ever since. the Celtic nations of northwest Europe. An inter-Celtic extravaganza ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ with brilliant performances that also features local guest artists. OLD BLIND DOGS (Scotland) Ð Take deep roots in Aberdenshire Tim O’Brien: Two Journeys [Howdy Skies Records] 2001 1music tradition, add a splash of influences from Africa (percussion), Brittany, Galicia, the Caribbean and even a hint of the occasional ➑A brilliant and fairly unknown release by Tim O’Brien, who is main- blues riff or two, mix it all up with excellent musicianship and an uncanny ly known for his excellent interpretations of bluegrass music, this ear for a good tune and terrific songs and you get the Old Blind Dogs. They album celebrates the shared heritage between the USA and Ireland. are probably one of the more adventurous of new wave of traditional bands Recorded at Nashville and in County Kildare, Ireland, Tim explores coming out of Scotland, who manage a pumped up sound, full of electrici- his family roots and features an unbelievable list of top Irish musi- ty and energy while sticking fairly close to their trad roots and keeping cians to accompany him that include Paul Brady, Kevin Burke, John mostly acoustic instrumentation. Jonny Hardie on fiddle, guitar and man- Williams, Karan Casey, Paddy Keenan, Michael McGoldrick, Triona dolin, Rory Campbell on border pipes and whistles, Buzzby McMillan on Ni Dhomhnaill, Mara O’Connor, Nially Vallely and more! Tim electric bass and cittern, new comer Fraser Stone (replacing Paul Jennings) shares vocals with several of the aforementioned guests, and also on percussion, and Jim Malcolm on guitar and lead vocals provide deft and lends his talents on mandola, mandolin, fiddle, bouzouki and guitar. often subtly complex arrangements. Roslin Castle on their first Green The album is a fine balance of traditional Irish ballads and original Linnet release The World’s Room for example, contains a warm and evoca- songs, along with several dance tunes. tive interplay of instrumentation in which fiddle, whistle and guitar trade off Rita Eriksen & Dolores Keane: Tideland [Alula Records] 2001 melody and harmony lines. Even more impressive are the bands up-tempo ❾Another fine example of the similarities and kinship between numbers. Sky City on their second GL release Fit? is a set of jigs that starts Scandinavian and Celtic folk music, this album showcases the fine out with a jaunty, saucy beat, takes you through several blink of the eye talents of Norwegian singer Rita Eriksen and Irish legend Dolores tempo changes and is guaranteed to seduce you out of your chair and onto Keane. The album is all traditional Norwegian and Irish ballads, with the dance floor. Malcolm’s sensitive vocals are equally seductive —gentle Rita singing in her native tongue, and Dolores vocalizing in both the balladeering on Mill of the Tiffty and Battle of Waterloo on World’s Room English and Irish languages. They are accompanied by a list of tal- and an all out rousing rendition (with backing vocals from the band) of ented musicians from both of the previously mentioned nations. Robert Burn’s anthem to democracy Is There for Honest Poverty (also Most of this album spotlights each singer separately, but both singers known as A Man’s a Man) on Fit?. join forces on several tracks. A beautiful listen. Website: www.oldblinddogs.demon.co.uk Record labels: Malinky: 3 Ravens [Greentrax] (Scotland) 2002 ¥ Green Linnet www.greenlinnet.com ❿Second album release by this talented Scottish group that caught ¥ KRL www.krl.co.uk/bulk/blind/blind.htm attention with their first release in 2000, this five piece group pres- Discography: ents traditional dance tunes and ballads sung in the Scots language ¥ Fit? (2001) GLCD1214 by former Battlefield Band member Karine Polwart. If you like ¥ The World’s Room (1999) GLCD1201 Scottish tradition, then this group is the new one to look out for! DOROTHY’S FAVORITES page 18 November-December 2002 FolkWorks Page 17

FEATURED ORGANIZATION Russ & Julie’s House Concerts

ave you heard about the latest music For those interested in performing, Russ and craze around? Imagine going out Julie tell us that they are booked through 2003 and Saturday night at eight o’clock. You have a list of more than 100 artists that they are get into your car, grab a friend and already talking to about future dates. They regu- H drive to a home in your neighbor- larly hear from musicians as far away as Australia hood. There you are greeted at the and Ireland who want to perform in their living door where you drop $15 into a bowl, grab a cup of room. Russ and Julie book their shows from a coffee and some homemade sweets, combination of past performers who and get a seat in the living room for a want to return, recommendations from

live concert featuring your favorite musicians they know, unsolicited BYPHOTO RENEE BODIE Russ & Julie at The Abbey, San Encino. If you aren’t familiar musician. This is a house concert and requests from musicians all over the with The Abby, take a look at the cover of Jackson Browne’s it’s coming to a small town or large city world, and even some of their favorite FOR EVERYMAN album. You’ll see it’s the same setting. This is near you. musicians whom they seek out. the house that Jackson grew up in. The home was built by his Around the time of the founding of Some of the people who have per- grandfather in the 1920’s. this country, parlor parties — with live formed at Russ and Julie’s over the they do not make money on what amounts to a music performed in private homes — past few years include: John McEuen hobby for them, they rely heavily on email to pub- were a popular form of entertainment. (of the Nitty Gritty Dirt Band), Mary licize their calendar. Julie adds, “We’re also very Today, these parlor parties, or house McCaslin, Cache Valley Drifters, Joel thankful for resources like FolkWorks that help concerts as they are now referred to, Rafael Band, Laurence Juber (of Paul promote good music in our community.” are making a comeback in a big way. McCartney and Wings), Penny Russ and Julie’s House Concerts’ November Russ and Julie’s House Concerts in Nichols, Lowen and Navarro, Chuck

PHOTO BYPHOTO RUSS PARIS show with the band Bryndle (Karla Bonoff, Kenny Oak Park, California has hosted these Jonathan McEuen Pyle, James Lee Stanley, Darryl Edwards and Wendy Waldman) sold out months in musical parties since 1997. Purpose, Caroline Aiken, Doug advance. Their December 7th show features the Russ says, “Our first taste of live music per- Haywood, Laurel Massé (of The Manhattan amazing Jonathan McEuen, son of banjo wizard formed in a home was a CD Release Party for Transfer), Billy Payne (of Little Feat), Venice, John McEuen of the Nitty Gritty Dirt Band. Severin Browne in a private residence in John Hall (of Orleans) and Freebo. Seating is limited; make your reservations soon! Glendora. After seeing him perform a short set at Like all house concert promoters, Russ and For more information call 818-707-2179 or write the party, a light bulb went on. The concept of a Julie walk a fine line when it comes to advertising Russ and Julie at houseconcerts@jrp- musician performing in such a small and intimate their shows. Russ explains, “Technically, we’re graphics.com. setting had never occurred to us. Prior to this, we hosting a private party in our home. We’re not run- For a list of past performers as well as thought that you had to drive to some large venue, ning a business. There are no tickets, but we do upcoming shows, check their Web site at fight the crowds, and pay lots of money to see keep an RSVP list so that we know how many www.jrp-graphics.com/houseconcerts.html. quality music.” people are attend- Singer-songwriter Severin Browne and his ing each show and sidekick James Coberly Smith headlined the first when a show is show at Russ and Julie’s in February, 1997. full. It also helps Friends, neighbors and family made up their first determine how audience and when it was over, for weeks after, large the dessert Russ and Julie were asked, “when is the next buffet needs to be. one?” We do want to Now, more than 5 years and 50 shows later, advertise our Russ and Julie have quite a reputation for main- shows and invite taining a warm and friendly environment, a non- people we’ve never smoking room, and the opportunity for music fans met before, but we to meet highly talented musicians. They’ve devel- aren’t a venue in oped a special notability for their fabulous dessert the traditional buffet. Russ and Julie’s House Concerts have fea- sense. Because this tured a variety of musical genres including folk, is a residential bluegrass, pop, jazz, rock, country, and even New neighborhood, we Age. The series is often booked more than a year need to be consci- in advance and has promoted quality performers entious of issues from around the world. like zoning, What do you get out of this? How can you CC&Rs, noise and open your house to complete strangers? Can I per- particularly the form there? These are the most frequently asked concerns of our questions Russ and Julie receive. Not performers neighbors.” themselves, Russ and Julie consider themselves Due to these serious music fans with a strong desire to bring types of concerns, great original music to people who might not oth- many house con- erwise hear it. Julie explains, “We do it for the love certs exist below of the music. There is so much great music being the radar. You gen- written and produced today that is not getting air- erally have to make play. We open our home to those who, like us, an effort to find appreciate wonderful music in a warm and inti- them. Russ and mate environment.” Julie have a house Julie adds, “Our regulars have learned to trust concert resources our choices of talent. And by trusting our ability to section in their choose great music, they have expanded their own Web site that lists horizons and learned to enjoy music they might other house con- never have been exposed to. We have met many certs around the people with similar interests, and many neighbors country. The we might have never met. We do open our house Internet is a great to strangers, but by the time they leave, they are no resource for house longer strangers.” Russ and Julie get no financial concerts. Russ and rewards from hosting house concerts. All of the Julie maintain an proceeds collected from the recommended dona- email mailing list tion of $15 per person go directly to the perform- with more than 500 ers. people it. Since Page 18 FolkWorks November-December 2002

DOROTHY’S FAVORITES continued from page 16 Website: www.llandecubel.com just released their second album Record label: Fono Astur 3 Ravens. This band is head of my Earlier CDs featuring the band’s live performances. Oh, the pib- www.asturshop.com list of ones to watch/listen for in the original line-up (Ian F. Benzie on gorns? The Welsh hornpipe, literal- Discography: next five years. I expect many great vocals, Davy Cattanach on percus- ly made from a cow’s horn with a ¥ Un Tiempu Meyor (1999) things from them. sion and Fraser Fifield on pipes) are reed inserted in the mouthpiece. ¥ Llan de Cubel IV (1995) Line-up: Karine Powlett (vocals, gui- available on Scotland’s KRL records Imagine a bombarde or oboe on ¥ L’Outru Llau de La Mar (1992) tar, bouzouki), Steve Byrne (vocals, and well worth checking out: steroids with a Welsh accent and ¥ Na Llende (1990) bouzouki, guitar), Mark Dunlop ¥ Live (1999) CDLDL 1294 you get the idea. There are histori- ¥ Deva (1987) (bodhran, whistles, vocals), John ¥ Five (1997) CDLDL1264 cal documents of farmers playing Bews (fiddle, vocals), Leo McCann ¥ Legacy (1995) CDLDL1233 these in competition at festivals. MALINKY (Scotland) Ð (button box, whistles) ¥ Tall Tales (1994) CDLDL1220 Outdoors. The band’s eponymous 5This young band garnered Website: www.malinky.com ¥ Close to the Bone (1993) first album Crasdant, received high a lot of attention in their Record label: Greentrax www.green- CDLDL1209 marks from critics. Their second native Scotland in 1998, when the trax.com ¥ New Tricks (1992) CDLOC1068 release Nos Sadwrn Bach/Not Yet just formed (then) quartet won the Discography: Saturday promises to be outstand- first ever Danny Award for new tal- HOUSE BAND (England) Ð ¥ 3 Ravens (2002) CDTRAX233 ing as well. ent at Glasgow’s renowned Celtic ¥ Last Leaves (1999) CDTRAX190 2 The House Band has Website: www.crasdant.com (in Connections Festival. Even at this always been hard to pigeon- Welsh and English) early stage, the band demonstrated SILLY WIZARD (Scotland) hole—which might help explain Discography: a distinctive flare, a load of talent, a Ð I’m not sure what can be why I think they are one of the more 6 ¥ Nos Sadwrn Bach/Not Yet surprising amount of polish, and said that hasn’t already said underrated bands of the past decade. Saturday (2001) Sain SCD 2306 most of all the satisfying impres- about this now legendary band. Silly Their repertoire is as likely to (CD) sion of having all the elements that Wizard was at the forefront of the include Scandinavian, Breton, and ¥ Crasdant (1999) Sain SCD 2220 make up a band “just right”. Scottish revival in traditional music Eastern European tunes as it is the (CD) American audiences are probably in the late 1970’s and early 1980’s. more familiar Irish and English most familiar with singer/guitarist Stunning guitar work by founding ones. Song choices range from tradi- LLAN DE CUBEL Karine Powlett from her 2-year members Bob Thomas and Gordon tional, to modern folk classics like 4 (Spain) Ð From the moun- stint with the Battlefield Band. In Jones, electric bass by Martin Archie Fisher’s The Final Trawl, or tain regions of Spain’s Malinky, she and Steve Byrne share Hadden, evocative and sensitive my favorite, Elvis Costello’s sardon- Asturias, Llan de Cubel, offers lead vocals and form much of the vocals by Andy M. Stewart (plus the ic look at the British working class audiences, especially American heart of the band. (It’s worth noting occasional dazzling turns on 5-string Sunday’s Best (both on Stonetown). ones, a whole new perspective on that Byrne was one of 5 finalists for banjo), and the outstanding musi- The band’s line-up has changed a bit “Celtic”. The family connections Scotland’s first “Young Traditional cianship of then teen phenomons, over the years, but the core formed are all there: pipes (the gaitas) hell Musician of the Year” in 2000). Johnny and Phil Cunningham (fiddle around Ged Foley (guitar, mandolin, for leather dance rhythms, and Mark Dunlop on bodhran, whistles and accordion respectively) created a Northumbrian pipes and lead mournful ballads. But the regional and vocals, provides solid accom- sound and energy unheard of at the vocals), Chris Parkinson (melod- differences are also apparent, espe- paniment and a laconic stage patter, time. The band was both renowned eons, keyboards, harmonica, vocals) cially in the “alboradas”—march and original fiddler Kit Patterson and criticized for it’s lightening and John Skelton (flutes, whistles, tunes for the pipes Often the tunes rounds out the sound. The band speed on jigs and reels as well as its bombardes). Roger Wilson came on were specifically designed to wake draws mostly from the treasure delicate touch with slow airs. board with Another Setting to pro- up the townspeople after a night of trove of the Northeast for their tra- Vocalist Andy M. Stewart put his vide second guitar and more lead celebration in time for morning ditional material, but often adds a unique stamp on traditional songs vocals. The band manages to pull mass, and have an appropriately fresh or unusual take to it. Their (Broom of the Cowden Knowes, together its wide range of material cheeky attitude. Equally cheeky is version of The Beggar Man, a song Donald McGilvallry) and was (and under a strong flavor of tough the band’s logoÐa pipe playing boar in which the daughter of the house is) a gifted songwriter as well. Many Northern English sensibility. The based on a medieval wood carving runs off with a beggar who turns out his compositions like Valley of House Band style combines raw in the cathedral in Uviéu. Songs to be a well-to-do lord in disguise, Strathmore sounded as if they’d power with an edgy feel—not your range from the melodic L’Otru Llau depicts the heroine in a far more come out of the pages of some long run of the mill Celtic band by a long de la Mer (title track of the band’s active role and feisty attitude than forgotten 18th century songbook. shot, they are well worth listening to. 3rd CD) in which a sailor pines for any other version I’ve encountered. Siblings Johnny and Phil Record label: his love “on the other side of the The band also displays some fine Cunningham were (and are) ¥ Green Linnet sea” to the jaunty Cabriliega (Llan chops as composers too. In particu- extremely talented composers of www.greenlinnet.com de Cubel IV). Founded in 1984, lar, Powlett’s Whaur Dae Ye Lie? tunes as well. The band members Discography when they were only one of three on their first release Last Leaves is have all gone on to other projects ¥ October Song (2000) GLCD1190 bands playing Asturian traditional a standout. The song was written to now. Andy M. Stewart, Phil ¥ Rockall (1996) GLCD1174 music (the other two bands have the women of Srebenica, Bosnia to Cunningham and Johnny ¥ Another Setting (1994) GLCD1143 since vanished), Llan de Cubel is a commemorate the massacre of 1995 Cunningham have established stellar ¥ Stonetown (1992) GLCD3060 more than worthy ambassador of a and has the timeless, haunting qual- reputations as performers. But ¥ Word of Mouth (1989) GLCD3045 rich heritage. A lot can be said ity of any of the songs that have echoes of the band’s impact can still ¥ Groundwork GLCD1132 (compila- about the skill of band by how entered the “tradition” in the past be heard some 15 years after the tion of first 2 CDs: The House many other musicians take time out 20 to 200 years. The band has band’s last performances and record- Band (1985) and Pacific (1987) to listen to them. At any festival, a undergone a few changes in the last ings. The most often quoted influ- set by Llan de Cubel is likely to year, with the change of John Bews ence by young musicians at Celtic CRASDANT (Wales) Ð have the most “off-duty” musicians Welsh traditional music for Patterson on fiddle and the addi- Connections for example, is Silly 3 hanging about the fringes of the tion of button box player extraordi- Wizard or the playing/tunes of the somehow seems to garner audience. They combine superb naire Leo McCann. All five band Cunningham brothers. If you’re far less attention than its Irish, musicianship with a tight playing Scottish or English cousins. members are in great demand indi- already a fan of Celtic music but style, a deceptively laid-back ener- vidually for projects, and they’ve Possibly because it lacks the same gy, and a great ear for arrange- DOROTHY’S FAVORITES page 20 driving rhythms, possibly because ments. All the members are talented the world audience is more attuned individually, but often Marcos to the Welsh song tradition instead Llope on flute and whistle and of it’s shyer instrumental one, or Xuan Rodriquez on pipes stand out. possibly because it hasn’t had as Their recordings used to be unavail- dynamic an ambassador as able in the US except through very Crasdant before now. Robin Huw specialized CD importers, or at the Bowen, on Welsh triple harp, is band’s live gigs, but recently the probably the best known of the Astur label has set up a Website. It’s band member, but rounding out the well worth the extra effort to find quartet are Andy McLauchlin on them, once you hear them, you’ll be wooden flute, whistles and pibgorn hooked. Both Websites for the band (more on this later), Stephen Reese and the label have English, Spanish on fiddle, accordion and another and Asturian interfaces. infamous pibgorn, and Huw Line-up: Simon Bradley (fiddle), Williams on guitar and clogs. Elias Garcia (bouzouki, bass ped- Williams is one of the foremost pro- dle), Marcos Llope (flutes, whistles), ponents of Welsh step or clog danc- Xel Pereda (acoustic guitar, vocals), ing, can be heard supplying a few Fonsu Mielgo (Percussion, key- steps in the recordings and is defi- board, vocals), Xuan Rodriguez nitely one of the highlights of the (Asturian bagpipes, vocals) bands’ entertaining and delightful November-December 2002 FolkWorks Page 19 DONOR We Need Your Help! RECOGNITION AS OF SEPTEMBER, 2002

Dear FolkWorks Readers, ANGEL You’ve told us you like the paper You’ve let us know you find it informative. You’ve said that it’s Z. Clark Branson Projects educational You’ve complimented us on the way it looks You’ve written to say it’s helped you plan your BENEFACTOR social life. You’ve left messages that it’s a great music & dance resource. You’ve recognized that it’s impor- Dorian Keyser tant to the L. A. folk scene. You’ve even helped with articles and distribution. You’ve done everything but Seth Lichtenstein write a check (and we know you’ve meant to) Nina Mueller Truth is, we can’t go on without your financial support. Just $55 a year from at least 200 people will Jim Westbrook keep us going! But, please, don’t leave it up to some other 200 people. We need YOUR $55 or $500 or PATRON $1,000.Your help will be greatly appreciated and assure that there will be future issues of FolkWorks. Christa Burch We need your support. Please don’t wait. Become a member of FolkWorks now. Send in your check for Paula Feinmark Kay & Cliff Gilpatric a tax-deductible donation. With it we can continue. Without it we cannot. Help FolkWorks promote Folk Don Green/Barbara Weismann and Traditional Arts in Los Angeles Ð from Appalachian & Irish fiddling to quilt making, African dance. Aleta Hancock It’s all happening here. Help us let folks know that the Folk and Traditional Arts are alive & well in LA! Jon Levitow Thank you for making it possible. Mary Ann McCarthy Dave Stambaugh Leda & Steve Shapiro & All the FolkWorks Staff FRIENDS Anonymous The following artists and record labels have donated CDs for you to have as premiums Susan Aquino when you become a member. Please join them with your support. Sandra Arvelo Robin & Tom Axworthy Aubyn & Doug Biery Frieda & Bob Brown Dierdre & Sterrett Collins Mary Coolman Chris Cooper Darrell Cozen Lisa Davis Andrea Hoag Bruce Molsky Lost Boy Bruce Molsky Randal Bays The Privy Tippers Kristina Olsen Poor Man’s Trouble Salmons Leap Under the Crescent Moon Dave Dempsey Marcia & Brian Edwards John & Judy Glass Roger Goodman/Monika White Jim Hamilton Chris Hendershot Sue Hunter Donna Hurst (in memory of Art Hurst)

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DOROTHY’S FAVORITES continued from page 18 haven’t heard of Silly Wizard, For a history of the band provid- tossed in. If you’re not already a strongholds of the Lowland Scots you’ve been living under a rock. If ed by Gordon Jones and Bob fan, a few turns of one of their crit- language. His sensitive phrasing you’re new to Celtic music, then Thomas check out: www.harbour- ically acclaimed CDs, or better yet, brings out the poetic quality of their work forms an essential primer townrecords.com a live performance, will probably every song, and although the Scots (check out The Bothy Band for les- soon convert you. is rather difficult for American ears sons in the Irish, and Kornog for LÙNASA (Ireland) Ð Few Website: www.lunasa.ie unfamiliar with it, the shear beauty Breton). The studio albums may 7 bands are as worthy of Record labels: of them is striking. Band members sound a bit dated from a modern their “hype” as this one. ¥ Green Linnet hail from all around Scotland (the standard of mixing technology, but Lùnasa is probably one of the finest www.greenlinnet.com Highlands, Glasgow, the Isle of the brilliance of the performances instrumental bands out of Ireland at ¥ Compass Records www.compass- Barra) and bring their own musical and sheer talent is still present in all the moment. Known for their inno- records.com traditions to the “mix”. of them. Their live album, however vative arrangements and engaging Discography: Percussionist Mark McGuire completely stood up the test of time. live performance they’ve become ¥ Merry Sisters of Fate (2001) (Glaswegian born of Irish parents) If you could only take one Celtic CD great favorites of the international GLCD1213 brings a dash of Irish influence but away with you on a desert island, the scene. Founding members Trevor ¥ Otherworld (1999 ) GLCD1200 for the most part, the band’s sound choice of most fans would probably Hutchinson (double bass), Donogh ¥ Lùnasa. (1997) Compass Records is thoroughly Scottish. Founding be Live Wizardry. Hennessy (guitars), and Sean 4317 member Claire McLaughlin and Smyth on fiddle form an incredibly Record labels: Marianne Campbell (sister to Rory) tight yet dynamic string section. DEAF SHEPHERD (Scotland) provide the driving twin-fiddle ¥ Green Linnet Kevin Crawford adds lyrical flute Deaf Shepherd is another www.greenlinnet.com 8 sound, which has become one of playing, fiery bodhran work and is of my favorite bands who ¥ Shanachie www.shanachie.com Deaf Shepherd’s signatures. The also one of the most hilarious “front are probably not terribly well rest of the instrumentals are provid- Discography: man” in the business. The band’s known outside of Europe and their ed by Malcolm Stitt on bouzouki, (dates are of the CD release, not the fifth member, Cillian Vallely on uil- native Scotland. With the exception John Morran on guitar, McGuire on original recording): lean pipes, fills out the wind sec- of Rory Campbell (also of the Old percussion and Rory Campbell on ¥ Live Wizardry (1988) GLCD tion. Indeed, the interplay of wind Blind Dogs) and Malcolm Stitt, highland pipes. 3036/37 (originally released as 2 and strings in often surprising and none of the band members are full Website: www.deafshepherd.com separate lps/cassettes) breath taking arrangements makes time musicians and the pressures of Record label: Greentrax ¥ Glint of Silver (1986) GLCD1070 an evening with Lùnasa something “day jobs” limit their ability to tour www.greentrax.com ¥ Wild and the Beautiful (1991) of a “flying by the seat of your extensively. More’s the pity, espe- Discography: Shanachie 79028 pants” experience. All of the “lads” cially for American audiences, Even in the Rain (2002) Ðself release, ¥ Kiss the Tears Away (1987) can stand alone as fine solo musi- because the “Deafies” have one of purchase from the band’s Website Shanachie 79037 cians and all have contributed orig- the most authentic Scottish voices Synergy (1997) CDTRAX143 ¥ So Many Partings (1989) inal compositions to the repertoire. at their helm (lead singer John Ae Spark o Nature’s Fire (1995) Shanachie 79016 The traditional tunes are drawn Morran) and a dynamic dead-on, CDTRAX104 ¥ Caledonia’s Hardy Sons (1989) from all parts of Ireland, with the full-throttle almost pure “roots” Shanachie 79015 occasional Galician or Breton tune sound that has won them a devoted following. Morran hails from the PASSINGS area of Ayrshire, which is one of the Patrick Jay Collins December 6, 1956 Ð September 26, 2002 CARLIN continued from page 3 over the tunes,” as they say. “Why Bluegrass roots. Like they’ve been Patrick Jay “Pat” Collins, 45, tin whistle player and fiddler for L.A. doesn’t he just shut up and play the given permission to do what they real- Celtic band Craicmore and a musician at several tunes?” I’ll say this: I think it’s very ly like! local sessions for the last 15 years, died important that we do recordings for September 26, 2002 of apparent natural causes at Gus: Dolly Parton once said she had people who genuinely have a long term his home in Pacoima. to get rich before she was allowed to investment in fiddle music. But, it’s Pat was born in Los Angeles and was raised in play the music she played when she also our duty to let the greater public the house in which he died. He pursued a great was poor. know about this music, because it’s an variety of interests in his life. He was a surfer, integral part of American music. Bob: Well, I don’t know about that. rock climber and an avid reader. Trained at Nobody knows what’s going to hap- California Institute of the Arts in Valencia and Gus: Don’t you think that the pen. Some people may go see the later at Disney Studios in Florida, he was also a BYPHOTO JOHN McADAMS “greater public” will eventually get “Down from the Mountain” Tour, but talented artist and animator who worked profes- inspired to listen to more fiddle music a year later, they might totally avoid a sionally in that field in addition to his musical career. and keep it alive? Ricky Skaggs concert or Ralph His interest in Irish music started with a Bob: Well, yes — and here’s where I Stanley. I will say this: we’re very Chieftains album given to him as a teenager. make my big plug — especially if thankful for public radio. We’re glad Soon thereafter, Pat, who was classically Hamilton Ironworks wins the that stations like yours play Hamilton trained on piano and played harmonica, took Grammy! We’re nominated in Ironworks and get the music out there. up the tin whistle and fiddle. It is on tin whis- Traditional Folk. It would be very Keep up the good work. tle that he was most skilled, appreciated by important for John if that album in Gus: Thank you very much for talking fellow musicians for his broad knowledge of particular wins the Grammy. with us. And good luck at the instrumental tunes, as well as his sensitive Gus: Another album that’s up for a Grammys. touch, particularly when playing slow airs. Grammy is the “Oh Brother” sound- Bob: Well, you know our portion of the Audiences loved his sense of humor, his track. What do you think of the “Oh unruly dreadlocks and his spirited enjoyment show won’t be part of the big media Brother” phenomenon? Here’s an coverage. So I haven’t decided yet of playing music. Offstage he was much album that reached out beyond the loved for his welcoming demeanor. Pat was whether I’m going to bother to take PHOTO BYPHOTO KAREN RANDAL fiddle ghetto, beyond the Bluegrass one of the few regular session players in the my tux out of the closet. But we’re ghetto, and sold 5 million copies, keeping our fingers crossed. L.A. area to not only accept but encourage and nurture beginners, and for without any airplay on commercial a short time he led both regular and beginner’s sessions at L.A.’s Celtic radio! (Note: Unfortunately, Hamilton Arts Center. Ironworks did not win a Grammy this The Celtic Arts Center was the site of a tribute to him at its regular Bob: Well, that’s very interesting, year. In 1996, Wild Hog in the Red session on the Monday following his death, at which an empty chair was because the folks who produced that Brush was also nominated, in the cat- placed with a single rose and a photo of Pat. Regulars told stories of his album took out an ad in Billboard egory of Traditional Folk. It was co- generosity and warmth between playing tune sets. As someone who magazine. It simply said, “Oh radio, produced by John Hartford and Bob knew him for fifteen years, I can say that this was no idle sentiment. Pat where art thou?” They made a big Carlin, but also did not win.] was a truly generous person, always ready to hand his last dollar to point about selling all those CDs with- someone who needed it, a great lover of animals who was always taking out any commercial radio play. So Gus Garelick is a fiddler/mandolin care of stray cats. you’d think in Nashville, that would player in Northern California, and The Celtic Arts Center will pay tribute to him by naming a chair in have made some kind of impression. produces The Fiddling Zone on his honor, and they hope to someday name a Music Room at the Center Commercial country right now is so KRCB, a public radio station in Santa for him as well. flat, in terms of growth. Yet Nashville is Rosa, California. You can contact the He is survived by his sister Linda. In lieu of flowers, his family has just going along, ignoring the whole station through its website: asked that donations be made in his name to Cat Connection, PO Box thing. Except for a handful of country www.krcb.org. You can contact Gus 18456, Encino, CA 91416. artists recording Bluegrass albums, at his e-mail address: like Patti Lovelace, and Dolly, and [email protected]. Ricky Skaggs going back to his November-December 2002 FolkWorks Page 21

PAINTING THE TOWN continued from page 1 Ð were involved in their own revolution. They had unknowns, neighborhood characters, and their painting has been in the news recently because it rejected European Impressionism in favor of the buddies with the same reverence. They took their is being partially restored. strong colors and explicit forms of Mexican visions, psychedelically induced and otherwise, Commuters on the Hollywood Freeway Indian traditions, and began appealing to the gov- and made them into surrealistic paintings. grieved so when the famous Freeway Lady was ernment for permission to paint murals on public Many of the early wall paintings, during the painted over that the building’s owner was sued. buildings so that the new art would be available to 1960’s and 1970’s, were done by artists on private The court ruled that the mural be restored. the masses. When the country finally stabilized, property, their own or someone else’s, with or Many others have been lost to damage from the artists got what they wanted and weather, pollution, graffiti, earthquakes, more Ð commissions with freedom to and demolition. The Mural paint what they wanted as long as they Conservancy of Los Angeles was used Mexican themes. Mexico became formed to document and preserve our famous as the place where art was hap- city’s murals, but funding is insufficient pening and people went there to watch to repair everything that needs it. Often it happen, literally, stroke by stroke. when murals are badly damaged, the The effect on our country was two- city just slops gray paint over them and fold. First, during the Depression, a then they are gone forever. painter named George Biddle, who had studied with Rivera, proposed that our government’s New Deal sponsor art Some consider graffiti art an oxy- projects along the lines of Mexico’s moron however, in another curious jux- mural art. He said that not only would it taposition of concepts, Gaijin Fujita help feed needy artists but it would also from Boyle Heights blends graffiti with provide the people with a cultural back- classical Japanese painting and is cur- ground from which more art would fol- rently showing his paintings at the L.A. low. Louver in Venice. To create this cultural background, Originally associated with marking murals were painted in public buildings gang territories and promoting individ- across the countryÐ libraries, schools, ual egos, the angular, distorted lettering and government offices, especially post

PHOTO BYPHOTO COOLEY VALERIE of graffiti taggers has long infuriated offices because every town had one. Mexico Ð Tenochitlan “The Wall That Talks,” 1966 – private – Arroyo Furniture Ð 6037 N. people who find their property or Although some projects made a point of Figueroa at Ave 61, Highland Park. favorite murals vandalized. using regional artists and encouraged Artists: Andy Ledesma, John Zender Estrada, Rafael Corona, Jaime Ochoa, Dominic Ochoa, Isibel Martinez, Oscar de Leon, Mario Mancia, Jesse Silva, Anthony Ortega & Jerry Ortega. Organizations like SPARC hire them to paint authentic and meaningful many “at risk” kids to work on the local subjects, others tended to be ideal- murals they sponsor. They do this pri- ized or elitist, presenting versions of history that without permission. Many of the hippie-era marily so each mural will be a community effort ignored racial, class, and gender issues. murals just sort of appeared overnight on a wall but also because they believe that people who Many of us remember these as our first somewhere and many of them stayed because learn artistic skills and how to work cooperative- murals, huge paintings that swept across walls they were beautiful, quirky, captivatingly rude, ly will be less interested in tagging. They are and soared to the ceilings. To children, they were fantastic, cynical, or surrealistic. In 1968, the probably right. The taggers’ work has, indeed, just about as interesting as history texts, but they well-known “Groupie” painting – the first “hip” become more artistic, complex, and colorful. gave us a lot to look at while our parents checked mural in Venice — was painted openly in broad Their background designs have depth and real out books and mailed packages. They were so daylight on a wall the artist took a liking to. beauty and their lettering has style, if not legibili- large that we could focus on minor details Ð the Sometimes this hit-and-run work is called “guer- ty. buckles on shoes, the construction of a wagon rilla art.” My neighbor, Eric, is a 14 year old Mexican wheel, the brush strokes on a face Ð and never The Pink Lady of Malibu was such a work. It American who takes his artwork seriously. He trouble ourselves with any ethnic insensitivity or is rumored that she was painted by a nervy gets good grades in school so he will be eligible historical inaccuracies in the big picture. woman who hung all night over the tunnel on to work on murals through SPARC and tells of The New Deal murals did what they set out to Malibu Canyon Road to create a real pick-me-up informal groups or “crews” that do murals, or do: they gave work to artists; they demonstrated for the morning’s commuters. Bright pink and “’pieces”(short for masterpieces). They share to the average citizen that art was important, and voluptuously naked, she upstaged every celebrity techniques, teach skills to younger members, and they supported American art. Twenty years later in Malibu. Fans visited the tunnel for several critique each other’s work. they were a starting place for the new murals, pro- days, or weeks, how many I don’t know, but not viding styles to replace, attitudes to reject, and many and not enough. However, community out- HOW TO SEE MURALS history to correct. They were like the parents of rage got her abolished in record time. — would One way is to pick an area from the Dunitz the new generation, and if the New Deal murals that potholes offended so many vocal citizens. book and map out your own tour. Plan the route were the parents, the Mexican revolutionary She might be forgotten now except that her name before you start driving. If you have a patient artists were the godparents. lingers on as a cocktail served in coastal bars. companion who can navigate well, take him or The concept of big, expressive art in public Venice has always had a large share of inter- her along. Resign yourself to inevitable detours, places percolated for two decades before the Civil esting murals, up and down the boardwalk (Ocean one-way streets, unexpected changes of street Rights movement and the hippie culture both put Front Walk) and all over town. On Venice names, and the occasional mural that has disap- it to work. Newly empowered ethnic groups, Boulevard you can see two blue whales at peared. Likewise, watch for brand new works of making-up for years of being ignored or misrep- Beethoven on the NW corner, a hip-hop/pop art. resented in the New Deal (WPA) murals, began art/cubism hybrid at Venice High School, Jesus The Mural Conservancy of Los Angeles has painting their own versions of history. The Roller-Skating with Friends at Venice Beach at offered many tours in the past. They are currently Chicano population, with their heritage of the the Lutheran Church, and an allegory about Los updating their tour schedule as well as their handy great Mexican revolutionary painters, led the way Angeles at the SPARC office in the old Venice map and guide booklet. Their number is 323-512- in demonstrating the political power in their bril- police station. 5697. It’s a volunteer organization, so be patient if liant public artworks. Many old Venice favorites have been lost. The you don’t get them immediately. Their web site is In 1975, Judith Baca started the half-mile long beloved snow scene with local characters wearing www.lamurals.org. Great Wall of Los Angeles project, a community mittens and warm jackets because the boardwalk If you have a large group, you can arrange a effort to re-tell the history of California and is covered with snow disappeared when a build- tour through SPARC (the Social and Public Art include significant women and ethnic groups that ing went up next to it and obscured the whole Resource Center). Check prices and availability at had been more or less invisible in textbooks. Each wall. Other old favorites, faded or damaged, have 310-822-9560. You can also drop in at their office summer, the young people who worked on it been replaced, usually with changes and updates. (the old police station at 685 Venice Blvd. in learned a version of history that had been largely Botticelli’s Venus still roller skates along the Venice) and get Street Gallery and many other ignored by society and then illustrated it on the boardwalk after “reconstitution” by the artist in books on murals. Check out their web site at concrete walls of the Tujunga Wash that parallels 1989. Chagall Comes to Venice Beach returned www.sparcmurals.org. Coldwater Canyon Avenue. just north of the after the 1994 earthquake with a new Moses and Also, watch the calendar in the L.A. Times for Ventura freeway. The same major events are a black God, and Jesus still skates on convention- other art and culture groups that occasionally tour shown that might be seen on a New Deal mural, al skates but some of his friends have upgraded to the murals. but the people come in a wider range of colors. roller blades. BIBLIOGRAPHY For other artists, painting wasn’t especially Other areas have lost murals too. Two that Here are a few of the books listed by Robin political. Public walls were just an exciting new Siqueiros painted in the 1930’s were deemed so Dunitz in Street Gallery, some of which you kind of canvas and a place to get more recognition offensive that they were dispatched as quickly as might find at the SPARC office. than they would in conventional shows and gal- the Pink Lady of Malibu was 40 years later. One ¥ Barnett, Alan W., Community Murals: The leries. They painted folk heroes — musicians, contained an inter-racial theme. The other, People’s Art, The Art Alliance Press, Inc., actors, writers and others — on fences and walls América Tropical, at Olvera Street, made a blatant Philadelphia, 1984 as simple acts of homage. They painted comment about American imperialism. This PAINTING THE TOWN page 22 Page 22 FolkWorks November-December 2002

TUVAN continued from page 10 CARROLL continued from page 6 their own life experiences to their get that image, money, and “making composed by Liz. The traditional CD REVIEWS music to, as Professor Levin said, it big” are usually short lived, and tunes showcase the highly original BY TOM “TEARAWAY” SCHULTE “build a rapport with their audi- have no lasting impact on a music way that Liz can arrange and ences, as any tradition must do to culture. In a day and age where tech- breathe new life into them. The Ralph White remain alive.” nology and greed are practically run- entire album is simply brilliant, but Trash Fish At age 11, singing in a ning the show in much of popular some highlights to note include the Terminus Records Barbershop chorus was rare. Western music, I suppose it is easier opening set of reels, The Rock www.terminusrecords.com However this did not hinder my to lean more towards ethnocentrism Reel/The Morning Dew/Reeling on Many know of Ralph White enthusiasm for the craft. I appreciat- than to identify with other music cul- the Box, the air and jigs set The through his long career in Bad ed the way singing in harmony with tures. Although Western music is a Ghost/The Hatchlings/The Long Livers. Fans of that group’s output others made me feel, and I enjoyed, big influence in many countries, we Bow , and the final track of scorch- will easily appreciate Trash Fish, and still enjoy, entertaining people. need to remember that there is an ing reels called The Potato on which also has the same free and It’s nice to be able to make people abundance to learn from the music the Door/Mary and the Tea fun approach to bluegrass styles. smile through music. I had always of others around the world. Bag/Perpetual Check. A unique Ralph includes on this album a ver- been a little different than my Time waits for no one and music track features Liz accompanied by sion of “I am a Stranger Here.” In friends. Sure, I rode my bike all over will continue to progress and change the Turtle Island String Quartet, 1999, White traversed Africa on a town and played video games, yet over time. Xoomei and Tuvan music which includes the slip jig, before I reached puberty, I was out are no exceptions. However, it Catherine Kelly’s, followed by her bicycle with his banjo and played there in the community, entertaining seems time has stood still as Tuvan composition and title track, Lake the song with many local musicians audiences of all types. My friends musicians continue to preserve their Effect. who probably discovered the song have always respected my love of heritage and tradition through both Lake Effect is a work of the after it arrived in Africa in the singing. This acceptance gave me their music and culture. Tuva’s won- highest quality and renews and 1930’s via a 78. This and other added confidence to push forward derfully unique musical culture is a extends Liz Carroll’s position as world travels gloriously warped the with my one true love — music. perfect example that, regardless of one of the world’s best Celtic fid- traditionalist into create strange Around age 13, I began noticing geographical location, religion, indi- dlers. From its masterful and ele- “new age gutbucket” and “muta- more and more youngsters partici- vidual beliefs, history, tradition, and gant airs to its wild-ride of gut- tions” of traditional material in the pating in Barbershop harmony., We age, the common thread around the wrenching, amazingly performed spirit of Holy Modal Rounders but were the next generation of singers world is the power of music. dance tunes, Lake Effect, stands as with precision and technique. that would help promote the joy of one of the best Irish fiddle and gen- Cady Finlayson Jason Howe is a recent graduate singing and keep the tradition of eral Celtic releases for the year Shines like Silver from California State University four-part Barbershop harmony alive. 2002. This outstanding album is an Self Produced Northridge and has been singing Similarly, after being introduced overwhelming winner and a do-not- www.violincaddy.com to the Western music culture, Tuvan since he was 11 years old, particu- miss for lovers of the Irish folk tra- xoomei received that same kind of larly barbershop four-part har- dition. In producing this record, Cady (pro- monies. Interested in music and cul- nounced “Caddy”) seeks to docu- acceptance and recognition I felt as a Availability: ture, he is also a drummer and has ment the American-Irish sound of boy. It seemed to inspire confidence Released domestically and easily been playing various styles of music fiddle music. Her warm and upbeat and also reinforced Tuva’s pride in obtainable. the great value of their music cul- since age 12. He plans on incorpo- presentation of instrumental reels, ture. All too often, Westerners lose rating his interests with teaching ele- work songs, jigs and more, is direct- sight of cultural relativism. We for- mentary school, 2nd Ð 6th grade. PAINTING THE TOWN ed toward appealing to all ages of a continued from page 21 contemporary audience. Cady is deeply rooted in these traditions ¥ Chalfant, Henry and James though and even a Celtic purist will Prigoff, Spraycan Art, Thames and appreciate her take on “For Ireland” Hudson Inc., New York, 1987 and Turlough O’Carolan’s “Planxty Charlot, Jean, The Mexican Mural Irwin.” Only a hard-hearted folk tra- CONGRATULATIONS TO Renaissance 1920-1925, Yale ditionalist could not smile and enjoy University Press, New Haven, the world percussion fused onto the 1963 American folk songs “This Old BARBARA WEISMANN & DON GREEN ¥ Cockcroft, Eva and Holly Barnet- Hammer” and “Streets of Laredo” Sanchez, editors, Signs From the that Caddy’s mother sang to her. ON THEIR MARRIAGE Heart: California Chicano Cady is a top American fiddler with Murals, Social and Public Art a Master of Music from Mannes Resource Center, Venice, College (New York City) and is a California 1990 protégé of Brian Conway. ¥ Community Redevelopment Agency, City of Los Angeles, Outsight Radio Hours Webcasts Public Art in Downtown Los Sundays 6pm-8pm EST Angeles, 1986, (a pocket guide www.new-sounds.net or 24/7 with maps) www.live365.com/play/94510 ¥ Dunitz, Robin J. and James Tom ‘Tearaway’Schulte, POB Prigoff, Painting the Towns: 1500, Royal Oak MI, 48068-1500 Murals of California ¥ Dunitz, Robin J., Street Gallery: Guide to over 1000 Los Angeles MALINKY continued from page 6 Murals, RJD Enterprises, Los Angeles, 1993, 2nd ed. 1998 Gone to the Bower. Mark Dunlop ¥ Goldman, Shifra, Dimensions of wrote the first two tunes in this set, the Americas: Art and Social while the last tune comes from the Change in Latin America and the Irish Traditional Music Archive. United States, University of Since their 1999 success as Chicago Press, Chicago, 1994 Danny Award winners for new tal- ¥ Hager, Steven, Hip Hop: The ent at Glasgow’s prestigious Celtic Illustrated History of Rap Music, Connections Festival, Malinky has Breakdancing and Graffiti, St. played at venues across the U.K. PHOTO BYPHOTO CARYL LIGHTFOOT Martin’s Press, New York, 1985 and Europe. Hopefully their contin- ¥ Lewis, Samella, Art: African ued success will next bring them to WISHING YOU MANY MORE YEARS American, Hancraft Studios, Los the shores of the States. In the Angeles, 1990 RJD Enterprises, meantime, lovers of Scottish folk Los Angeles, 1997 music must not miss this outstand- OF JOYOUS DANCING! ¥ Rochfort, Desmond, Mexican ing album. Muralists: Orozco, Rivera, Availability: Released in Scotland Trudy & Peter Israel Siqueiros, Universe, New York, and only available as an import. Cathy Miller 1993 Ordering Information: ¥ Rolston, Bill, Politics and Most major audio retailers Dahlia & Kip Miller Painting: Murals of Northern Tayberry Music — Leda & Steve Shapiro Ireland, Associated University www.tayberry.com Presses, Cranbury, New Jersey, Greentrax Records in Scotland — 1991 www.greentrax.com November-December 2002 FolkWorks Page 23

CONTRA MUSIC continued from page 7 approach to fiddle tunes Ð solid, rhythmic and the music and their own movement. for insightful comments and conversations about uncluttered by extraneous diversions into other And now, perhaps it might be the moment to contra dancing and the music we play for it. I genres. The instrumentation is simple, for exam- imagine how our early New England dancers would also like to thank Tucson Friends of ple a combination of fiddle, piano and flute. Many might feel about modern contradance music, and Traditional Music and Round the House for of the tunes they perform are long-time favorites to examine a question was posed at the beginning opportunities to do hands-on research in playing and probably familiar to our hypothetical 19th of this article: Has contradance music transitioned for dances. century dancers. into a new musical genre? I believe that con- In contrast, Wild Asparagus and Yankee tradance music is in the process of evolving. Sharon Goldwasser loves playing fiddle for Ingenuity are examples of popular New England Those 19th century dancers would recognize dancers Ð especially contra and Irish. She got contradance bands that began stretching the many of the figures in the dances, the patterns and started playing traditional music nearly 20 years boundaries of contradance music early on in their phrasing in the music and some of the tunes. They ago with the Tucson Friends of Traditional Music careers. Wild Asparagus employs a variety of would encounter many familiar instruments, but open contra dance band, and currently plays with wind instruments such as flute, saxophone and others might seem quite exotic. I think that the the band Round the House. You can find them on even oboe at times, as well as fiddle, concertina, most puzzling and unfamiliar aspects would the web at www.geocities.com/rthfiddler piano, bodhran and bass. Venturing from a base of prove to be the contemporary arrangements of the Discography typical New England and Irish, the shapes of the tunes and the fusion of jazz, blues, swing etc. with Many contradance recordings can be purchased melodies ebb and flow under jazzy improvisation. traditional fiddle tunes. from Country Dance and Song Society (CDSS) Many contemporary contradance bands use a I see contemporary contra dance bands spread www.cdss.org (413) 268-7426 “layering” effect with instruments, sometimes the out along a continuum, from the very traditional ¥ Airplang and Airplang II (Green Meadow entire band is going full strength, while at other to the very innovative. At one end, groups like Music www.GreenMeadowMusic.com) times, some instruments switch from the melody New England Tradition are closer to the roots of ¥ Fourgone Conclusions (no longer in print) to rhythm or drop completely out of the mix for contradance music, but the majority of popular or ¥ New England Tradition (Green Meadow Music effect. But beneath these excursions away from successful bands tend to be dispersed toward the www.GreenMeadowMusic.com) the tunes, the all-important rhythm is always pres- more experimental /improvisational end of the ¥ Wild Asparagus (www.wildasparagus.com) ent for the dancers. spectrum. Modern contradance music is still ¥ Yankee Ingenuity - Heatin’ Up the Hall (Varrick The west-coast based Hillbillies From Mars is evolving; it hasn’t abandoned its origins, but has- 038 - just one of many bands that has expanded the n’t yet settled incontrovertibly into a new identity. harp.rounder.com/rounder/catalog/bylabel/varr/0 identity of contradance music by incorporating It is being reshaped by interplay between the per- 38/038.html) fusion and crossover between musical genres. sonal choices and experiences of the musicians ¥ Hillbillies From Mars Like many other bands, the Hillbillies explore and the responses of dancers. As a result, con- (www.instantharmony.com/HfM/) tunes from outside of the essential New England tradance music seems to be shifting along the ¥ Round the House repertoire, such as Quebecois, Irish and continuum, anchored in the historical tradition (www.geocities.com/rthfiddler) Appalachian tunes, and then add their own unique while expanding into new territory. ¥ For Old Time’s Sake (www.swingcatenterpris- twist. It’s not too surprising to discover that es.com/catalog_oldtime.asp) they’ve added a Middle Eastern dumbek (drum) I would like to express my appreciation to Peter ¥ Privy Tippers ([email protected]) to accent rhythm or applied an African pop beat Barnes, Rodney Miller, Tod Whittemore, Claire behind a French-Canadian tune. Zucker, Becky Nankivell and Chuck Williamson Most bands that borrow tunes from other tra- ditions have to adapt them at least a little to make the music work for contras. For example, my band Round the House plays Irish tunes with less ornamentation than we would for a ceilí dance or in a session. Bands like California’s For Old Time’s Sake or Arizona’s Privy Tippers that spe- cialize in Appalachian old-time string band music also make certain compromises in choosing and playing tunes. Not all old-time tunes have exactly 32 bars, and not all of them can be played with the well-defined phrasing needed for contras. Either way, the sound is more homogenized than within the original styles. Contemporary contradance musicians use a lot of other little tricks to spark dancers into respond- ing with a whoop or holler. In addition to varying the instrumentation and improvising on the tune, the piano or guitar can substitute chords that change the mood or build the intensity of the music. They can alternate styles of back-up and rhythm to create a slinky feeling or a powerful drive to propel the dancers. Bands also use varia- tions in dynamics to great effect, especially when coupled with other techniques. Smoothing out the texture with fewer notes or a single instrumental voice might coincide with a decrease in volume, followed by crescendo of both intensity and vari- ety of sound. Taken to extremes, the melody sometimes disappears completely. Using dramat- ic key changes, or abrupt stops between tunes in a medley is another way to wake up the dancers. Sometimes the band initiates a subtle, slinky pat- tern while the caller is still teaching and then launches the dancers straight from the walk- through into the first figures of the dance. Whatever the approach, the intent is to lift the dancers into an almost hypnotic fusion between ADVERTISE IN FOLKWORKS! help support folkarts in los angeles See Page 2 for Rates. Page 24 FolkWorks November-December 2002

SPECIAL EVENTS

FRI NOV 1 10:00am-5:00pm INTERTRIBAL MARKETPLACE (562) 570-1745 ¥ [email protected] TUES DEC 24 see Nov 9 * MUSIC IN THE MOUNTAINS 7:30pm LOWEN & NAVARRO $16 3:00pm-9:00pm HOLIDAY CELEBRATION free "Hoot" weekend of songmaking 12:00noon BILLY BEEMAN $8 McCabe’s Guitar Shop L.A. COUNTY ARTS COMMISSION Camp de Benneville Pines Fiddle, stories and song Dorothy Chandler Pavilion 8:00pm JIM MALCOLM 41750 W. Jenks Lake Road, Angelus Oaks www.thewagonmasters.com Nicole Werner [email protected] Coffee Gallery Backstage (909) 794-2928 www.uucamp.org Coffee Gallery Backstage 8:00pm PETE HUTTLINGER plus DORIAN MICHAEL SAT DEC 28 * SEVERIN BROWNE & JAMES COBERY SMITH, 7:00pm BOUBACAR TRAORE $19.50 & KENNY BLACKWELL THE TATTERS Mali Guitarist and Singer * FOLKDANCE WEEKEND with Beverly and Irwin Barr Bluegrass Kulak's Woodshed McCabe’s Guitar Shop (310) 202-6166 Boulevard Music 5230-1/2 Laurel Canyon Blvd., North Hollywood 7:00pm TOM PALEY 8:00pm JOHN BELAND (818) 766-9913 Coffee Gallery Backstage SUN NOV 24 Coffee Gallery Backstage 7:00pm DENNIS ROGER REED and DAN FULLER 7:00pm JEAN SUDBURY & KURT McINNIS: 10:00am-5:00pm OAXACAN FOLK ART SHOW &SALE SUN DEC 29 Borders Books & Music FULL MANDOLICITY see Nov 23 25222 El Paseo, Mission Viejo ¥ (949) 367-0005 * FOLKDANCE WEEKEND Bean Town 1:00pm & 2:00pm DUSTY ROGERS AND THE HIGH RIDERS see Dec 28 8:00pm MARY GAUTHIER 7:30pm THE WITCHER BROTHERS Traditional and contemporary American Western music Acoustic Music Series (TC) MON DEC 30 Claremont Folk Music Center Autry Museum (Heritage Court) 8:00pm TIN HAT TRIO $16 7:30pm JIM MALCOLM $12/$10TLT * FOLKDANCE WEEKEND McCabe’s Guitar Shop TUES NOV 12 Lead singer Old Blind Dogs see Dec 28 8:00pm LISA TURNER MUSIC SHOWCASE The Living Tradition 8:00pm KILA $24 / $18 (children under $12) TUES DEC 31 Bean Town Traditional Celtic music MON NOV 25 * FOLKDANCE WEEKEND with gypsy reggae, rock and other styles WED NOV 13 see Dec 28 El Camino College Center for the Arts, Marsee Auditorium 7:00pm MICHAEL MARTIN MURPHEY $35/$30 Sr./Student/ 8:00pm PASIÓN TANGO A Cowboy Christmas CSULB Staff, Faculty, Alumni * LOS ANGELES NEW YEAR'S CEILI 16007 Crenshaw Blvd., Torrance www.IrishDanceLosAngeles.com www.elcamino.edu/centerforthearts (800) 832-2787 Musical featuring Argentinian dancers Carpenter Performing Arts Center CSU Northridge 8:00pm BORDER RADIO (818) 677-2488 ¥ cvpa.csun.com. THUR NOV 28 Bean Town * SKANDIA FESTIVAL in Julian (near San Diego) THUR NOV 14 8:00pm IAN WHITCOMB plus FRED SOKOLOW Ted Martin ¥ (714) 893-8888 ¥ [email protected] Boulevard Music 7:30pm RICHARD SMITH with JULIE ADAMS English guitarist FRI NOV 29 SAT NOV 2 Claremont Folk Music Center * SKANDIA FESTIVAL VENUE LOCATIONS * MUSIC IN THE MOUNTAINS 8:00pm PASIÓN TANGO see Nov 28 see Nov 1 see Nov 14 8:00pm MARK HUMPHREYS free ACOUSTIC MUSIC SERIES * CONJUNTO JARDIN 8:00pm FLORY JAGODA & FAMILY $21 General with guitarist John-Michael Kaye (HC) House Concert (call for tix) San Juan Capistrano Regional Library Judeo-Spanish Songs $18 Skirball Members Bean Town (TC) Throop Church from the Bosnian Tradition $15 students * THE TATTERS SAT NOV 30 300 S. Los Robles Ave., Pasadena Skirball Magnin Auditorium Unitarian Church * SKANDIA FESTIVAL (626) 791-0411 4949 Foothill Rd., Ventura ¥ (805) 644-3898 10:00pm JILL COHN $8 see Nov 28 AUTRY MUSEUM (HERITAGE COURT) Folk songwriter ¥ cdbaby.com/cd/jillcohn4 7:00 & 9:00pm CHUSCALES $10 / $5 children Genghis Cohen 8:00pm BROTHER YUSUF 4700 Western Heritage Way, Griffith Park Flamenco Bean Town (323) 667-2000 ¥ www.autry-museum.org San Juan Capistrano Public Library FRI NOV 15 SUN DEC 1 BEAN TOWN 7:30pm THE PETER CASE BAND $16 7:30pm JAMES KEELAGHAN $12/$10TLT McCabe’s Guitar Shop Canadian balladeer * SKANDIA FESTIVAL 45 N. Baldwin Ave., Sierra Madre The Living Tradition see Nov 28 (626) 355-1596 8:00pm TOM RUSSELL& ANDREWHARDIN $15 Acoustic Music Series (TC) 8:00pm NICK ARIONDO & SUZY WILLIAMS $10 MON DEC 2 BEVERLY HILLS PUBLIC LIBRARY Vocal & Accordion duo 444 N. Rexford Dr., Beverly Hills 8:00pm JOE PAQUIN and PAUL LAQUES 7:30pm JAMES LEE STANLEY, EVERYTHING DIVINE, Genghis Cohen Bean Town JIMMY MUFFIN, SAROD SONG, others (310) 288-2211 8:00pm JILL COHN $10 musical host BRETT PERKINS 8:00pm SALIF KEITA $20-$30 BOULEVARD MUSIC Folk songwriter ¥ cdbaby.com/cd/jillcohn4 The Listening Room Concert Series "The golden voice of Mali" 4316 Sepulveda Blvd., Culver City Kevin's House Concert, Long Beach UCLA Performing Arts Center (Royce) WED DEC 4 [email protected] ¥ (714) 325-5352 (310) 398-2583 ¥ www.boulevardmusic.com 8:00pm THE RHYTHM BROTHERS * THE BOYS OF THE LOUGH 8:00pm RICHARD SMITH with JULIE ADAMS CALTECH FOLK MUSIC SOCIETY Boulevard Music Celtic traditional music English Fingerstyle Guitar Cerritos Performing Arts Center California Institute of Technology 8:00pm KILA $24 $22 Student/Senior $12 (16 and under) Boulevard Music Dabney & Winnett Lounges, Pasadena www.kila.ie 8:00pm GRAHAM PARKER with TOM FREUND $22.50 FRI DEC 6 (626) 395-4652 ¥ (888) 222-5832 Haugh Performing Arts Center McCabe’s Guitar Shop 8:00pm ALTAN: CELTIC CHRISTMAS $38.00, $32.00 www.its.caltech.edu/~folkmusi 8:00pm HUUN-HUUR-TU $28/$24 Irvine Barclay Theatre 8:00pm PASIÓN TANGO $28/$26 Student/Senior CELTIC ARTS CENTER Tuvan throat music greats Haugh Performing Arts Center 8:00pm BERNICE LEWIS $12 4843 Laurel Canyon Blvd., Valley Village Irvine Barclay Theatre Contemporary Songwriter 8:00pm RICHARD ALCOY (818) 760-8322 ¥ www.celticartscenter.com 8:30pm IRISH DANCE with music by DES REGAN’S $10 Noble House Concerts Bean Town IRISH AMERICAN SHOW BAND CERRITOS PERFORMING ARTS CENTER SAT DEC 7 St. Theresa’s Church SAT NOV 16 12700 Center Court Dr., Cerritos 515 N. Vega, Alhambra (626) 284-6747 7:30pm & 9:30pm JOHN STEWART $17.50 (562) 916-8501 or (800) 300-4345 * BRYNDLE *Sold Out McCabe’s Guitar Shop 11:00pm RICK SHEA & BRANTLEY KEARNS, I SEE HAWKS Russ & Julie’s House Concerts www.cerritoscenter.com Taix Lounge 7:00 & 9:00pm CONJUNTO JARDIN $10 / $5 children CLAREMONT FOLK MUSIC CENTER 1911 W. Sunset Blvd., Echo Park ¥ (213) 484-1265 * LEO KOTTKE w/ MIKE GORDON $25 San Jarocho, the music of Veracruz, Mexico The Roxy San Juan Capistrano Library 220 Yale Ave, Claremont SUN NOV 3 9009 Sunset Blvd., West Hollywood (909) 624- 2928 ¥ www.folkmusiccenter.com (310) 278-9457 8:00pm LIGHT IN THE DARKNESS * MUSIC IN THE MOUNTAINS Stories from the Winter Solstice with Karen Golden, Vicki COFFEE GALLERY BACKSTAGE see Nov 1 7:00pm "SCOTTISH SPECTACULAR" $19 adv, $21 door Juditz, Angela Lloyd, Leslie Perry, Kathleen Zundell 2029 N. Lake Ave, Altadena MUSIC AND DANCE FESTIVAL 11:00am DAN CROW $6/$3 Beverly Hills Public Library Nicholson Pipes and Drumswith popular Scottish folk (626) 398-7917 Children’s show singer Alex Beaton, UC Riverside Highland Dancers 8:00pm SWEET HONEY IN THE ROCK $35, $65, $125 & $250 McCabe’s Guitar Shop FRET HOUSE and the Sean Gavan Irish Dance Company Wilshire Ebell Theater 309 N. Citrus, Covina Ebell Theater 625 French Street, Santa Ana (714) 973-7575 4401 West 8th St., L.A. ¥ (310) 453-3611 x111 MON NOV 4 The Liberty Hill Foundation (626) 339-7020 ¥ www.frethouse.com 7:30pm COPPER WIMMEN, BOB AND WENDY, 7:30pm TANYA SAVORY plus JON WILCOX $12/$10TLT GENGHIS COHEN KEN WALDMAN, MOURITZ, The Living Tradition 8:00pm KIERAN KANE & KEVIN WELSH $15 REUBEN DAVID EGAN, LISA SANDERS, ELLY K, Acoustic Music Series (TC) 740 N Fairfax Ave, Los Angeles 7:30pm LAURENCE JUBER $16 and musical host BRETT PERKINS (323) 653-0640 ¥ www.genghiscohen.com McCabe’s Guitar Shop 8:00pm JONATHAN McEUEN $15 Fremont Center Theater Russ & Julie’s House Concerts HAUGH PERFORMING ARTS CENTER The Listening Room Concert Series 7:30pm JOHN REISCHMAN &THE JAYBIRDS $17 adv plus PHIL SALAZAR & JONATHAN McEUEN $20 door 8:00pm GUY VAN DUSER Citrus College, 1000 W. Foothill Blvd., Glendora WED NOV 6 Bluegrass $12 children/students Fingerstyle Guitar (626) 963-9411¥ www.haughpac.com Boulevard Music * TOM RUSSELL CTMS-Encino Community Center IRVINE BARCLAY THEATRE www.tomrussell.com 4935 Balboa Blvd., Encino 4255 Campus Dr., Irvine Redlands University, Redlands Bluegrass Assoc. of So.Cal (BASC) [email protected] SUN DEC 8 * LIZ WEIR (949) 854-4646 ¥ www.thebarclay.org 8:00pm RIDERS OF THE PURPLE SAGE $12 THUR NOV 7 Stories from Ireland THE LISTENING ROOM CONCERT SERIES Noble House Concert Beverly Hills Public Library * TOM RUSSELL Fremont Center Theater Redlands University, Redlands 8:00pm NEW WEST 11:00am JACKI BREGER $6/$3 Western Music 1000 Fremont Ave., So. Pasadena Children's Show (626) 441-5977 FRI NOV 8 Boulevard Music McCabe’s Guitar Shop 8:00pm PETER MULVERY plus MARK ERELLI $13.50 www.brettperkinspresents.com/events/fremont.html 8:00pm RICK SHEA and BRANTLEY KEARNS 6:30pm STILL ON THE HILL Singer-songwriter The Fret House THE LIVING TRADITION McCabe’s Guitar Shop Duncan House Concerts 8:00pm SEVERIN BROWNE Downtown Community Center 8:00pm JOHN McEUEN $15 8:00pm BERNICE LEWIS $14 Bean Town Acoustic Music Series (HC) 250 E. Center St., Anaheim Coffee Gallery Backstage (949) 646-1964 ¥ www.thelivingtradition.org SUN NOV 17 8:00pm COSY SHERIDAN THUR DEC 12 McCABE’S GUITAR SHOP Singer-songwriter 11:00am PETER HIMMELMAN $10 / $5 * CHRISTMAS FROM A CELTIC TABLE 3101 Pico Blvd., Santa Monica Boulevard Music Children's Show Evening of music, prose and poetry McCabe’s Guitar Shop Celtic Arts Center (310) 828-4497 ¥ www.mccabesguitar.com SAT NOV 9 7:30pm LEON MOBLEY NOBLE HOUSE CONCERTS 8:00pm NEVENKA presented by Folkworks $15 adv./$17 door Percussionist SAT DEC 14 (818) 780-5979 ¥ [email protected] East European Woman’s Chorus $13 members/students Claremont Folk Music Center * GERRY O’BEIRNE Unitarian Community Church Celtic Guitar master ¥ www.gerryobeirne.com RUSS AND JULIE’S HOUSE CONCERTS 1260 Eighteenth Street (at Arizona), Santa Monica TUES NOV 19 Celtic Arts Center ¥ [email protected] Oak Park (Agoura Hills/Westlake Village area) (818) 785-3839 ¥ www.FolkWorks.org 7:30pm HWY. 52 * JEFF LINSKY (818) 707-2179 * RIDERS OF THE PURPLE SAGE Bluegrass The Fret House www.jrp-graphics.com/houseconcerts.html Nobel House Concert Baker's Square Restaurant 17921 Chatsworth St. (at Zelzah), Granada Hills 7:30pm WILLY CLAFIN SAN JUAN CAPISTRANO PUBLIC LIBRARY * KEN WALDMAN AND FRIENDS (818) 366-7258 ¥ Bluegrass Assoc. of S. Cal (BASC) Church of Religious Science 31495 El Camino Real, San Juan Capistrano The Fret House 101 S. Laurel, Ventura ¥ (805) 646-8907 (949) 248-SHOW 9:00am LOS ANGELES WORLD STORYTELLING FESTIVAL WED NOV 20 7:30pm LUCY KAPLANSKY $16 www.musicatthelibrary.com/Calendar.htm $30, $25 adv., or $10 individual events * GEORGE WINSTON McCabe’s Guitar Shop USC Davidson Conference Center www.george-winston.com SHADE TREE STRINGED INSTRUMENTS Michael D. McCarty (310) 677-8099 [email protected] Cerritos Performing Arts Center 8:00pm THE WITCHER BROTHERS 28062 D Forbes Rd., Laguna Niguel Bluegrass (949) 364-5270 ¥ www.shadetreeguitars.com 10:00am-5:00pm INTERTRIBAL MARKETPLACE FRI NOV 22 Boulevard Music Native American Artists * JIM MALCOLM SKIRBALL CULTURAL CENTER Southwest Museum Lead singer Old Blind Dogs SUN DEC 15 2701 North Sepulveda Blvd., Los Angeles 8:00pm THE BERNIE PEARL TRIO Celtic Arts Center 2:00pm & 7:00pm CSULB STEEL DRUM ORCHESTRA $15/$10/$5 (310) 440-4578 ¥ www.skirball.org Blues CD release party Caribbean Christmas 8:00pm NERISSA & KATRYNA NIELDS $13.50 SOUTHWEST MUSEUM Boulevard Music Carpenter Center for the Arts McCabe’s Guitar Shop 234 Museum Dr., Los Angeles 8:00pm COSY SHERIDAN $12/$4CalTech/Children 8:00pm TOM CORBETT & BILL KNOPF TUES DEC 17 (323) 221-2164 ¥www.southwestmuseum.org Singer-songwriter Bean Town 7:30pm BORDER RADIO CalTech Folk Music Society (Winnett) Baker's Square Restaurant UCLA PERFORMING ARTS 8:00pm CHRISTINA ORTEGA $8 SAT NOV 23 17921 Chatsworth St. (at Zelzah), Granada Hills UCLA Campus, Royce Hall, Westwood Bluegrass to Ranchera * ANDY RAU BAND Bluegrass Assoc. of S. Cal (BASC) (310) 825-2101 or (310) 825-4401 with Tom Corbett (lead guitar), Brantley Kearns (fiddle), Bluegrass www.performingarts.ucla.edu and Ruben Ramos (upright bass & fingerstyle guitar) The Fret House FRI DEC 20 plus CONJUNTO LOS POCHOS * HOLIDAY PARTY with West LA Folk Dancers Norteno music * TELLEBRATION Beverly or Irwin ¥ (310) 202-6166. The Coffee Gallery Backstage New Voices, Stories from the Community FOR UP-TO-DATE INFORMATION Beverly Hills Public Library SAT DEC 21 8:00pm TOM AND PATRICK SAUBER 8:00pm BROCELIANDE $12/$4Caltech Students/Children Mary Katherine Aldin - Alive and Picking Calendar Bean Town 10:00am-5:00pm OAXACAN FOLK ART SHOW & SALE Southwest Museum CalTech Folk Music Society (Dabney) www.aliveandpicking.com/calendar.html Jay and Judy Michtom - Folk Dance Scene Calendar SUN NOV 10 7:30pm LAURENCE JUBER SUN DEC 22 (818) 368-1957 ¥ [email protected] * GREG GREENWAY www.laurencejuber.com 1:00pm & 2:00pm BELINDA GAIL Duncan House Concerts Shade Tree Stringed Instruments Thanks to these folks for providing information to America’s Sweetheart of Western Music FolkWorks. * JAPANESE FOLK TALES - MEGUMI 7:30pm TELLEBRATION: Long Beach Storytellers Autry Museum (Heritage Court) Beverly Hills Public Library El Dorado Nature Center, 7550 E. Spring St., Long Beach