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THE SOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, MAY - JUNE 2007& OTHER RELATED FOLK ARTSFolkWorks IN THE GREATER AREA Page 

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BI-MONTHLY Volume 7 Number 3 May-June 2007 Walking on Bilgewater: Eefing, bilabial fricatation, and the “strum” and “twang” of the Bilgewater Brothers By Joel Okida

he act of grinning comes naturally when INSIDE THIS ISSUE you hear the very tongue-in-cheek tune, FANTASTIC FUN Give It to Mary with Love. And when Da- FOLK FESTIVALS vid Barlia resurrects the lost art known as “eefing,” the grin becomes a chuckle. THE NAUTICAL TRAIL OF PINT For those not in the know, eefing is the vocal ability to na- AND DALE T Seafaring Songs sally impersonate a coronet, oddly named by uke old timer, Cliff “ Ike” Edwards. John chirps in with a melodic PLUS... whistling solo and you know there’s a spectacle of rare en- Tied to the Tracks tertainment to be had. Over the course of an evening with the Bilgewater Brothers, you get a very lively variety show Look Who's Talking without having to change channels. Mostly you get uke Keys to the Highway strummer, David and plectrum and National wiz, CD Reviews John Reynolds, having a good time for your listening and view- Special Events Listing ing pleasure. They are often supported by other local ... and More! continued on page 22 Page  FolkWorks MAY - JUNE 2007

EDITORIAL DEAR READERS: Beach copies down to LB drop DO YOU WANT THE PRINT off. PUBLISHERS & EDITORS EDITION OF FOLKWORKS 4 Either a fourth person, or one of Leda & Steve Shapiro NEWSPAPER? those three is responsible for put- LAYOUT & PRODUCTION IT DEPENDS ON YOU ting up all the required informa- Alan Stone Creative Services his May/June copy may be tion at Van Nuys for the rest of the FEATURED WRITERS the last print issue due to distributors to pick up their copies. Brooke Alberts, Lookaround both rising expenses and in- That person is the designated “co- Ross Altman, How Can I Keep From Talking T David Bragger, Old-Time Oracle adequate resources (both revenue and ordinator” responsible for the fol- Uncle Ruthie Buell, Halfway Down the Stairs volunteer help). We have been work- low-up to insure that each of these ing on a new website and will have it Valerie Cooley, ...that reminds me... basic components has been taken Linda Dewar, Grace Notes up shortly. But we have heard from care of. So instead of one hero, Roger Goodman, Keys to the Highway many readers that you are interested a three/four person team, with a David King, Dirt in keeping the hard copy. team captain could do as well. Michael Macheret, Forklore We have received a proposal Dennis Roger Reed, Reed’s Ramblings If you are interested in keeping which we think will work. But it de- SONES PHOTO BY SONYA Dave Soyars, Dave’s Corner the hard copy going call or email us pends on you. By Steve & Leda Shapiro Larry Wines, Tied to the Tracks about what you can do to make it It has been suggested that we re- EDITORS 1 One or two people pick up Folk- happen. If all of the above happens, duce the number of pages printed to Works from the printer, leave a David Ascher • Mary Pat Cooney we will be able to keep the hard copy Diane Sherman • Chris Stuart 16 and the number of copies distrib- bunch at a distributor in Glendale going and you’d be a hero to our uted to 5000. This will effectively re- CONTRIBUTING WRITERS and deposit the rest at a stor- readers. If you are interested, email duce expenses. age place in Van Nuys. This is a Audrey Coleman [email protected] or call 818-785- Warren Garfield Now here is the part that depends locked area, freeway close, where 3839. Please forward this to anyone Joel Okida on you. FolkWorks needs someone to distributors can come and pick up you know who might be of help. If take over the co-ordination of distri- DISTRIBUTION their papers. people come forward to take on these Brooke Alberts • Ross Altman • Ric Alviso bution. It does not need to be one per- 2 A second person picks up 250 tasks, we can keep the hard copy. Beverly/Irwin Bar • Anna Byrne • Judy CaJacob son taking it all on…It can be three papers from Van Nuys and takes If they do not we cannot. IN either Audrey Coleman • Jim Cope • Mary Dolinskis or four people. Marge Gajicki • Sharon Gates • Cliff Gilpatric charge of the mailing to members. case, our new website is in the works. So you can see how it works - here Ken Helms • Sue Hunter • Holly Kiger Look for us online! are the details for one possibility: 3 A third person takes the Long Stan Kohls • Amy Masumiya Bill/Mary Anne McCarthy • Russ/Julie Larry Rainwater • Milt Rosenberg • Doug Moon Daria Simolke • Alaina Smith • Sylvia Stachura Visit us on the web: www.FolkWorks.org Mimi Tanaka • Larry Wines • Lynn Worrilow The opinions expressed herin are not necessarily those of FolkWorks. LOGO DESIGN Tim Steinmeier Thanks to all those who have supported & CORRECTION inspired us, especially Warren Casey of Wicked In the March/April issue on Page 7, in the Gig for a Musical Statesman article, Tinkers. a boxed quotation was mistakenly attributed to feature writer Audrey Cole- Published bi-monthly by FolkWorks a 501 (c)(3) non-profit organization an affiliate man. In fact, the words: Let the music speak. Let the music talk. Let the music Country Dance and Song Society (CDSS). say what is beyond the words. Let the music take the lyrics upwards. And may BOARD OF DIRECTORS the poetry flow. are taken from statements Gilberto Gil made at his historic Brooke Alberts • Ric Alviso at the United Nations General Assembly. We apologize for the error. Kay Gilpatric • Roger Goodman Don Kiger • Holly Kiger Teresa Modnick • Gitta Morris Lisa Richardson • Steve Shapiro IN THIS ISSUE Mimi Tanaka • Monika White Music at the Skirball Leda Shapiro, Executive Director EDITORIAL ...... 2 ADVISORY BOARD IZA DEGARDO IZA ANDRZEJ KRAMARZ FOLK FESTIVALS ...... 3 Richard Gee • Howard & Roz Larman Keys to the Highway...... 4 Sabrina Motley • Colin Quigley The Pedal Steel Guitar Cait Reed • Tom Sauber FORKLORE...... 5 CONTACT INFORMATION ®: Substance Over Image P.O. Box 55051, Sherman Oaks, CA 91413 Tied to the Tracks...... 6 Phone: 818-785-3839 Protecting Who? [email protected] • www.FolkWorks. Dave’s Corner ©2007 FolkWorks All Rights Reserved of the World ...... 8 Willner Times Three AD RATES THE NAUTICAL TRAIL OF PINT Size 1 X 3X 6X and DALE ...... 9 Full Pg $700 $660 $600 REED’S RAMBLINGS...... 10 1/2 pg $415 $375 $325 STUDIO TAN Bester Quartet Motion Trio 1/4 pg $265 $245 $200 CD REVIEWs ...... 10-11 1/8 pg $175 $155 $125 Thursday, May 31 A DOUBLE BILL WITH BESTER QUARTET DIRT...... 12 1/16 pg $95 $85 $75 8:00 p.m. Gardening & $25 General AND MOTION TRIO ADVERTISING SPECIFICATIONS $20 Skirball Members Formed by young accordionist and composer Jaroslaw Bester in 1997, Venues ...... 13 $15 Full-Time Students Bester Quartet (formerly known as Cracow Klezmer Band) was quickly Support Your Local (new ad sizes effective May 07) hailed as a phenomenon on the global avant-garde music scene. Folk Festival...... 14 Full Pg...... 10 x 15.25" “With exquisite, Inspired by authentic folk and klezmer, the quartet is known for its ON-GOING MUSIC 1/2 pg H...... 10 x 7.5" delicate phrasing, unusual energy and perfection of sound and continues to earn praise HAPPENINGS ...... 15 as one of the most innovative bands to come out of Poland. 1/2 pg V ...... 4.875 x 15.25" , accordion, CALENDAR OF EVENTS ...... 16-17 clarinet, and double Also from Poland, the widely acclaimed Motion Trio, featuring composer 1/4 pg ...... 4.875 x 7.5" bass create a world of ON-GOING DANCE Janusz Wojtarowicz, uses the accordion in surprising new ways and melody as comfortable HAPPENINGS ...... 18 1/8 pg ...... 4.875 x 3.25" delights audiences with its on-stage exuberance. A unique entity on the as your favorite armchair, Old-Time Oracle...... 19 1/16 pg...... 2.3125 x 3.25" scene, the band draws inspiration from diverse genres, as nimble as a kitten.” The Banjo Tattoo, Dan Gellert’s Mojo —The Wire, from classical and baroque to , rock, disco, and techno. Alchemy Ads accepted in the following formats: about Bester Quartet DIGITAL PRESENTED IN ASSOCIATION WITH THE POLISH CULTURAL INSTITUTE. UNCLE RUTHIE...... 20 Greyscale 300dpi TIFF, EPS or PDF file WO-HE-LO formats in PC or Mac format. Advance tickets: (866) 468-3399 or www.ticketweb.com or on site at …that reminds me…...... 21 (Submit via e-mail or on a non-returnable CD). the Skirball Admissions Desk THE SKIRLING OF THE BODHRAN Include all placed images and fonts.

MEDIA SPONSOR: LOOKAROUND...... 23 CAMERA READY GOING POSTAL CAFÉ Z/CINEMA Z B&W line art with photos Spend Saturday afternoons enjoying free live music. Back for its GRACENOTES...... 24 (must be suitable for scanning to grayscale) Promoting sixth season in May, Café Z is a popular weekly concert series that How Can I Keep Folk/Traditional Arts DESIGN & ART SERVICES showcases outstanding local talents in a beautiful outdoor setting. From Talking...... 25 www.FolkWorks.org Design & layout services are available for a Also returning in May, Cinema Z’s monthly screenings follow ’s Advice nominal fee. Contact us for details at: to musical traditions from around the world. e-mail: [email protected] 47th ANNUAL TOPANGA BANJO CONTEST ...... 26 2701 N. Sepulveda Blvd., Los Angeles FOLKWORKS MEMBERSHIP ..... 30 405 Freeway; exit Skirball Center Drive Making (310) 440-4500 • www.skirball.org SPECIAL EVENTS ...... 32 Free parking Connections FolkWorks is supported in part by Los Angeles City Department of Cultural Affairs & Los Angeles Count Arts Commission. MAY - JUNE 2007 FolkWorks Page 

FANTASTIC FUN FOLK FESTIVALS

May 1 May 19-20 June 14-17 June 22-24 LOMA LINDA UKULELE OLD TIME SOCIAL with TRIPLE GRASS VALLEY BLUEGRASS LONG BEACH BAYOU FESTIVAL CHICKEN FOOT, TOM & PAT- FESTIVAL FESTIVAL Loma Linda Community Center, RICK SAUBER, THE IRON (CBA Father’s Day Weekend) The 21st Annual Long Beach Bayou 25455 Barton Rd., Loma Linda MOUNTAIN STRING BAND, Nevada Valley Fairgrounds, Grass Festival will take place at the Rain- www.lomalindaukestrummers.org MATT KINMAN, THE LITTLE Valley, CA bow Lagoon Park (next to the Long HOBO, square dancing and more. 209-293-1559 www.cbaontheweb.org Beach Arena), June 22, 23 & 24th. See page 29. May 5 & The Rage, - Originally founded by producer ANNUAL CLAREMONT May 19-20 ryholmes, The Dale Ann Bradley Franklin Zawacki to expose Cajun & MUSIC FESTIVAL Zydeco musicians to a larger audi- INDIAN FAIR Band, The Del McCoury Band, The 909-624-2928 www.folkmusiccenter. Claire Lynch Band, , ence (the music not as popular in org/festival.php Museum of Man 1350 El mainstream culture as it is today) this Prado, Balboa Park, San Diego, CA John Reichman & The Jaybirds, Dan [email protected] Paisley & The Southern Grass, Kids annual fundraiser - for Comprehen- 619-239-2001 www.museumofman. on Bluegrass plus Country Current sive Child Development Inc. (CCD) Mariach Juvenil Los Reyes, org/html/events_indianfair2007.html KlezmerJuice, Squeakin’ Wheels, (US Navy Band) a non-profit organization - features Taiko Drums, John McEuen, Native American artistry including everything you love about New Or- Crooked Jades, Sligo Rags, Da Lion costumed dancers, traditional story- June 15-17 leans and Louisiana food, music and and more tellers and a Santa Fe-style Indian HUCK FINN COUNTRY & culture: Cajun, Zydeco, and market of collector-quality arts and BLUEGRASS JUBILEE Jazz music, non-stop dancing, dance May 3-6 crafts. Mojave Narrows Regional Park, workshops, Cajun & Creole cuisine 18000 Yates Road, Victorville, CA (gumbo, crawfish etoufee, jamba- 7TH ANNUAL OJAI May 20 STORYTELLING FESTIVAL 909-780-8810 www.huckfinn.com laya), recreated French Quarter with 805-646-8907 www.ptgo.org/ TOPANGA BANJO FIDDLE cultural arts & crafts, Mardi Gras CONTEST AND , Rhonda Vincent & The Parade, music & cultural workshops, The Ojai Storytelling festival has it FOLK FESTIVAL Rage, The Dillards, Cherryholmes, and free arts & crafts for the children all: entertaining, nationally known Paramount Ranch, Seldom Scene, The Claire Lynch in the Kids Bayou Tent. storytellers, wonderful organiza- Cornell Rd. Hwy 52 Agoura, CA Band, Lou Reid and Carolina, Ron- tion and the ideal location to sit out nie Reno and the Reno Tradition, On the Zydeco stage: under the oaks and hear stories that 818-382-4819 Lighthouse, Julie Wingfield, Sandii C.J. Chenier will move you, make you laugh and www.topangabanjofiddle.org Castleberry, Geno Delafose & remind you it is great to be alive.” - [email protected] French Rockin’ David Holt, Storyteller and Grammy With Tom Ball and Kenny Sultan, June 15-17 Boogie Award winning Molly’s Revenge, Peter Feldmann LIVE OAK MUSIC FESTIVAL Same Ol’ 2 Step with With storytellers Barbara McBride- and the Very Lonesome Boys, Fur Live Oak Camp Santa Ynez Valley Guyland Leday Smith (Emcee), Sheila Kay Adams, Dixon and Steve Werner, Richard near Hwy 154 near Santa Barbara Lil Brian & the Donald Davis, Carmen Deedy, Diane Greene, John Weed and Stuart Ma- 805-781-3020 www.liveoakfest.org Zydeco Travelers son, Susie Glaze with Dan Sankey Ferlatte, Bill Harley, Billy Jonas , Sonny Landreth, Terry & the Zydeco Geno Delafose Noon- and Steve Rankin, Ross Altman, Dan The Mammals, Jake Shimabukuro, Bad Boys Slosberg, Merle Jagger, I See Hawks Empire Polo Field, Indio Claire Lynch, Big Rock Balalaikas, Kevin Naquin & the Ossum Playboys in L.A., and more Corey Harris, Connie Evingson, www.stagecoachfestival.com Lee Benoit & the Bayou Stompers Pato Banton, 3 Leg Torso, Big Rock With , Willie Nel- May 24-27 Balalaikas On the Blues Stage: son, , , STRAWBERRY MUSIC Oscar Jordan & The Mighty Sons of Riders In The Sky, Ricky Scaggs, FESTIVAL Hercules , , Doyle Camp Mather, Yosemite Cave, CA Gregg Wright Blues Band Lawson & Quicksilver, Del Mc- 209-533-0191 Coury Band, Ramblin’ Jack Elliott, Oozie Blues Show , , The www.strawberrymusic.com Al Williams Jazz Society Flatlanders (Jimmie Dale Gilmore, Tim O’Brien’s Cornbread Nation, Bobby Griffen Joe Ely, Butch Hancock), Chris Hill- Phillips, Eddie from Ohio, Iris Café R & B man & Herb Pederson, Robert Earl Dement, J.D. Crowe & the New South, Three Ring Circle, Infamous Zac Harmon & Mid South Blues Keen, , , Revue , , Brooks Stringdusters, Michael Franti & & Dunn, , , Spearhead, Gandalf Murphy & the Ernie Andrews Slambovian Circus of Dreams, Bill Candye Kane Sons Of The San Joaquin, Richie June 16-17 Furay, David Serby, Yonder Mtn Evans String Summit, Kusun En- For tickets and information: long- FREE String Band, , John semble, Crooked Still, Mortal Coil beachfestival.com or contact (562) FOLK FESTIVAL Cowan Band, , Don Performance Society and more 427-8834. All proceeds benefit Roosevelt Middle School, 460 Arquel Edwards, Baxter Black, Garrison Comprehensive Child Development (at Geary), San Francisco, CA Keillor, and others May 25-28 a non-profit organization, now in its SEATTLE FOLKLIFE 510-287-9095 www.sffolkfest.org 22nd year providing childcare and May 10-13 FESTIVAL education for children whose parents June 23-24 PARKFIELD BLUEGRASS Seattle Center work or are in job training. FESTIVAL 206-684-7300 www.nwfolklife.org IRISH FAIR & Parkfield, CA MUSIC FESTIVAL June 29-July 1 Irvine Meadows Fairgrounds, 805-937-5895 May 26-27 MEMORIAL 8800 Irvine Center Dr., Irvine www.parkfieldbluegrass.com CAJUN / CREOLE MUSIC MUSIC FESTIVAL www.irishfair.org With New Found Road, High Coun- FESTIVAL Black Oak Ranch, Laytonville, CA try, Foxfire Bluegrass, Eric Uglum & Rancho Santa Susana Park Fenians, The Irish Sopranos, Fair- www.cumuluspresents.com/kate/in- Sons, Smiley Mountain, The Blade- (corner of Stearns & Los Angeles Ave.), dance dex.html Runners, Boys in the Woods, South- Simi Valley, CA Hot Tuna (Acoustic), Richie Havens, June 22-24 side Band, Whiskey Chimp, High- www.simicajun.org & The Angel Band, way One, High Hills, Better Late Dance Lessons, Bayou Brothers, SUMMER SOLSTICE , Marcia Ball, Laura Love Than Never, Leroy Mack and The Pine Leaf Boys, Lisa Haley & The , DANCE Band, Dougie MacLean Band, Nina Bluegrass Gospel Band and others Zydekats Krewe, Rosie Ledet, The & STORYTELLING FESTIVAL Gerber, , Joe Craven Zydeco Sweetheart, Curley Taylor Warner Center Marriott, & Cary Black Quartet, The Be Good May 18-19 & Zydeco Trouble, Bonne Musique 21850 Oxnard St., Woodland Hills Tanyas, The Bills, Robin & Linda CONEJO COWBOY POETRY & Zydeco, Rosie Ledet, The Zydecoo 818-817-7756 Williams and Their Fine Group, Eliza MUSIC FESTIVAL Sweetheart www.ctmsfolkmusic.org/festival Gilkyson w/Nina Gerber, Lowen & Conejo Players Theatre April Verch Band, Patrick Ball, Ross Navarro, , Guy Davis, 351 S. Moorpark Road May 27 Altman, Karen Ashbrook and Paul The Mammals, Rosalie Sorrels, Thousand Oaks SPRUNG FLOOR DANCE Oorts, Banshee in the Kitchen, The Tribal Voice (John Trudell & Quilt- 805-495-3715 www.conejoplayers. FESTIVAL (CONTRADANCING) Privy Tippers, For Old Times’ Sake, man), The Devil Makes Three, Joe org/CowboyBlurb2007.html Carrillo Ballroom: 100 E. Carrillo Mercury Dimes, Tom & Patrick Craven & Sam Bevan and more withBelinda Gail & Curly Musgrave, St., Santa Barbara, CA and other Sauber, Atlantic Crossing, Adam SEE OTHER ARTICLES/COL- Sourdough Slim, Nancy Lee And locations Miller, Cathy and Dave Para, Leele UMNS FOR MORE! Michael Tcherkassy and Poets Gary 805-969-1511 www.sbcds.org and Ellie Grace, Charles Kaimikaua, Robertson and Pat Richardson Dan Crow, Banjo Bob and Melody and more Page  FolkWorks MAY - JUNE 2007 Keys to the Highway The Pedal Steel Guitar Adventures in Music Theory by Roger Goodman can usually sit down with an un- and my other research combined with strings that don’t belong have been laxing the pedals resolves back to the familiar and some chord theory previously covered grayed-out. This allows several E I-chord. To get the V7 chord (B-D#- Iquickly figure out enough about in this column (also ON THE WEB triad inversions to be played by using F#-A) you combine Pedal-2 (G# to A) it to play some . An exception below). the following string groupings: 3-4-5, with the left knee moving to the right to that happened on the one-and-only The first challenge surfaces when 4-5-6, 5-6-8 and 6-8-10. If strings 7 or inside (E to D#). The relative minor time I had access to a pedal steel gui- the purchase of a pedal steel guitar & 2 (the 9th’s) are added along with for E is C#m (C#-E-G#). Pressing Ped- tar. For me, it was far from obvious is considered. You are immediately string-9 (7b), you get an E9th chord. al-1 alone changes the note B to C#, how it worked or what nefarious de- faced with an overwhelming num- Thus this tuning takes its name from supplying the missing note needed for vices were hidden inside. My frus- ber of options and decisions: do you the E9th chord, which uses all but one the C#m chord. tration was amplified because of my want 8-strings, 10-strings, 12-strings of the open strings. If instead you add So, for instance, a typical chord se- fascination with the sound of this in- or14-strings? Do you prefer single string-2 to the E major chord you get quence of I-vi-IV-V7 (E-C#m-A-B7) strument since I first heard it. In the or double fret boards or necks? How an E major 7th (EM7). Or, you can get would start with open strings for the early days of television in I-chord, then use Pedal-1 for the vi- Los Angeles there were chord, add Pedal-2 for the IV chord two popular country and E F# G# A B C# D# E F# G# A B C# D# E and lastly move the Left Knee to the western band shows fea- 1 2 3 4 5 6 7 8 9 right for the V7 chord. All of this is turing the steel guitar: the I Major 1 3 5 (7) (9) done without using the bar. The video Spade Cooley Show that E E G# B (D#) (F#) (ON THE WEB below) demonstrates ended when he went to ii minor 1 3 5 (7) (9) this more clearly. You could place the prison for killing his wife F#m F# A C# (E) (G#) bar anywhere to be in a different key and the Doy O’Dell show and use the pedals and levers as above (not to be confused with iii minor 1 3 5 (7) (9) to get the I-vi-IV-V7 progression in the Dell O’Dell TV show G#m G# B D# (F#) (A) the new key. of the same era, hosted by IV Major 1 3 5 (7) (9) Now look at Figure 1 to see the a popular Los Angeles A C# E (G#) (B) other chords in the key of E. Add any magician). One of those V (Dominant 7) 1 3 5 (7) (9) of the missing notes by using the ped- two shows always featured B(7) B D# F# (A) (C#) als and levers as indicated in Figure 2. a song played on the “Talk- vi minor 1 3 5 (7) (9) This is just about as close to real mag- ing Steel Guitar.” C#m C# E G# (B) (D#) ic as it gets! One other chord change Why this fascination that sounds especially nice on a pedal vii diminished 1 3 5 (7) (9) with the sound of the pedal steel is the E suspended 4th chord re- steel? In part it may be due D#dim D# F# A (C#) (E) solving to an E major chord. The sus- to the intricate sequential Figure 1 - Chords That Relate to the Key of E pended 4th chord is just a major chord structure that I can only with the 3rd raised one half step to 4 compare to the vocal har- String Left Knee Lever Pedal Right Knee Lever by pressing Pedal-2 (G# to A). monies as heard in blue- Number Name to the Left to the Right Pedal-1 Pedal-2 Pedal-3 to the Left to the Right I still don’t have a pedal steel (they grass-gospel and barber- 1 F# +G are of expensive) but the next shop-quartet. The pedal 2 D# -D/-C# time I get my hands on one, I will steel lends itself to chord 3 G# +A know what to do. Until then I hope progressions where only 4 E +F -D# +F# -D# you will stay tuned. one note at a time might 5 B +C# +C# change until the sound fi- 6 G# +A -F# ON THE WEB: nally comes to rest on the 7 F# www.steelguitar.com/resource/vid- next chord. What could 8 E +F -D# -D# eos/vids6string.html be more pleasant in music 9 D +C# then to have such excruci- E9 Tuning Demystified for 6-String 10 B +C# Guitar Players ating anticipation sweetly Figure 2 - E9th Tuning - Pedal & Knee-Lever Functions followed by a comforting Excellent free 20 minute streaming video of John Favian from Carter resolution? That very stress The Lower Strings The Higher Strings and release may, in fact, be String Number 10 9 8 7 6 5 4 3 2 1 Steel the essence of music itself. Note Name B D E F# G# B E G# D# F# www.folkworks.org/Archives But then I digress. E Scale Degree 5 7b 1 9 (2) 3 5 1 3 7 9 (2) How do I know what chord to play The pedal steel is the ul- Sounds the same as the next? timate evolution of the slide 1st string E on a 6-string guitar guitar. It began with the use My column from Nov-Dec 2002 Sounds the same as the 5th string 2nd fret B Folkworks, Page 4, Vol 2, No 6 of a knife blade or some oth- on a 6-string guitar er metallic object (known as www.steelradio.com Figure 3 - E9th Tuning - Open Strings Figure 4 - The Pedal Steel Guitar the “steel”) to slide notes Excellent pedal steel streaming audio up and down on the guitar. www.amazon.com/Spadella-Es- This can be heard in some old-timey many pedals (you can have up to eight an E dominant 7th (E7) if you add the sential-Spade-Cooley/dp/ country songs and in Delta and bottle- of them) and knee levers (up to five) string-9 instead. B0000029BX neck blues. Then came the Hawaiian would you like? There are, of course, Now comes the amazing part–the slack key guitar, the lap-steel guitar reasons why you might decide on more pedals and the knee levers. Look at Listen to cuts from Spade Cooley’s and the resophonic guitars from the or less of these features. For example, Figure 4. You can see the three pedals Spadella CD & National guitar companies. the reason you might want more than and the four knee levers. Each knee is Roger Goodman is a musician, math- Steel players tried to get around the one neck on an instrument is because flanked by two levers that can change ematician, punster, reader of esoteric limitations of the straight-bar steel by there are more than one “standard” the open pitch of certain strings when books and sometime writer, none of slanting the bar in various ways. An- ways to tune the instrument. The three you move your knee to the left or which pays the mortgage. For that, he other technique was to actually bend a most common tunings are the E9- right. At the same time your left foot is a computer network guy for a law string behind the steel bar to raise and Nashville tuning, the C6- tun- is available to work the pedals that af- firm. He has been part of the Los An- then lower a single note. Finally the ing and the E9/B6-Universal tuning. fect other strings in a similar fashion. geles old-time & contra- lap-steel was set up on four legs and For the purpose of clarity (and sanity) By combining the pedals and the le- community for over thirty years. While pedals were added followed by knee in this article, the discussion will be vers you can actually play the instru- not a dancer, he does play fiddle, gui- levers and, thus, the modern steel gui- limited to a 10-string model using the ment without even using the steel! tar, harmonica, , banjo & tar was born. It continues to evolve. E9th tuning with three pedals and four Here’s how it works. You can use the spoons. Roger has a penchant for As I tried to learn what I could knee levers as in Figure 4. left foot to depress Pedal-1 and Pedal-2 trivia and obscura and sometimes about the pedal steel guitar my con- An E major chord is made up of both at the same time. Figure 2 shows tries to explain how the clock works fusion only grew. Then I found a free E’s, G#’s and B’s that are the 1’s, 3’s that Pedal-1 changes the note B to C# when asked only for the time. He lives 20-minute streaming video on the and 5’s in that key. As shown in Fig- and Pedal-2 changes the note G# to A. with his wife, Monika White, in Santa web that finally clicked for me (see ure 3, only some of the open strings While using only the strings that are Monica. the ON THE WEB section below). (10, 8, 6, 5, 4 & 3) should be played to not grayed-out, you have just changed Here is what I learned from that video get an E chord. Notice that the other the E (I chord) to an A (IV chord). Re- MAY - JUNE 2007 FolkWorks Page  FORKLORE SPAM®: Substance Over Image By Michael Macherat otorious is a good way to de- in Austin, Minnesota; on the way home and spoon it out for way. Do NOT try to eat musubi while scribe it. Maligned fits very in Austin, Texas; and the a quick snack. Please avoid the temp- you are driving in moving traffic. It’s Nwell, too. Defamed – that’s Waikiki SpamJam in . tation. Cook it, it’ll taste better. worse than being on a cell phone and the perfect word for it. You have been What I find even more fascinating For starters you might want to there is no hands-free option for Spam spammed. You see it in your e-mail is how Spam has found its way into have it with eggs for breakfast. Lop Musubi. every day. It’s not very funny, except the in some places. Great off a ¼ inch slice and fry it up nice By the way, the makers of Spam in theaters where it’s always good for Britain, China, and Ha- and brown on both sides. Before fry- claim that the airtight can of Spam has a laugh. On the stage, Mon- waii are large consumers of Spam. ing, you can marinate it in , a virtually infinite shelf life. So if you ty Python’s Spamalot packs the house. But as you can tell from the Python or maybe a molasses or maple-based have a time capsule handy, I would The “spam” in Spamalot derives from sketch, Spam has taken on a real pres- marinade. Or, instead of eggs, insert strongly encourage you to donate a a sketch in the classic ’s ence in the local culture. In England strips of fried Spam with cheese into can of Spam to the future. How’s that Flying Circus BBC series. In the Spam you can order Spam fritters in the fish a tortilla for Quesadillas. Alternately, for a testament to our times? episode, a waitress recites the menu at and chip shops. Walk into any ABC you can dice up the Spam, add some Spam links: a patron’s request: store in Hawaii and you are bound to vegetables and mix it into a fried rice. Monty Python skit Waitress: Well, there’s egg and ba- see cellophane-wrapped Spam musubi For me, the ultimate is Spam Mu- (including streaming audio): con; egg sausage and bacon; egg and ( below) available for a quick subi. The ideal tool for making musubi www.detritus.org/spam/skit.html spam; egg bacon and spam; egg bacon snack. In Hawaii, you will find Spam is an maker. Any ABC store in sausage and spam; spam bacon sau- on the menu in places as divers as Mc- Hawaii will have them for sale. If you Spamalot: sage and spam; spam egg spam spam Donald’s and Sam Choy’s Breakfast, will not be visiting the islands in the www.montypythonsspamalot.com bacon and spam; spam sausage spam Lunch and Crab. Spam is as much a near future, the next best place to look Special edition spam: spam bacon spam tomato and spam; part of Hawaiian cuisine as pineapple for an onigiri maker would be in Lit- media..com/tem- spam spam spam egg and spam; spam or mahi mahi. Hawaiian comedian tle Tokyo or an Asian grocery store. plates/knowledge/knowledge. spam spam spam spam spam baked Frank De Lima’s song Spam Musubi The onigiri maker is a hollow mold asp?catitemid=2&id=268 beans spam spam spam; or Lobster sung to the music of the Village Peo- shaped in a perfect Spam rectangle Thermidor à Crevette with a mornay ple’s YMCA is one of funniest song with a press to tamp down the rice. Its When not dining in exotic locales, sauce served in a Provençale man- parodies I have ever heard. There are purpose is to shape the ball of rice for Michael Macheret forages closer to ner with shallots and aubergines gar- historical reasons why Spam inserted musubi into a perfect pillow for your home in the South Bay regions near nished with truffle pâté, brandy and itself in the culture of various places. Spam. Lacking an onigiri maker you Los Angeles. with a fried egg on top and spam. The opportune timing of its introduc- could use an empty Spam can which Not appetizing, but funny. I’m sure tion, 1937, made it a staple in many is also shaped in a perfect Spam rect- some pioneer hackers thought they places where fresh meat was rare dur- angle. You may even be lucky enough were being oh, so funny in the early ing WWII. But there’s one principle to find one of the rare 7oz cans of days of computer bulletin boards and reason that can’t be overlooked: it’s Spam, an ideal substitute for the more chat rooms when they would flood a versatile and can be made to taste re- professional looking onigiri maker, LOOK FOR site with quotes from the Python Spam ally, really good. Think “bacon,” not though you will have to improvise on gag, filling the screens of chat rooms so much as a flavor comparison but as the press portion of the kit. If you are with SPAM, SPAM, SPAM, SPAM, something you can add to lots of dif- the adventurous type, you may want to FOLKWORKS’ SPAM, SPAM, SPAM, SPAM, SPAM, ferent dishes to enhance or kick-up the form the rice by hand. This is no easy SPAM, SPAM, SPAM, SPAM, SPAM, flavor. Among the you can find task and is not for the faint of heart. SPAM, SPAM. And thus was born the online: Spam Pizza, Spam Stroganoff, Aside for the onigiri maker, the NEW age of spamming. You’ve got mail! Spamadillas, Spam Fried Rice, Spam only other tools you need are a frying So there is Spam (electronic) and Chili, Spam Quiche, Spam Stuffed Po- pan, spatula, rice cooker and a knife. Spam (food) as Wikipedia classifies tatoes Florentine, Spamburgers, Spam Ingredients: PRESENCE them and the difference is fairly clear. and Stuffing, Spam Gyros, Spam and Spam (¼ inch slices) But what could be in that rectangular Eggs and the unbeatable Spam Mu- Rice (Calrose or other similar blue can to bring about such a nasty subi. variety) ON THE WEB connotation? A rainbow of food col- The SpamArama in Austin, TX, Furukake (optional) orings, perhaps? Preservatives (no, April 7, is probably the biggest of Nori doubt, right?), not to mention all sorts the Spam Festivals and also the old- Soy Sauce of chemical substitutues for real nu- est celebrating their 29th year. They trients and maybe some genetically will have a cook-off, arts & crafts Use Japanese-style rice, Uncle engineered mystery meat? How about exhibits, live music (including the Ben’s will not hold together. The rice www. pork, ham, sugar, salt, water, potato SowPremes), and Spamalympics with has to stick together like the kind you starch and that old deli-meat stand-by a Spam Disc Shoot, Spam Can Relay get with . You can make the rice sodium nitrite? In other words, it’s ba- and, of course, a Spamburger Eating yummy by seasoning it with fu- FolkWorks. sically old-fashioned sausage technol- Contest because after all this is hap- rukake, a sesame and seaweed season- ogy wrapped in a can instead of the pening in Texas. ing. Marinate the Spam in soy sauce traditional casing of intestines. Un- This year’s Waikiki on before frying it. Dip the onigiri maker org less you have a strong hankering for April 28 is their 5th annual festival. in water to keep the rice from sticking innards, you probably wouldn’t mind They will also have local bands for to it. Place a wide strip of nori (shiny losing the intestines in favor of the entertainment, food booths, local arts side out) under the onigiri maker. can, hmmm? and crafts and they will hold a Mr. Spoon some of the cooked rice into the Although it sounds like generic or Ms. Spam contest with the award origiri maker and press it down firmly sausage stuffing, it is not. Spam is not going to “the most Spam-crazed fan so you have a flat surface on top. Lay See our derived from an ancient family recipe, in Hawaii.” I’m sure the competition a slice of Spam on top of the rice and nor did it cross the Atlantic or Pacific will be stiff. slide the onigiri maker up over the (or the Arctic Ocean for that matter) If I’ve gotten you curious and rice and Spam. Wrap the nori over the new site with a wave of immigrants. Spam is you’re feeling brave enough to walk top, overlapping both ends to make a produced by Hormel Foods, LLC. and down the supermarket aisle and pick closed circle and wet the outer end to no one else. And does Hormel revel in up a can of Spam, you are going to make it stick and form a seal. with the notoriety of their SPAM®? Check need a little guidance. First, leave the If you are going to wrap these up out www.spam.com for the answer. Turkey Spam for another time, don’t for portability, placing the cellophane At first look, it would seem that make it your first taste of Spam. In below the nori at the beginning of the MORE Spam is a great corporate success story fact, leave all the fancy alternatives process will make it easier to wrap. despite of, or because of the notoriety. (Garlic Spam, Hickory Smoke Spam, Musubi: simple, easy and portable. Six billion cans sold since 1937, go- Spam with Bacon, Spam with Cheese) Make a bunch of musubi, wrap them TO ing on seven billion soon; 90 million for later. However, I can confirm that each individually. You can stick them cans sold in America alone per year. Spam Lite (50% less fat) is fine if you in you pocket and have them for break- Proof that there is no such thing as are really that concerned about pork fast during your morning commute COME bad publicity. There are three yearly fat. Yes, Spam is fully cooked so that on the bus, or if you’re driving and Spam Festivals: SpamJam at Hormel’s you can theoretically pop open the can stopped at a light or on the 405 free- Page  FolkWorks MAY - JUNE 2007 Tied to the Tracks Protecting Who? by Larry Wines

usic, coupled with an ef- Still, art always finds a way. This the hegemony of corporate radio’s All four of these “cover” fective medium of dissemi- year’s Grammys were the most folk- sound-alike pop. received their world premiere airplay Mnation, can fuel revolution. friendly in memory; perhaps that’s Those who control things oppose on the Tied to the Tracks radio show. The implications are as old as radio what scared the pop and country big destabilization. And art, by nature, is That was an honor, not just because broadcasting and as new as the FCC/ boys. The Dixie Chicks won five, rather chaotic. When art found a way, notable artists offered their latest proj- big label/big radio payola settlement the Klezmatics won for their Woody through niche-market music program- ects, but because they’re fine musical and RIAA (Recording Industry Asso- Guthrie , and Bruce Springs- ming on public and Internet radio, experiences with worthwhile mate- ciation of America) demands. teen was in there with his the status quo was threatened. Hence, rial, delivered by performers who are Today, when we are experienc- tribute. search-and-destroy backlash from the artists first. ing the horrors of a meaningless war, We’d resigned ourselves to be- big boys. - - - today’s pop music does not feed our ing niche-market folkies, celebrating Could we have expected anything The Times They Are A- need to express and explore, motivate the best indies with an assortment of else, amid predictions that corporate Changin’ on these pages and lament, eloquently protest or iden- other honors like the 2006 Just Plain radio and big record labels were be- Tied to the Tracks is moving to a tify with and proclaim a joyous “yes!” Folks best album awards won by Su- coming irrelevant and obsolete? new print publication home, as a re- when we hear a song on the radio. To- sie Glaze & Hilonesome, Lisa Haley Internet broadcasting may con- sult of the previously announced in- day’s pop music is insubstantial and & the Zydekats, and Bob Malone. found exterminators by routing itself tention of the FolkWorks Board to irrelevant. Lyrically-poor, groove- February brought the international through places that scoff at copy- cease print publication and have a driven pop and red-state, trailer-park DIY (Do-It-Yourself) Convention, rights, like Cuba or North Korea (at web-only presence. While it is possi- country are big business—commercial where Album of the Year honors went least until we invade those places). A ble that FolkWorks print edition may music’s carefully guarded fortresses. to local folk artist James Hurley for reef in Micronesia may fly a flag as be rescued and continue in a reduced Want to give big label executives his fine CD, The Sun and the Moon. The Indie Republic of Radionia. Sure, size, that possible pardon from execu- apoplexy? Open the doors to indie art- It’s the same honor that L.A.-based the indie artists lose if their rights to tion has come too late to undo this ists who bring thoughtful lyrics, good keyboard-folkie Amilia K. Spicer won financial compensation are ignored, writer’s move. News of Tied to the melody lines, well-crafted harmonies, three years ago for her album, Seam- but then, they already lose with the Tracks, both on radio and in-print, is and instrumentation that’s designed to less. Amilia has spent the last eight big label / big radio hegemony that’s found at www.myspace.com/laacous- support the song rather than bury it. months opening nationwide for John in place now, payola settlement or not. tic, including the Acoustic Americana Many indie artists would find Gorka. Non-mainstream recognitions In any case, art will again find a way. Music Calendar, LA’s most compre- mainstream acceptance, given main- can matter to an indie artist. It always does. hensive and annotated descriptions of stream exposure. There’s no shortage But will they matter as much if - - - performances, across of folk-pop, folk-rock, new-folk and new media is sabotaged as an expo- Gotcha Covered… the radio show’s folk-friendly genres. alt-country bands, both acoustic and sure and delivery system for indie Real performance art can interpret It’ll guide you to my print-media electric, together with a bumper crop music? Marshall McLuhan or Andy and cover someone else’s songs and writings on Americana musicians and of 6-string-wielding and keyboard- Warhol – sources vary – observed that make the experience truly worth lis- topics, from blues-to-bluegrass, Ca- playing singer- who aspire the medium is the message. tening. Legendary songwriters Eric jun-to-cowboy-to-Celtic-to-Quebe- to bigger audiences. Yet the industry Historically, radio has been the me- Lowen & Dan Navarro do splendidly cois, and new-old-trad-alt-post folk, has no dialog aimed at finding “the dium. It’s brought new artists and new on their 2006 Hogging the Covers CD from roots-Americana to today’s best next ,” or “the next music, beginning with its advent after (Red Hen Record) and Tim Tedrow & “acoustic renaissance” singer-song- ” or even “the World War I, when it first enabled a Terry Vreeland did it earlier this year writers and bands. next Nora Jones.” musical revolution. with Songs We Stole from Our Friends Meantime, say howdy at a festival. Instead, the moguls have decided How You Gonna Keep ’Em Down (Trough Records). Both CDs present There’s the new Stagecoach Festival, to prevent Internet radio from bringing on the Farm After They’ve Seen Pa- a fine duo of performing songwriters May 5 & 6 in Indio, the one that will indie artists to the unwashed masses. ree? Simply put, society didn’t. The taking a holiday to cover their favorite be, without question, the live music The recent FCC/big label/corporate returning troops needed to escape the songs written by others, bringing their event of the year. Also in May / June, radio payola settlement and the RIAA shellshock horrors of the trenches and own interpretative voices and instru- there’s Northwest Folk Life in Seat- action to protect artists from Internet the monotony of rural America. They mentation to the songs. tle, the Telluride Bluegrass Festival in radio exploitation are, despite their drove America’s rural-to-urban migra- Similarly, both Kacey Jones in Colorado, and here in Southern Cali- paternalistic claims, really just the lat- tion, the Lost Generation’s poetry and 2006 and Ronny Cox this year re- fornia, Topanga Banjo Fiddle, Old est efforts to freeze out the indies. literature, the Roaring ’20s, the ascent leased tribute albums with songs of Town Temecula Western Days, Cone- Indie artists need the exposure of jazz, the roots of swing, the speak- the late Mickey Newbury, one of the jo Cowboy Poetry & Music Festival, once given through hometown radio easy response to Prohibition, and the great under-appreciated songwrit- CTMS Summer Solstice, Live Oak, stations. Corporate control and cen- desire for radio. ers of the past 40 years. The 2007 and Huck Finn. trally-planned, payola-driven playlists The contrast was harsh. From Folk Alliance National Conference I’ll see you Saturday mornings on ended that access. Big Radio’s latest childhood, the troops knew songs like in Memphis teamed the two artists to the radio, in another print publication, payola settlement with the FCC does On a Bicycle Built for Two and K-K- present a concert of Mickey’s songs, and in some still undefined role here mandate compensatory airtime for in- Katie played on the Edison gramo- with his widow in attendance. Kacey in FolkWorks. Thanks for riding these die labels, but when you amortize it phone. Changed sensibilities and ra- Jones Sings Mickey Newbury (Im- page 6 tracks for the past five years, across all the stations they own, the dio technology developed in wartime age Entertainment label) and “How and for your many kind words for the actual airtime is insignificant. created Al Jolson, Cole Porter, Django I Love Them Old Songs…” Ronny column and last issue’s western mu- Meanwhile, growing numbers of Reinhardt and Stephane Grappelli. Cox Sings Mickey Newbury (Bay sic cover story. Stay in touch at lar- music fans enjoy Internet simulcasts (Catch a show with Janet Klein and Sound Records) are both wonderful, [email protected] and remember of broadcast radio like Tied to the Her Parlor Boys and you’ll hear the beautifully packaged with lyric book- to check the radio show’s upcoming Tracks and Folkscene, archived pod- scope of that musical change.) lets, and highly recommended. If you guests and the Acoustic Americana casts of some public radio shows, and Three decades later came the 1950s don’t know Mickey or his music, start Music Calendar at www.myspace. web-only programming, like Folk Al- rock revolution, from artists who were here. com/laacoustic. ley. (We listed dozens of these in last children when the portable thunder of year’s two-part roundup.) But success steam locomotives was replaced by can make you a target. The RIAA’s the monotonous burble of the diesel. Writing & Editing new demands for collecting per-song, As society’s backdrop became bor- per-listener payment will make most ing, rock artists musically replaced topical to technical Internet radio unsustainable. Who are the lost raucous cadence of the steam research & interviews or prepare from your draft RIAA and the big labels protecting? train. Johnny B. Good didn’t just sit specialist in proposals and responses to RFPs Their own hegemony. beneath the tree by that railroad track. Remember the TV commercial He absorbed the energy of urgent brass concept development • US & overseas projects, large and small wherein brobdignagian financiers are bells, steam exhausts, and their com- media consulting • press, publicity preparation • consultations mildly annoyed by the lilliputian small bined rhythmic syncopations. Radio your message crafted with clarity and impact business owners? They try to fry the let Johnny go, go, go to the masses. little guys under Hubble-sized mag- People have needs that transcend nifying glasses, or send them scurry- the mundane. But today, corporate- Larry Wines ing away from colossal golf balls like mega-giants end-game capitalism Journalist • columnist • editor • tech writer • radio producer & host Indian Jones and the cave boulder. It freeze-out anything different, whether e-mail larrywines • hotmail.com could be an RIAA ad. it’s Big Oil killing the electric car, or MAY - JUNE 2007 FolkWorks Page 

47th Annual TOPANGA BANJO FIDDLE CONTEST & FOLK FESTIVAL

Featuring On 4 STAGES – and Western Movie Streets and Mountain Locations • OVER 100 Singing/Instrument-Playing CONTESTANTS • 3 PROFESSIONAL BANDS: TOM BALL & KENNY SULTAN (Acoustic/blues/folk) MOLLY’S REVENGE (Celtic) PETER FELDMANN & THE VERY LONESOME BOYS (Bluegrass) • FOLK SINGING ∙ COWBOY NICK & “TWANG” • CHILDREN’S CRAFTS • FOLK ARTS BOOTHS • JAMMING -- BRING YOUR INSTRUMENTS! • NATIONAL PARKS EXHIBITS • FREE PARKING AND FREE SHUTTLE BUS! • TICKETS at the gate $12, TEENS & SENIORS $7, CHILDREN UNDER 10 FREE!

VOLUNTEERS NEEDED — FREE ADMISSION!

Sunday, May 20, 2007 9 a.m. to 6 p.m. Paramount Movie Ranch

WEB: www.topangabanjofiddle.org • EMAIL: [email protected] • HOTLINE: (818) 382-4819

SINCE 1961, SOUTHERN ’S FAVORITE OLD TIME & EVENT! Page  FolkWorks MAY - JUNE 2007

both a DVD and CD of the show; the Dave’s Corner of the World DVD also includes some bonus re- hearsal bits. Berkley also handed me a few of their CDs, the most recent of which is Pocket Change, another mar- Willner vel with acoustic instrumentation and lovely vocal harmonies. All have given me much listening pleasure. Between Times Three the two they play guitars, percussion, By Dave Soyars harmonicas and banjos, all beautifully. Check www.berkleyhart.com for up- midst the first few days of in agreement often enough to want to in the tradition, but bring a lively spirit dates. As my fellow columnist Larry 2007, I’m finding myself keep doing it. to it, using strong rhythms on bodhrán Wines said a couple of issues ago, why Aagain (as is my wont) think- But one method that rarely fails me and guitar or bouzouki to go along with aren’t they huge? ing about the state of music these days. is turning to releases from record com- their remarkable fiddle/accordion/ So that’s it for now. Keep finding With Tower Records now defunct, the panies that I trust to not bother with front line. The CD is a great listen, but music wherever you can, people. But album era is officially over. Young peo- anything but quality releases. One such this is probably the finest DVD release don’t just sit in front of the computer. ple now overwhelmingly hear new mu- company is Nashville’s Compass Re- of Irish music I can think of, working Go find the live shows, the conferenc- sic via downloads and ringtones. Lis- cords, who I never tire of saying good an impressive amount of history and es, the radio stations that suit you. Not tening to the radio to hear new music is things about. Having already taken the great music by others along with inter- that the computer doesn’t have a lot to even seen by many as a quaint affecta- lead in releasing quality Celtic CDs for views with the band. offer. I’ve even found some good mu- tion. But the biggest difference I note the US market, they’ve acquired Green Another method of hearing new sic on myspace. Hmmm, could this be between now and, say, ten years ago, is Linnet’s catalog, home of most of the music is to actually actively network, a for another column? that there’s so much more independent great artists that they didn’t already as I did at the North these days. This should be good have on their roster! This is a merger Alliance’s Far West conference in Sac- Rating scale: news for the folk scene, which has al- that has no down side. ramento in November. There I ran into [!!!]—Classic, sure to be looked back ways flourished by word of mouth and As a result, one of the finest Irish a most friendly Jeff Berkley of San Di- on as such for generations to come. networking. Now all the things record traditional bands on Green Linnet ego’s Berkley-Hart, who I was already [!!]—Great, one of the year’s finest. companies used to do- setting up the (and that’s saying something!), Téa- familiar with through their guest spots If you have even a vague interest in entire recording, mixing, mastering and da, has released their wonderful new with other area musicians. For one, the artist, consider this my whole- promoting process- almost anyone can Inné Amárach (!!) on Compass in the there’s guitar-wielding ex-major league hearted recommendation that you go do from their basement. But there is one states. And this is not just a CD, it’s a baseball player Tim Flannery (slated out and purchase it immediately. thing record companies used to provide beautiful package, a two-disc set, one to be the San Francisco Giants third [!]—Very good, with considerable that I miss- a filter. A filter that might of music (all instrumental this time, base coach in 2007, fortunately I still appeal for a fan of the artist(s). If help separate the limitless inspired though fiddler Oisín Mac Diarmada like his music) who among the guests you purchase it, you likely won’t be amateurs from the even more limitless is also an excellent singer) and one a on their DVD Oh Berkley, Where Hart disappointed. second-rate, don’t-give-up-your-day- DVD that traces the history of the mu- Thou? (!!), recorded live in early 2005. [--]—Good/solid, what you would job pretenders. Whether there’s more sic of Sligo and elsewhere (including a It’s a combination of very good perfor- expect. good- and there might well be- one wonderful bit about early recordings of mances from that movie’s soundtrack has to weed through more and more Irish music, which largely happened in along with a few originals and covers. [X]—Avoid. Either ill-conceived, or bad to get to it. I do listen to the radio such US cities as New York, Philadel- Flannery proclaims the healing powers artistically inept in some way. sometimes. Public radio, though it has phia and ), intercut with some of Kentucky moonshine before beauti- its own quotas and compromises, occa- great scenes of the band recording the fully covering Gillian Welch’s Tear My Dave Soyars is a guitarist, electric bass sionally can give one ideas. And word included CD. The CD is possibly their Stillhouse Down. Calman Hart’s 911 player, a singer/, and a print of mouth- I figure if there’s something best yet (despite the lack of songs), with Jesus is a great original song- simul- journalist with over fifteen years expe- great out there, one of my friends will great playing from all concerned. They taneously hilarious and sincere, with a rience. His column features happenings eventually introduce me to it. And of really mix the tune sets nicely, and in- classic old-time gospel sound. Flannery on the folk and traditional music scene course being a reviewer myself, I want clude plenty of , airs and pol- also helps on Man of Constant Sorrow, both locally and internationally, with to say that reading someone’s writing kas along with the and reels. These the daughters of all of the above har- commentary on recordings, as well as on what’s worth hearing has found me young musicians are heavily steeped monize charmingly through Keep on live shows, and occasionally and the Sunny Side, and of course everyone books. Please feel free to e-mail him joins in for You Are My Sunshine at at [email protected] or write him c/o FolkWorks. KCLU [Thousand Oaks] (88.3FM) www.kclu.org the end. The deluxe package includes KCLU [Santa Barbara] (102.3FM) www.kclu.org KPFK [North ] (90.7FM) [Santa Barbara] (98.7FM) www.kpfk.org KCSN [Northridge] (88.5FM) www.kcsn.org ONGOING KUCR [Riverside] (88.3FM) www.kucr.org STORYTELLING EVENTS WEDNESDAY KUCI [Irvine] (88.9FM) www.kuci.org 1:00 - 4:00 pm Buffalo Bayou (KUCI) KPCC [Pasadena] (89.3FM) www.kpcc.org ANTELOPE VALLEY STORYTELLERS SAN GABRIELVALLEY STORYTELLERS Jake Bacon (Zydeco, Cajun, delta, folk, and Texas KSBR [Orange County] (88.5FM) www.ksbr.org swing) 1st Saturdays 4:00pm 3rd Tuesdays • 7:30 pm KSBX [Santa Barbara] (89.5FM) www.ksbx.org Heart ‘n Soul Coffee House Hill Ave. Branch Library THURSDAY KKGO [Los Angeles] (105.1FM) 39804 San Francisquito Canyon Rd., Green Valley 55 S. Hill Ave., Pasadena 11:00 - 11:30 am Ukulele Spotlight (KPFK) 661-270-1627 626-792-8512 Last Thursday / month www.gocountry105.com Ali Lexa showcases Ukulele talent from around the KXMX [Los Angeles] (1190AM) ANTELOPE VALLEYALLIED ARTS ASSOCIATION STORY MASTERS world and around the block 1st Saturdays 6:00pm Last Saturday- 9am – noon 7:00-9:00pm Down Home (KCSN) Cedar Hall 5909 Blairstone Drive, Culver City Chuck Taggart (variety including Celtic, Cajun, 44845 North Cedar Ave., Lancaster 310-943-4242 Old-time, , Quebecois) 661-726-0655 11:00pm-1:00am Blues Power (KPFK) SUNDAY STORYTELLING & PERFORMING ARTS TOAST- Bobbee Zeno (blues) 12:00-2:00am Saturday Night Salsa (KCLU) DRAMAMASTERS MASTERS 6:00-8:00am Gospel Classics (KPFK) Last Saturdays 9:00am A Toastmasters Storytelling Group FRIDAY Edna Tatum 5909 Blairstone Dr., Culver City 2nd Mondays, 7:00 PM 9:00-11:00am Midnight Special (KUCR) 6:00-10:00am Bluegrass, Etc. (KCSN) 7:00-9:00pm Tex-Mex (KUCR) El Guapo Lapo Frank Hoppe (Bluegrass, Old-time, many 310-204-0656 IHOP Restaurant 19100 Ventura Blvd. (1 1/2 blocks east of Tampa) SATURDAY historical recordings) CORNUCOPIA $8 ® Tarzana 6:00-8:00am Wildwood Flower (KPFK) 10:00am-12:00pm Prairie Home Companion (KCLU) 2nd Sundays Garrison Keillor (Live - variety show) 4735 Lankershim Blvd., North Hollywood 818-541-0950 [email protected] Ben Elder (mostly Bluegrass) ® 6:00-10:00am Tied to the Tracks (KCSN) 11:00am-1:00pm Prairie Home Companion (KPCC) 818-506-3903 SUNLAND-TUJUNGA STORYSWAP Garrison Keillor (Rebroadcast - variety show) Larry Wines (Americana) FAMILY STORYTELLING 2nd Saturdays • 8:00 pm 8:00-9:00am Halfway Down the Stairs (KPFK) 4:00-7:00pm Tangled Roots (KCSN) 6:00-8:00pm Folk Roots (KSBR) Saturdays/Sundays Sunland-Tujunga Library Storytelling Group Uncle Ruthie Buell (Children’s show with folk 7771 Foothill Blvd. • 818-541-9449 music) Marshall Andrews 11:00 am, noon, 1:00 am • Free 10:00am-2:00pm TWANG (KCSN) 7:00-9:00am FolkScene (KPFK) Storytelling in Spanish on alternating Saturdays. ORANGE COUNTY Roz and Howard Larman (all folk including Cowboy Nick (classic ) Getty Center Family Room COSTA MESA SOUTH COAST STORYTELLERS 1:00pm-3:00pm Minstrel Song Show (KCBX) live interviews, singer-songwriters and Celtic 1200 Getty Center Drive, L.A. ® music) GUILD 3:00-5:00pm Prairie Home Companion (KPCC) (KCBX) 310-440-7300 Garrison Keillor (Live - variety show) 10:00-Midnight Sunday Night Classics (KKGO) 3rd Thursdays • 7:00 pm 5:00-9:00pm Ann the Raven (KCSN) Jimmy Kay. (Country, Bluegrass, Americana) LEIMERT PARK GRIOT WORKSHOP Piecemakers Village Blues MONDAY-FRIDAY 3rd Wednesdays • 7:00 pm 2845 Mesa Verde E. • 909-496-1960 5:00-7:00pm Prairie Home Companion® (KCLU) 10:00am-noon The Global Village (KPFK) 3335 43rd Place, across from Leimert Park ® COSTA MESA STORYTELLING BY LAURA 6:00-8:00pm Prairie Home Companion (KPCC) “Music from around the world and around the 310-677-8099 BEASLEY Garrison Keillor (Rebroadcast - variety show) block” 6:00-7:00pm Thistle & Shamrock (KCBX) LONG BEACH STORYTELLERS Wednesdays • 10:00 am ON THE INTERNET 1st Wednesdays • 7:00 pm • 949-496-1960 7:00-8:00pm Canto Sin Frontera (KPFK) Thistle & Shamrock Los Altos United Methodist Church MISSION VIEJO STORYTELLING Tanya Torres (partly acoustic, Latin political) Fiona Ritchie (Celtic Music) 5950 East Willow, Long Beach www..org/programs/thistle Wednesdays • 7:00 to 8:00pm 7:00-9:00pm America Routes (KCLU) 562-961-9366 Borders Books and Music American music (from Blues to Zydeco) Driven Bow / Fiddlin’ Zone 8:00-10:00pm Canto Tropical (KPFK) Gus Garelick (Fiddle Music) LOS ANGELES COMMUNITY STORYTELLERS 25222 El Paseo • 949-496-1960 Hector Resendez (partly acoustic, bilingual Latin / www.krcb.org/radio/ 2nd Thursdays • 7:30 pm SOUTH COAST STORYTELLERS Carribbean) Riders Radio Theatre Culver-Palms United Methodist Church Saturdays & Sundays • 2:00-3:00 pm 9:00-10:00pm eTown (KCLU) Riders in the Sky (Cowboy variety show) 4464 Sepulveda Boulevard www.wvxu.com/html/riders.html Bowers Kidseum Community radio out of Boulder, CO Culver City, CA 90230 1802 North Main St., Santa Ana 9:00pm-midnight East L.A. Soul (KCSN) Folk Alley www..org Audrey Kopp • 310-823 7482 • [email protected] Bubba Jackson 714-480-1520 • www.bowers.org/link3c.htm 10:00pm-midnite West Coast Live (KCLU) MAY - JUNE 2007 FolkWorks Page  THE NAUTICAL TRAIL OF PINT and DALE By Audrey Coleman all them folk singers or per- DALE: Oh, it’s fascinating. ships from the time he could run away flowery. haps sea song gypsies. Wil- PINT: There’s an on-line database from home. AC: C. Fox Smith or Seafox Cliam Pint and Felicia Dale of traditional or close-to-traditional AC: How did that affect your life- Smith? travel the country, singing seafaring folksongs. They have thousands of lyr- style? DALE: C. Fox. Really her name songs at gigs such as the Renaissance ics and almost as many tunes that you DALE: He was a ship’s captain and was Cicely. Faire here in and can actually play on-line. They’re post- for him to be home on land was really AC: Her? the Mystic Seaport Festival in Con- ed by this thing called Mudcat Café hard for him. He would want things to DALE: She was a schoolteacher necticut. Their 2003 Dodge Sprinter (www.mudcat.org) which does on- run the way they did on the ship. He and she wrote children’s books. She’s is outfitted with camping gear for all line discussions of a zillion different would say, “Jump!” and you would a fabulous writer. weather. Their constant travel com- folk music titles. And we always find say “How high?” But he was a very PINT: And she’d spent a lot of time panion, parrot Ranzo, whose name ap- threads of discussions on sea songs, intelligent and thoughtful person who on board sailing ships. That’s just one pears in many a , belts out sea shanties, C. Fox-Smith, what sea loved music. We always had music in example of how we run into material. “There’s a good bird!” and imitates the music festival is coming up, who’s go- the house. And I had lessons, and DALE: And once people know sounds of cell phones to amuse them. you’re interested, they send you things. Together 21 years now, Pint, 53 and We don’t actually write lyrics our- Dale, 49, cross the salt seas regularly selves. to perform in England and throughout AC: Do you compose tunes? Europe in pubs and folk clubs and at PINT: Sometimes. In situations sea music festivals. In concert, they like that when there’s a good set of definitely seem touched by the mari- lyrics, sometimes I’ll come up with an time folk music muse – Pint with his original melody for it. stubbly beard and robust baritone, AC: Once people are exposed to Dale cradling a hurdy-gurdy, her deli- seafaring songs and sea shanties, they cate features framed by flowing dark really are drawn to them, aren’t they? hair threaded with silver strands. Even though some of the language is What? You’re not on the sea mu- foreign. I mean, how many of us know sic circuit? Check out this conversa- the meaning of halyard or forecastle or tion that I, Audrey Coleman, Folk- topsail? Works feature writer, had with Pint PINT: I think it’s because for many and Dale and find out what you’ve of those songs, the technical language been missing. is on the surface layer. What’s really AC: How did you discover the mu- captivating is below the surface. It’s the sic of the sea, William? themes of those songs that are common PINT: Through the Irish folk music to people whether they’ve ever set foot door. One of the bands that I’d been in on a ship or not. Relationships. People was a British Isles trio and we did a lot that are separated by great distance of those kinds of songs. If you do many over long periods of time. People that British Isles songs, eventually you’re are lost in disasters. going to run into sea songs. I thought DALE: Hungry. Cold. Wet. The they were really interesting and that it work’s too hard. The girls are in love was a generally ignored style of music, with you. this body of material. Anybody who AC: There’s an incredible vitality was doing it was doing the same five to the songs. or six songs—like What do you do with DALE: They’re very raw. Simple a Drunken Sailor and Haul away, Joe. structures, repetitive lines and simple And it turns out there are hundreds and melodies… hundreds of songs. PINT: It’s a concentrated dose of DALE: Huge repertoire. the folk tradition and the folk process. PINT: And also, as you start sing- You’ll get this particular song and you ing these songs and going to sea mu- get a crew of guys and somebody’s got sic festivals in San Francisco and this song and in a voyage of a year that Mystic Seaport, you start bumping Alan Rice on the concertina and Geoff Agifim on banjo are among the “regulars” song could change radically by what elbows with people like Louis Killen. at the monthly San Pedro Shanty Sing. happened on that particular voyage, So you’re constantly exposed to more the people in authority, the interest of songs because other people that have ing to be at Mystic this year— guitar lessons, and fiddle lessons. We the crew, or just faulty memory. A song the same interest are doing the same DALE: Arguments about which set would go sailing every summer and I could be really different by the time it thing and looking for obscure things to of lyrics (for a given song) is more au- got really spoiled. He was a brilliant stepped off the ship; And then you had share with their friends, you know, re- thentic. sailor. all these different mixtures of crews. ally cool songs. PINT: Yeah, so I think the Internet’s AC: Did he share seafaring songs All these different ethnic groups and AC: So you learn some songs at made a big difference getting people in with you? cultures thrown together into a melting festivals. Do you ever go into libraries, touch. DALE: (Not songs, exactly.) Actu- pot. That’s got to affect how the songs dig into archives? AC: And Felicia, you’re the daugh- ally, my dad lived on a boat for a long get sung. If the guy who brings it on PINT: Sometimes. Books by peo- ter of a sea captain. time and occasionally he’d bring stuff board is an Irish guy and the guy who ple like Stan Hugill (www.stanhugill. DALE: Yeah, I really am. he just didn’t want to keep on the boat takes it off to another ship is Jamaican, com) are a treasure trove. AC: Did this influence how you for one reason or another. So he brought that song is going to change in many AC: I know there are shanty song carved your musical niche? by boxes of books and one day William ways. I think it’s an interesting pro- groups where a lot of trading goes on. DALE: No. William was already pulls out this book of poetry. Fantastic cess. We have one that meets here in San Pe- doing sea music before he met me. I stuff! Absolutely some of the best nau- DALE: And that’s why we feel just dro every month. grew up by the salt water and we sailed tical poetry we’ve ever read. And we’d fine about putting instruments behind PINT: We just spent some time a lot on boats, which is true, but I never never even heard of this person. At the them and arranging the heck out of in the Washington DC area and we even heard of sea shanties until I met same time in England there was a huge some of the songs. were impressed. There are at least four William. I just love doing them and resurgence of interest in this writer. It PINT: There were some instru- monthly sea shanty song sessions. It it was wonderful having that back- made a ton of connections for us. ments on ships. They had banjos, fid- works out that there’s one every week. ground. My dad certainly enjoyed the PINT: His name was C. Fox Smith. dles, hammer-dulcimers, accordions… And you see the same faces coming songs a great deal. He thought it was We started taking some of these poems DALE: But you wouldn’t be haul- back. wonderful what I was doing. that really sounded “song-like,” and ing on a line and playing along. DALE: And all levels from people AC: What kind of boat did he cap- started looking for tunes that would PINT: Shanties were not accompa- who never sang a shanty to people tain? work with this set of lyrics or that set nied. who’ve been doing it for years and DALE: He was on a number of dif- of lyrics. DALE: And it wasn’t as if you have their song book put together. ferent ships, but he was finally working DALE: And it wasn’t ooey-gooey hauled on the line until the song was PINT: Everybody has a great time. for American President Lines and he either. It’s just this accurate— done. But we emphasize the song as- AC: Has the Internet changed any- was captain on their container ships for PINT: Because a lot of the poetry pect rather than the work aspect be- th thing in terms of the exchanges you do? year…He was always involved with in that period (the 19 century) was continued on page 21 Page 10 FolkWorks MAY - JUNE 2007 REED’S RAMBLINGS STUDIO TAN Getting the Maximum Results in the Recording Studio By Dennis Roger Reed ome time ago I did a column this is a one-take wonder. the decision, like running out of mon- and a sunny day.” Good advice. Your about recording a CD proj- Well, maybe. If your band hasn’t ey to fund recording. second cousin has a new computer re- Sect, and I thought I chat a bit recorded before, you better have dis- So once you have recorded, you cording mastering program and wants about how to use a studio to the maxi- cussed the process. Going to be play- have to mix. How loud should the to try it out on your project. Well, let mum. ing with headphones on? Doing it in plumber’s drums be in comparison to him, but also hire a professional as I realized recently that I have now one big room with everyone, or are the professional clarinetist? Is it based well and then listen to the results, and amassed thousands of hours in the you going to record your guitar, then on who got paid the most, or who you let your second cousin hear the dif- studio. I suppose by virtue of that fact your vocal, and add everything else like best? Well, it could be, but ideally ference as well. If your intention is to alone, I should’ve learned something one piece at a time? These are deci- you decide what instruments and vo- have a professional sounding product, about recording. Well, assumptions sions that need to be made well in ad- cals will be on the recording, and how then it is wise to use professionals. I may not always be true, but I’ll con- vance of shelling out your hard earned loud these instruments and vocals didn’t have any of my projects mas- tinue anyway. If you’re in the studio dough. Even the most accomplished should be. Most often, the lead vo- tered until the 1990s, and I’ve learned sitting on a chair with your guitar in performer may not be comfortable re- cal is loudest, followed by the various from my mistakes. There is a differ- your hands and some guy is aiming cording, so you need to be sure that rhythm instruments and harmony vo- ence between raw and uncooked. microphones at you, then you’ve al- you have not hindered your project cals. Lead instruments get turned up Recording your own music can be ready accomplished a lot. You’ve de- with a hot shot player who freezes up a bit during their solos. The finished as fulfilling as anything we do here cided what songs you want to record in the studio. And for that matter, a hot product is supposed to sound like on this planet. It can be very expen- and you’ve obviously made a decision shot player that is demanding, rude or band on stage. Hopefully a very good sive, but it can be so much fun that about where you’ll record. Well, let’s too emotional for the circumstances is band on the stage. And the finished you forget that part. But while you’re step back a bit. I hope you not only a detriment, not an asset to the pro- recording is supposed to sound like a having fun, it’s wise to keep track of know what songs you want to record, cess. It’s impossible to leave your ego SONG, not a bunch of people playing what your recording goals may be, but that you have a pretty good idea at the studio door, but why bring in a music. The best rule to use in mixing keep an eye on that budget, and don’t of the arrangements you’re going to musician that is difficult to deal with? is “does this support the song?” If the be afraid to make tough decisions in use, and what instruments and/or mu- If possible, do some “pre-produc- answer is no, then it really doesn’t be- order to get the best result you can ob- sicians you may want to have assist. tion” work in a garage studio, or dig long there. Tough decisions have to tain. Folk on. If you’re a solo performer, this is a out your old cassette 4 track recorder be made. The only musician that you lot easier, but most of us like a little and at least “play studio” to get an paid may end up doing a part that just Dennis Roger Reed is a singer-song- company. And you’ve made the deci- idea of sounds and textures. And al- doesn’t fit. Don’t worry about hurting writer, musician and writer based in sion to hire a producer, or to produce though I’ve warned about being pre- feelings of professional musicians. San Clemente, CA. He’s released two yourself. pared, remember to keep a little loose They may have had some of their best solo CDs, and appeared on two CDs We’ll assume that your confidence in the process too. If the dentist - ex- work “left on the cutting room floor.” with the newgrassy Andy Rau Band level is so high (or your bankbook so cuse me – the bass player, comes up It’s tougher to have to cut your older and two CDs with the roots rockers low) that you’ve decided to produce with a new idea for a great bass line, sister’s harmonies because she could Blue Mama. His prose has appeared these sessions yourself. Let’s say don’t shut it down just because it’s not never quite hit those high notes. When in a variety of publications such as you’ve decided to record your great on the spreadsheet. you’re making these potentially tough the OC Weekly and MOJO magazine. new original song “My Great New It’s very subjective how you ap- decisions, you may look back on the Writing about his music has appeared Original Song.” You plan to play the proach the process. Some folks like decision not to hire a producer and in an eclectic group of publications rhythm guitar, and do the lead vocal. to get all their “basic tracks” recorded have a bit of regret. It’s a lot easier to such as Bass Player, Acoustic Musi- You’ve decided your two sisters will for all the songs, and then go back and have that producer tactfully tell your cian, Dirty Linen, Blue Suede News sing harmony, your dentist is on bass, “fill in the blanks.” Others like to take older sister that her harmony part is and Sing Out! His oddest folk resume your plumber is on drums and you’ve it one song at a time, complete it, and not going to be used… entry would be the period of several saved your money and hired a real then move on. Finally, the recording process is months in 2002 when he danced on- professional clarinet player for the So once you’ve made all these de- truly not complete until your record- stage as part of both Little Richard’s solo in the middle of the song. Great. cisions, at some point your recording ing has been mastered. A wise man and Paul Simon’s revues. He was You’ve rehearsed with everyone both will be complete. This could be be- once said “It’s extremely important to actually asked to do the former and individually, and also as a group. They cause you got all the tracks recorded find someone to go a good job on mas- condoned by the latter. He apparently all know the song, they’ve helped you for all the songs you wanted to record, tering your finished recorded project. knows no shame. with the arrangement and you figure or something more artistic may drive It’s the difference between a cloudy

C D R E V I E W soon added Danny Kirwan as the connected Spencer to a Norwegian blues band, and third guitarist, and the world was their oyster for Spencer was so impressed with their talent that they Artist: a short period of time. However, Green began to entered the studio and Precious Little is the result. Title: PRECIOUS LITTLE mentally unravel due to the pressures of rock suc- Spencer was well known not only for his slide gui- Label: BLUESTOWN/BLIND PIG BPCD 5106 cess, and left the group. They soldered on for an- tar work, but also his entertaining takes on 1950s Release Date: JULY 2006 other album sans Green, but dur- . Although he throws ing a U.S. tour in 1971, Spencer in Please Don’t Stop which was a BY DENNIS ROGER REED left his hotel to visit a bookstore hit for Fabian, for the most part in Los Angeles, but did not return he eschews the Buddy Holly in- ost people know of the band Fleetwood for that night’s concert. It turned fluenced side of his work. Spen- Mac as a pop rock group, one of the most out that he had joined a sect called cer had the ability to sing sweetly Mpopular in the mid and late 1970s. There the Children of God, a group with or roughly, and his mature voice is another Fleetwood Mac that only shares two of which he remains affiliated to this leans towards the former. This is the same members, but left a legacy arguably as day. Green was begged back to not strictly a blues recording, but strong as the later incarnation, although as an elec- finish the tour, but the first incar- more a blues influenced record- tric blues band with emerging pop overtones. nation of Fleetwood Mac was on ing. Spencer pays tribute to El- Fleetwood Mac began in 1967 as somewhat of an the ropes. The personnel changes more James with a nice reading of offshoot of John Mayall’s Bluesbreakers, as three made by McVie and Fleetwood James’ It Hurts Me Too. His slide of the original four members had been in the recent eventually created the pop super- work has improved greatly, some- employ of Mr. Mayall. The former Bluesbreakers, group that to many, eclipsed the memory of the first thing Spencer attributes to deciding to play with bassist John McVie, drummer Mick Fleetwood and Fleetwood Mac. his fingers instead of a pick. Although the elec- guitarist/vocalist Peter Green, were joined by a 19 Spencer did several solo records, but the music tric guitar is used on this recording, Spencer uses year old blues guitarist, pianist and singer named business took a back seat to his work with the Chil- acoustics, including an old Dobro™ spider bridge Jeremy Spencer. Spencer had the ability to play dren of God, who are now known as the Family. guitar, to great effect. Tune choices are interesting. American blues legend ’ songs un- Although he did play music, he did not return to the Spencer revisits the classic Corrina Corrina as Se- cannily like James, a somewhat astonishing fact recording studio until a gig at the Notodden Blues rene Serene. One of the more intriguing songs is considering that Spencer was a young white Brit. Festival in Norway in 2005. Festival promoters continued on page 12 MAY - JUNE 2007 FolkWorks Page 11

c d r e v i e w ley Temple. She taught Sonja Henie how to hula on tribute since Amy deliberately sings the version ice skates. She was up in Hollywood when every- of this song performed by legendary singer Aunty Artist: AMY HANAIALI’I body wanted to be Hawaiian. She choreographed Leina’ala Haili, honoring yet another Aunty. Title: GENERATION HAWAI’I a lot of shows in Vegas…She would just go in and Two songs on the album are in quite a differ- Label: MOUNTAIN APPLE make it as authentic as she could.” ent vein. We are richer for their inclusion since Although Amy took voice lessons in the European they deepen our understanding of Amy Napua BY AUDREY COLEMAN classical tradition, it was Tutu Napua who arranged Hanaiali’i’s artistic and personal path. No Na Hulu n Generation Hawaii Amy Hanaiali’i’ shares for her to receive instruction in traditional Hawai- Kupuna, cut five, has a stately, dignified beat and the rich cultural heritage passed on from her ian ha’i falsetto singing from the legendary Aunty chord progressions that suggest a procession or grandmother’s generation to her own. Begin- Genoa Keawe. (Note that in Hawaiian culture, the hymn. The kupuna are the elders in Hawaiian com- I terms Aunty and Uncle are used to affectionately munities. With respect and reverence, Amy appeals ning with the opening song, Napua, the influence of her recently-deceased grandmother, Jenny Napua honor elders in a community.) And it was Tutu to them for guidance and help in the face of the Hanaiali’i Woodd, permeates the album as it has Napua who inspired Amy to devote her vocal gifts threats to her beloved Hawaii, threats that showed permeated Amy’s life. Beside the liner notes for the mainly to traditional Hawaiian music. themselves in a frightening dream. She told me, song is a picture of a youthful woman with a fresh, Generation Hawaii offers a luscious selection “Hawai’i is struggling right now. A lot of people engaging smile, and a floral garland crowning her of Hawaiian mele (songs), filled with opportunities are moving there. A lot of building is going on. That dark hair? The English translation of Amy’s Ha- for Amy to shine as a vocalist, in many cases as a dream came to me – losing everything in Hawai’i waiian lyrics captures the tenderness of the grand- lyricist, and occasionally as a composer. Anahaki, – our land, our language, our music. Just having daughter-grandmother relationship: cut four, for which she contributed both lyrics and it be more like here (LA). It just scared me and I Your petals are indeed delicate music, depicts the love making of the ‘iwa birds woke up and I wrote all those lyrics down immedi- Awakened by the rains of Hina near the tide pool of Anahaki by the cliffs of the ately and came up with that song.” How I yearn to see you island of Moloka’i. Uluhua Wale Aa, the seventh The final cut, In Hilo Town, shows another side of My blossom that is in eternal rest. cut, is a mele that Tutu Napua sang to Amy at home Amy’s musical heritage – jazz. Her lyrics paint a in Maui under the plumeria tree where they played steamy picture of the town on the east side of Big As in the other songs to be found on Generation music together. It is filled with dramatic contrasts Island. Combined with the languorous pace, the Hawaii, the melody and instrumental arrangement of nature – the fragrant upland, a mountain rising bluesy mood of the music and Amy’s surprising of Napua intertwine like the thick, fragrant, flow- from the sea, sudden showers sweeping across the flair for the jazz idiom, the composition is enthrall- ered vines to be found in Hawaii’s forests, woven hillside, and two great peaks covered by mist and ing. But after all the tradition-based songs on Gen- to highlight the strength and sweetness of Amy’s floating cloud. Those initiated into the tradition of eration Hawaii, you may wonder, “Where did that voice. Hawaiian mele listen for the kaona or hidden mean- come from?” At a promotional performance held at Borders ing. Beneath the sensory images are messages of Amy explained, “My grandmother was married Books in February, I spoke with Amy about the familial tenderness or passionate love, stories of five times and they were all musicians. When my influence of her tutu (grandmother) and its impact unrequited yearning, and tributes to specific indi- grandmother was at the Lexington Hotel in New on Generation Hawaii. Jenny Napua Hanaiali’i viduals, to name a few familiar themes. York, she met my grandfather who played first Woodd was one of the original Royal Hawaiian Tributes abound in Generation Hawaii. with Sammy Kaye, so I’ve always had that Girls who, during the 1930’s and 40’s, showcased Ho’oheno A’o Pi’ilani, cut nine, honors the beloved jazz big-band thing with me. And that’s really a Hawaiian music and dance to visiting Americans. ha’i singer Aunty Agnes Wood, represented in the tribute to my grandfather who played that style of She went on to become the premier choreographer song by the sweet rose lei of Pi’ilani. A song hon- music. In fact, this October I’m releasing an album oring King David Kalakaua, who restored hula to with an orchestra of that type of music.” I’m eager of Hawaiian numbers in Hollywood films with 22 th halau (hula instruction) studios around Los Ange- prominence in the late 19 century after decades of to hear it. Grammy-nominated Generation Hawaii, les, one across from the Chinese theater. suppression, compares him to a flower that “wilts which deserved to win the Grammy award, is a “My grandmother was a kumu hula (hula master not in the sun” and is adorned with feathers of the tough act to follow. teacher) for 70 years.” said Amy. “She taught Shir- mamo bird, the rare feathers used to make the capes worn by Hawaiian monarchs. The mele is a double The Poetry C D R E V I E W of Diana Jones By Joel Okida he is called the “new” Emily another likely grouping. There is a dis- journal and journey. Yes, there are a Dickinson drawn from her tinct hint of Appalachia in the singing thousand coffeehouses where many a Spoignant lyrics, often dealing voice which probably seeped in from troubadour tells the tales, reciting the with the similar subjects of love, sor- a rediscovered connection with fam- lyrics of his or her experiences. Diana row, and loss associated with the 19th ily in the hills of Eastern Tennessee. Jones’ songs are rendered likewise, century poet. However, the common In addition, she has spent periods of but she can sing them so smoothly, refrain heard about Dickinson’s po- time discovering the style and direc- as if stirring your soul was as easy as ems was that you could sing the words tion of her voice, influenced by spells stirring your coffee. There’s almost no to the music of “Amazing Grace,” The in Austin and the northeast. A “hill- dilution of this purity as the voice and Yellow Rose of Texas,” or the theme billy feminist” tag although accurate carefully crafted song stays above the song from Gilligan’s Island. Here at times in describing her songwrit- discriminating guitar accompaniment. the distinction should be made that, ing stance, doesn’t allow for a vocal Performing live, she can carry the hallowed be those songs in different range that can showcase songs as di- material with or without additional west coast later this summer. In Feb- musical contexts, verse as jazz/blues embellishment, but her 2006 record- ruary of this year, she had been driv- the poetry of Di- standards Bye, Bye ing My Remembrance of You (New- ing herself up and down the state with ana Jones is mark- The sunlight on his pretty face Blackbird or Trou- Song Recordings) features additional a guitar and a box of CDs in her trunk, edly different. did turn my head one day ble in Mind. She musicians Jay Ungar on fiddle, Duke a prelude to an upcoming European Although it may then I was taken by his gentle voice can switch gears Levine on mandolin, guitars; and oth- tour. At a recent concert, she spoke draw some essence and follow those ers. They weave around her voice, of wanting to just be “famous enough but he did not look my way from the first two chestnuts with a never interfering, leaving the work to have a guitar tech”. Diana Jones is examples and oc- - excerpt from Fever Moon simple heartfelt undiminished and almost as good as already mentioned in the same breath by Diana Jones casionally follow (Remembrances of You) song dedicated to a seeing her sing it live. as Lucinda Williams, Gillian Welch, Dickinson’s com- dear pet called An- The Chicago Tribune picked My and Iris DeMent, and it’s a good bet mon metre, it has gel Pie. Or come Remembrance of You as their num- that she will have that assistant sooner the added depth of down from the ber one “country” record of 2006 over rather than later. her impassioned vocals, stamping the mountain with the likes of Cold Grey Willie, Vince and all the urban cow- www.dianajonesmusic.com very personal songs as her own. Add Ground. boys and cowgirls. Her music though to that, the fact that she also is a very Often attempted but rarely perfect- is more rootsy and rural, mountain- Joel Okida is a struggling artist, strug- adept and tasteful guitarist and maybe ed and mostly lost in the great land- tinged and, most of all, more poeti- gling writer, and struggling musician. the honorable comparison diminishes scape that is American folk music is cally intelligent then the plethora of It occurs to him that life is all about a little more. the purity of a plaintive voice singing country schmaltz and jingoist an- the struggle. Fortunately, he did not Her style touches upon what is so soulfully that it seems to wring out thems that are out there. This might take up acting. However, he’s not half- now called “old time music” but cate- every memory in the head and heart. be why she also picked up last year’s bad as a zydeco dancer and the abil- gorically she would fall under the big If the writing holds up, then the song, Kerrville New Folk Contest songwrit- ity to make a mean gumbo and lovely umbrella of the folk music label with too, can take hold of one’s psyche, ing award. walnut tortes has gotten him by. “old” or “traditional” country being leading you into that performer’s Diana Jones will be back on the Page 12 FolkWorks MAY - JUNE 2007 DIRT Gardening & Banjos By David King was convinced against my better mixed with the top layer of soil, what This interaction between the plant and lots of corn, and corn is one of the hard- judgement to begin to learn how we call it is based in how we use it, these unseen soil dwellers basically can est plants on the soil because of its nutri- Ito play the banjo. I don’t think I’m there is no difference in substance.) eliminate the need for any fertilizer in ent demands. Still, my garden is doing coordinated in quite the right ways to Mulch is very much like the leaves we all but the worst soils – none of which I just fine. do that although I’ve been told I look all paid to rake up and haul away – in believe exist in the Los Angeles Basin. Another factor mitigating the deple- like a banjo player. I guess that’s half fact, if might actually be those leaves! The problem with fertilizers is that tion of my soil’s fertility is the inter- the battle right there. I’ve been thinking, But at least it’s chopped up and in a even the gentlest of them wreck havoc planting I do – I don’t just fill one area if that’s the case, I’d like to learn how much more easily handled form. in the populations of these invisible life up with one plant and another area with to look like a wealthy man – or at least Why mulch? forms. Chemical fertilizers, especially one of something else. I mix it all up one that’s solvent! Already Casey, my This will be easier for a busy gar- the ones that promise the most ‘bang – just like planting a flower garden in dog, is set to attack the banjo because dener to answer than learning the banjo! for your buck,’ invariably flatten entire a way that’s pleasing to the eye. The he’s quite dissatisfied with my constant Mulch, especially in the Los Angeles colonies of the soil dwellers insuring same is true with my vegetable garden “Thumb-index-thumb-middle” chants climate is really the most important that you’ll have to continue to use more where tomatoes, basil, beans, onions, that go on for 20 minutes at a throw. additive you can make to your garden. fertilizers in order to maintain any fertil- lentils and peppers all live happily to- He’s wandering off to snooze in the gar- Even more than fertilizer! It helps you ity in your soil. The best answer? Skip gether. Garlic and corn are the only ones den, away from the plickety-plunk of save on water by preventing evaporation all but the mildest fertilizers. I suggest planted in blocks (corn because it needs my tenderfoot twangings and the swear- of the water you put down; mulch keeps alfalfa meal for early in the growing other corn flowers close at hand for the ing that is surely moments away. the plant roots cool on even the hottest season because as the ground warms best pollination and garlic because at the Smart dog. of days; but the most important thing it up, alfalfa meal will provide a nice ad- end of its season, garlic isn’t watered for The garden is well planted for does is to shelter and feed the microbes dition of a little nitrogen. It does so very the last month and that could be hard on summer now and he can lounge in the that live in the soil. If you take care of mildly and, unlike other forms of nitro- nearby plants). shade of a tomato plant (he’s not a big those critters, they will handily take care gen, stimulates instead of kills soil flora I think I hear Casey snoring from dog). And as the finishing touch, I’ve of your plants and you. and fauna. Later on in the season, I like out there. Somewhere around here, I’ve put down a layer of 2” of mulch all Well-fed soil critters do marvelous to use cottonseed meal as a good slow got a hammock that ought to be pulled over the place which is as soft as any things in a garden. The worms come to release of nitrogen – it’s just hard to find out just about now so I can go join him. doggie bed a fellow can buy. I went to the surface in the dark of night and tire- organic cottonseed meal locally (online That garden has got to be good for the local not-so-friendly big box hard- lessly bring this organic material down it’s available from Peaceful Valley Farm more than just vegetable growing, hot ware store and bought bags of what- into the soil of the garden, eating it as Supply, www.groworganic.com). sweaty exercise and a banjo rehearsal ever they had on sale – sometimes it’s they go. The millions of holes they bore But let’s do a reality check first. My And I’ll catch up with Earl Scruggs called ‘mulch,’ sometimes it’s called in the soil, create spaces for water to be vegetable garden is in its third year at some other day. ‘planters mix’ or ‘planting mix’ but held between waterings and allow vital its current location. I have not fertilized it’s all the same thing: Some kind of air to the plants’ roots. In the moist and a single portion of it in all that time and Grandson of a Great Plains farmer, organic matter that has been shredded protected soil under the mulch, fungi, yet I’m getting top notch yields. One of David King is the Garden Master at or chopped. It is sold as a ‘mulch’ or bacteria and other busy microbes, inter- the main reasons lies in the addition of the Learning Garden, on the campus as ‘amendment,’ but they are the same act with plant roots bringing more water organic matter and a healthy soil eco- of Venice High School. He shares his thing. (‘Mulch’ is spread on top of the and nutrients to the plant in exchange for system that helps the plants get what love of the land and music through ground and left there; ‘amendment’ is some of the products of photosynthesis. they need from the soil. One year I grew teaching, writing and playing in a folk/country band. music instruction DAVID BRAGGER David Bragger teaches traditional fiddle and banjo to students of all ages and levels. He teaches music by ear, so no musical background is necessary! His students have won awards at festivals from Topanga Fiddle Banjo Fes- tival to Galax, Virginia. More importantly, he shows you how to have a foot-stomping ruckus of a good time! You’ll be learning technique, bowinbgs, and styles of traditional Appalachian musicians so you canplay at local jam sessions, bang away on your front porch, or saw like mad at local festivals and contests. For lessons, call David at 818-324-6123 or email him at [email protected].

JOELLEN LAPIDUS Joellen Lapidus is one the pioneers of contemporary fretted dulcimer paying and construction. She is the au- thor of the dulcimer instruction book Lapidus on Dulci- mer. Her playing style is a blend of traditional Appala- chian, Indian, Arabic, jazz, classical and pop music that gives the dulcimer a new range of rhythmic, melodic and tuning possibilities. Returning to her first musical loves, the accordion and clarinet, Joellen also teaches a high energy Klezmer Band Workshop at McCabes. For dulcimer lessons or a Klezmer Band Workshop, call her at 310-474-1123 ______You can be listed here! $30/1x - $75/3x - $125/6x – [email protected] – 818-785-3839

continued on page 10 Maria De Santiago, which Spencer strumental work and vocals are exem- had brought into the project as an in- plary. His lyrics are not his strongest strumental. Encouraged to add lyrics, talent, but for the most part they con- this song has a blues undercurrent, but vey simple truths and comfort. And Spanish guitar mixes well with blues the project includes the remarkable slide work, and the song has a wistful, work of a group of extremely talented haunting quality. Norwegians who can play the blues Much of the appeal of this project lies with the best. This is a pleasing return in the relaxed, confident manner that from a long lost talent. Spencer approaches his work. The in- MAY - JUNE 2007 FolkWorks Page 13

venues • venues • venues

HOUSE , ETC. FOWLER MUSEUM OF CULTURAL HISTORY SKIRBALL CULTURAL CENTER CINEMA BAR These are informal, intimate special events that people UCLA North Campus, Westwood 2701 N. Sepulveda Blvd., Los Angeles 3967 Sepulveda Blvd., Culver City hold in their homes. 310-825-4361 • www.fowler.ucla.edu 310-440-4500 • www.skirball.org 310-390-1328 • www.thecinemabar.com Call your local hosts for scheduled artists! THE FRET HOUSE SONGTREE CONCERT SERIES COLE’S P.E. BUFFET BRIGHT MOMENTS IN A COMMON PLACE 309 N. Citrus, Covina Live Oak Unitarian Universalist Congregation 118 E. 6th St., Los Angeles hosted by David Zink, Altadena • 626-794-8588 818-339-7020 • www.covina.com/frethouse 820 N. Fairview, Goleta (Santa Barbara) 213-622-4090 • www.colespebuffet.com 805-403-2639 • www.songtree.org BODIE HOUSE CONCERTS CONCERT THEATRE DUBLIN SQUARE Agoura Hills [email protected] 5303 S. Harbor Blvd., Santa Ana STEVE ALLEN THEATRE 554 4th Ave., San Diego 818-706-8309 • www.BodieHouse.com 714-957-0600 • www.galaxytheatre.com 4773 Hollywood Blvd., Hollywood 619-239-5818 • www.dublinsquareirishpub.com 323-860-7785 • www.steveallentheater.com DARK THIRTYHOUSE CONCERTS THE GETTY CENTER THE ECHO 1132 Pinehurst Dr., Lakeside (San Diego) 1200 Getty Center Dr., Los Angeles SYLVIA WOODS HARP CENTER 1822 Sunset Blvd., Los Angeles 619-443-9622 • www.darkthirty.com 310-440-7300 • www.getty.edu 915 N. Glendale Ave., Glendale 213-413-8200 • www.attheecho.com 818-956-1363 • www.harpcenter.com HOUSE ON THE HILL CONCERTS AMPHITHEATRE (UNIVERSAL CITYWALK) EL CID Highland Park • 323-221-7380 • [email protected] 100 Universal City Plaza, Universal City THOUSAND OAKS CIVIC ARTS CENTER 4212 W. Sunset Blvd., Los Angeles MARIE AND KEN’S • Beverlywood • 310-836-0779 818-622-4440 • www.hob.com/venues/concerts/gibson 2100 Thousand Oaks Blvd., Thousand Oaks 323-668-0318 • www.elcidla.com 805-449-2787 • www.toaks.org/theatre NOBLE HOUSE CONCERTS GRAND PERFORMANCES FRANK AND JOE’S SOUTHERN SMOKEHOUSE 5705 Noble Ave., Van Nuys • 818-780-5979 California Plaza, 350 S. Grand Ave., Los Angeles UCSB CAMPBELL HALL 110 E. Colorado Blvd., Monrovia • 626-574-0292 [email protected] 213-687-2159 • www.grandperformances.org UCSB Campus, Santa Barbara GENGHIS COHEN 805-893-3535 • www.artsandlectures.ucsb.edu RUSS & JULIE’S HOUSE CONCERTS GREEK THEATRE 740 N. Fairfax Ave., Los Angeles Agoura Hills / Westlake Village 700 North Vermont, Griffith Park, Los Angeles UCSB ARLINGTON THEATER 323-653-0653 • www.genghiscohen.com www.houseconcerts.us 323-665-5857 • www.greektheatrela.com 1317 State St., Santa Barbara HOTEL CAFE [email protected] THE GROVE OFANAHEIM 805-963-4408 www.artsandlectures.ucsb.edu 1623 1/2 N. Cahuenga Blvd., Hollywood RYAN GUITAR’S • Westminster • 714-894-0590 2200 East Katella Ave., Anaheim UCSB MULTICULTURAL CENTER 323-461-2040 • www.hotelcafe.com 714-712-2700 • www.thegroveofanaheim.com University Center Room 1504 THE TEDROW’S • Glendora • 626-963-2159 IRELAND’S 32 HAMMER MUSEUM AT UCLA 805-893-8411 • www.mcc.sa.ucsb.edu 3721 Burbank Blvd., Van Nuys KRIS & TERRY VREELAND’S 10899 Wilshire Blvd., Los Angeles UCLALive! 818-785-4031 • www.irelands32pub.com South Pasadena • 323-255-1501 310-443-7000 • www.hammer.ucla.edu UCLA Royce or Shoenberg Halls, Westwood KILLARNEY’S LIVE AT THE BLOOMFIELD HAUGH PERFORMING ARTS CENTER 310-825-4401 • www.uclalive.org 209 Main St., Huntington Beach North Hollywood Citrus College CONCERT HALL 714-536-7887 818-487-0608 • www.LittleFriendmpg.com 1000 West Foothill Blvd., Glendora 111 S. Grand Ave., Los Angeles KNITTING FACTORY CLARKE HOUSE CONCERTS 626-963-9411 8 www.haughpac.com 323-850-2000 • www.musiccenter.org/wdch 7021 Hollywood Blvd., Hollywood 4126 Monroe Ave., San Diego WHITTIER COLLEGE - RUTH B. SHANNON 323-463-0204 • www.knittingfactory.com/kfhollywood 619-291-4954 • www.clarkehouseconcerts.com 2301 N. Highland Ave., Hollywood CENTER FOR THE PERFORMING ARTS THE MINT HORNBACHERS HOUSE CONCERT 323-850-2000 • www.hollywoodbowl.com 6760 Painter Ave., Whittier 6010 W. Pico Blvd., Los Angeles 2522 Foothill Dr., Vista (San Diego) HOUSE OF BLUES 562-907-4203 • www.shannoncenter.org 323-954-9630 • www.themintla.com 760-941-3253 • www.hornbacherconcerts.com 1530 S. Disneyland Dr., Anaheim • 714-778-BLUE WILL GEER THEATRICUM BOTANICUM MOLLY MALONE’S CANYONFOLK HOUSE CONCERT 8430 Sunset Blvd., West Hollywood • 323-848-5100 1419 N. Topanga Canyon Blvd., Topanga 575 S.Fairfax Ave., Los Angeles 124 Frances Dr., El Cajon (San Diego) 1055 Fifth Ave., San Diego • 619-299-BLUE (2583) 310-455-3723 • www.theatricum.com 323-935-1577 • www.mollymalonesla.com 619-659-5753 • www.canyonfolkhouseconcerts.com www.hob.com/venues/clubvenues W.M. KECK FOUNDATION CHILDREN’S OLD TOWN PUB CONCERT VENUES HUMPHREY’S CONCERTS BY THE BAY AMPHITHEATRE • WALT DISNEY CONCERT HALL 66 N. Fair Oaks Ave., Pasadena 2241 Shelter Island Dr., San Diego 111 S. Grand Ave., Los Angeles 626-577-6583 • www.oldtownpub.com ACOUSTIC MUSIC SAN DIEGO 619-523-1010 • www..humphreybythebay.com 323-850-2000 • www.musiccenter.org/wdch/ 4650 Mansfield St., San Diego THE PIKE BAR & FISH GRILL 619-303-8176 • www.acousticmusicsandiego.com JAPANESE AMERICAN CULTURAL & THE VERITY ROOM (BEHIND GUITAR MERCHANT) 1836 E. 4th St., Long Beach COMMUNITY CENTER 7503 Topanga Cyn Blvd., Canoga Park 562-437-4453 www.pikelongbeach.com AMERICANA MUSIC SERIES 244 S. San Pedro St., Los Angeles 818-884-5905 • www.guitarmerchant.com Hilltop Center, 331 E. Elder, Fallbrook (San Diego) 213-680-3700 • www.jaccc.org ROOM 5 760-723-2563 • [email protected] COFFEE HOUSES 143 N. La Brea, L.A. JAPANESE AMERICAN NATIONAL MUSEUM 323-938-2504 • www.room5lounge.com AUTRY NATIONAL CENTER 369 E. First St., Los Angeles 14 BELOW (Merger of Museum of the American West, Southwest 213-625-0414 • www.janm.org 1348 14th St., Santa Monica • 310-451-5040 SAMMY’S WOODFIRE PIZZA Museum of the American Indian and Institute for the 2575 Pacific Coast Highway, Torrance LA MIRADA THEATRE ALTA COFFEE Study of the American West) 506 31st St., Newport Beach • 949-675-0233 310-257-1333 • www.sammyspizza.com 4700 Western Heritage Way, Griffith Park (L.A.) 14900 La Mirada Boulevard, La Mirada 234 Museum Drive, Mt. Washington (L.A.) 562-944-9801 • www.lamiradatheatre.com BARCLAY’S COFFEE SISTERS OF BUBIK 323-667-2000 • autrynationalcenter.org 8976 Tampa Ave., Northridge • 818-885-7744 34 S. Raymond, Pasadena LANCASTER PERFORMING ARTS CENTER 626-744-9220 • www.sistersofbubik.com THE BARCLAY 750 W. Lancaster Blvd., Lancaster BEAN TOWN 4255 Campus Drive, Irvine 661-723-5950 • www.lpac.org 45 N. Baldwin Ave., Sierra Madre SOHO RESTAURANT AND MUSIC CLUB 949-854-4646 • www.thebarclay.org 626-355-1596 • www.beantowncoffeebar.com 1221 State St., Santa Barbara LEVANTINE CULTURAL CENTER 805-962-7776 • www.sohosb.com BOULEVARD MUSIC 8424A Santa Monica Blvd., West Hollywood BUSTER’S COFFEE AND ICE CREAM 4316 Sepulveda Blvd., Culver City 310-559-5544 • www.levantinecenter.org 1006 Mission St., South Pasadena • 626-441-0744 TANGIER RESTAURANT 310-398-2583 • www.boulevardmusic.com 2138 Hillhurst Ave., Los Feliz (Los Angeles) LEVITT PAVILION FOR THE PERFORMING ARTS COBALT CAFÉ 323-666-8666 • www.tangierrestaurant.net [email protected] 85 East Holly St., Pasadena 21622 Ventura Blvd., Woodland Hills • 818-348-3789 626-683-3230 • www.levittpavilionpasadena.org TEMPLE BAR BLUEGRASS ASSOCIATION OF SO. CAL. COFFEE CARTEL Braemar Country Club Grille Room 1026 Wilshire Blvd., Santa Monica THE LIVING TRADITION 1820 Catalina Ave., Redondo Beach • 310-316-6554 310-393-6611 • www.templebarlive.com 4001 Reseda Blvd., Tarzana 250 E. Center St., Anaheim Joy Felt 818-705-8870 • www.socalbluegrass.org 949-646-1964 • www.thelivingtradition.org COFFEE GALLERY BACKSTAGE VIVA CANTINA 2029 N. Lake, Altadena BLUE RIDGE PICKIN’ PARLOR 900 Riverside Dr., Burbank LOBERO THEATRE 626-398-7917 • www.coffeegallery.com 818-845-2425 • www.vivacantina.com 17828 Chatsworth St., Granada Hills 33 E. Canon Perdido St., Santa Barbara 818-282-9001 • www.pickinparlor.com 805-963-0761 • www.lobero.com COFFEE JUNCTION VICENZO’S PIZZA 19221 Ventura Blvd., Tarzana • 818342-3405 CALIFORNIA CENTER FOR THE ARTS 24500 Lyons Ave., Newhall LORD OF THE STRINGS CONCERT SERIES 661-259-6733 340 North Escondido Blvd., Escondido Dana Point Community Center COFFEE TAVERN 800-988-4253 • www.artcenter.org 24642 San Juan St., Dana Point 539 E. Bixby Rd., Long Beach • 562-424-4774 CALTECH FOLK MUSIC SOCIETY 949-842-2227 / 949-244-6656 CURLEY’S CAFE California Institute of Technology, Pasadena www.trjohnsonhomes.com/concerts.htm 1999 East Willow, Signal Hill • 562-424-0018 888-222-5832 • www.folkmusic.caltech.edu MADRID THEATRE HALLENBECKS GENERAL STORE [email protected] 21622 Sherman Way, Canoga Park 5510 Cahuenga Blvd., North Hollywood CALTECH PUBLIC EVENTS 818-347-9938 • www.madridtheathre.org 818-985-5916 • www.hallenbecks.com California Institute of Technology, Pasadena MALIBU PERFORMING ARTS CENTER HARP INN 888-222-5832 • www.events..caltech.edu 23825 Stuart Ranch Road, Malibu 130 E. 17th St., Costa Mesa • 714-646-8855 LOOK FOR 310-456-6722 • www.malibuperformingartscenter.com CARPENTER PERFORMING ARTS CENTER KULAK’S WOODSHED 6200 Atherton Blvd., Long Beach McCABE’S GUITAR SHOP 5230-1/2 Laurel Canyon Blvd., North Hollywood 562-985-4274 • www.carpenterarts.org 3101 Pico Boulevard, Santa Monica 818-766-9913 • www.kulakswoodshed.com FOLKWORKS’ CELTIC ARTS CENTER 310-828-4497 • www.mccabesguitar.com Concert Hotline 310-828-4403 LESTATS COFFEE HOUSE 4843 Laurel Canyon Blvd., Valley Village 3343 Adams Ave., Normal Heights (San Diego) 818-760-8322 • www.celticartscenter.com McCALLUM THEATRE 619-282-0437 • www.lestats.com CERRITOS CENTER FOR THE PERFORMING ARTS 73000 Fred Waring Dr., Palm Desert NEW 760-340-ARTS • www.mccallumtheatre.com MONROVIA COFFEE HOUSE 12700 Center Court Drive, Cerritos 425 S. Myrtle, Monrovia • 626-305-1377 562-916-8501 • www.cerritoscenter.com ME ‘N’ ED’S PIZZA PARLOR [email protected] 4115 Paramount Blvd., Lakewood NORTH STAR COFFEE 562-421-8908 916 State St., Santa Barbara PRESENCE THE COACH HOUSE 805-965-5593 • www.northstarcoffee.com 33157 Camino Capistrano, San Juan Capistrano MUSIC CENTER PERFORMING ARTS CENTER 949-316-8927 • www.thecoachhouse.com 111 S. Grand Ave., Los Angeles NOVEL CAFE 212 Pier Ave., Santa Monica • 310-396-8566 CSUN PLAZA DEL SOL PERFORMANCE HALL 213-972-7211 • www.musiccenter.org ON THE WEB 18111 Nordhoff Street, Northridge MUSIC CIRCLE PRISCILLA’S GOURMET COFFEE 818-677-2488 818-677-3943 Herrick Chapel, Occidental College 4150 Riverside Dr., Burbank • 818-843-5707 cvpa.csun.edu/atthePH.html 626-449-6987 • www.musiccircle.org THE TALKING STICK www. CTMS CENTER FOR FOLK MUSIC OJAI CONCERT SERIES 1630 Ocean Park Blvd., Santa Monica 16953 Ventura Blvd. or 4935 Balboa Ave., Encino Ojai Valley Woman’s Club www.thetalkingstick.net 818-817-7756 • www.ctms-folkmusic.org 441 E. Ojai Ave., Ojai TRINITY BACKSTAGE COFFEEHOUSE DIZZY’S 805-649-5189 • www.ojaiconcertseries.com 1500 State St., Santa Barbara FolkWorks. 344 Seventh Ave., San Diego ORANGE COUNTY PERFORMING ARTS CENTER 805-962-2970 • www.trinitybackstage.com 858-270-7467 www.dizzyssandiego.com/ 600 Town Center Dr., Costa Mesa THE UGLY MUG CAFE EL CAMINO COLLEGE CENTER FOR THE 714-556-2787 • www.ocpac.org 261 N. Glassell, Orange • 714-997-5610 org ARTS (MARSEE THEATRE) PERFORMANCES TO GROW ON UN-URBAN COFFEHOUSE 16007 Crenshaw Blvd.,Torrance Church of Religious Science - Performing Space 3301 Pico Blvd., Santa Monica • 310-315-0056 310-660-3748 • www.elcamino.cc.ca.us 101 S. Laurel, Ventura 805-646-8907 • www.ptgo.org ZOEYS CAFÉ UPSTAIRS THE EL REY THEATRE 451 East Main St., Ventura See our 5515 Wilshire Blvd., Los Angeles PEPPERDINE UNIVERSITY(SMOTHERS THEATRE) 805-652-1137 • 805-652-0091 323-936-6400 • www.theelrey.com 24255 Pacific Coast Highway, Malibu www.zoeyscafe.com/music.html FIRESIDE CONCERTS 310-506-4522 • www.pepperdine.edu/cfa CLUBS/RESTAURANTS new site Borchard Community Center SAN DIEGO FOLK HERITAGE 190 Reino, Newbury Park San Dieguito United Methodist Church AULD DUBLINER Bob Kroll 805-499-3511 [email protected] 170 Calle Magdalena, Encinitas (San Diego) 71 S Pine Ave., Long Beach FOLK MUSIC CENTER Templar Hall in Old Poway Park 562-437-8300 • www.aulddubliner.com with 220 Yale Ave., Claremont 14134 Midland Road, Poway (San Diego) BELLY UP TAVERN 909-624-2928 • www.folkmusiccenter.com 858-566-4040 • www.sdfolkheritage.org 143 S. Cedros, Solano Beach (San Diego) HENRY FONDATHEATHER SAN JUAN CAPISTRANO MULTICULTURAL 858-355-1596 • www.bellyup.com 2126 Hollywood blvd., Hollywood ARTS SERIES THE CANYON CLUB MORE www.henryfondatheater.com San Juan Capistrano Public Library 28192 Roadside Dr., Agoura Hills 31495 El Camino Real, San Juan Capistrano 818-879-5016 • www.canyonclub.net HOLY TRINITY PARISH HALL 949-248-7469 • www.musicatthelibrary.com 2083 Sunset Cliffs Blvd., San Diego CAFÉ BELLISSIMO TO 858-689-2266 Mainstreet Singer Songwriter Showcase www.holytrinityob.org/celtic_concert_series.htm 1122 N Milpas St, Santa Barbara 22458 Ventura Blvd., Woodland Hills 805-962-7411 • www.sbbowl.com JOHN ANSON FORD AMPHITHEATRE 818-225-0026 • www.garretswayne.com/concerts.html 2580 Cahuenga Blvd. East, Hollywood SIERRA MADRE PLAYHOUSE CAFE LARGO COME 323-461-3673 • www.fordamphitheatre.com 87 W. Sierra Madre Blvd., Sierra Madre 432 N. Fairfax Ave., Los Angeles 626-355-4318 • sierramadreplayhouse.org 323-852-1073 • www.largo-la.com Page 14 FolkWorks MAY - JUNE 2007 Support Your Local Folk Festival By Ross Altman n the summer of 1927, Babe violinist, entered the fiddle contest at ment award—the first festival in the festival in the country. If you have Ruth was on his way to hitting the advanced level. She spent weeks country to do so. Who was the first re- been meaning to learn a folk instru- I60 home runs, Charles Lind- practicing, or in a sense un-practicing, cipient of that honor? None other than ment, or to advance to the next level bergh had just flown solo across the because she was trying to roughen , who brought her moun- of performing capability on the one Atlantic, Ralph Peer discovered the up the smooth edges of her classical tain dulcimer down from the moun- you already play, that is the place to Carter Family and Jimmie Rodgers, tone, so she could pass for a fiddler, as tain so players across the country be this June. and the rhododendrons were bloom- opposed to a violinist. Looking back could be inspired by the family songs And to get in the mood for a sum- ing in Asheville, North Carolina. on it I suspect she was trying to im- she had learned at her grandmother’s mer of festival fun, you can do no The Asheville City Council de- press her son, because he was caught knee growing up in Kentucky. The better than to hightail it out to Cla- cided to have a rhododendron festival up in the folk revival of remont for the first to celebrate their favorite local attrac- the 60’s. She must have Folk Festival of tion. Only it didn’t turn out to be the figured that a blue ribbon the season on May flowers. They asked Asheville’s old- from Topanga would give 5—Cinco de Mayo. time banjo player and folk song col- her the street credibility This festival liter- lector Bascom Lamar Lunsford - The her highly regarded clas- ally began under a Minstrel of the Appalachians - to in- sical technique somehow tree, when Clare- vite a few of his musician friends to lacked. mont’s own damsel liven up the festival, and suddenly a After her performance with a dulcimer, new tradition was born: The Great the audience, including the late Dorothy American Folk Festival. her three biggest fans Chase—who with If the name Bascom Lamar Lun- (Lenny, me and Jim Alex- her husband Charles sford doesn’t ring a bell, you have ander—the “Three Mus- founded the Clare- probably sung his songs. He wrote guitars”), cheered wildly. mont Folk Music Good Old Mountain Dew and I Wish I They loved it. When it Center—was play- Was a Mole in the Ground. came time for the awards, ing Shady Grove. So when you make your plans for though, she was shut Like Newton being May 5, the day of the 27th annual Cla- out. Third place went struck by the apple, remont Folk Festival, and May 20, the by—and they didn’t call she was hit by the 47th annual Topanga Banjo and Fiddle her name; second place idea of starting the Contest and Folk Festival, and June went to another contestant. And for composer of Black Waters, her classic Claremont Folk Festival. 22-24, the 25th annual CTMS Summer a moment—we were all holding our about the strip mining of Dorothy and her friends Doug and Solstice Festival of Traditional Music, breath—we thought wow—she’s go- the very mountains she had grown up Cheryl Thompson began producing Dance and Storytelling, remember ing to take first prize! But first prize in, was the standard bearer for what the festival together and 27 years later that you are doing more than support- came and went, and they still hadn’t Elaine wanted their festival to repre- it remains an annual celebration of ing your local folk festival, you are called her name. sent—the best in North America’s tra- folk music and folk life. When Charles participating in an American ritual We couldn’t believe it—she was ditional music. was alive he would always end the that is now 80 years old. far and away the best musician there, Jean Ritchie told one story during festival by leading a dance around the And remember in whose foot- and not to even take third place. She her performance that has stayed with May Pole. When Dorothy was alive steps you are walking. For it was was crushed. We were about to leave, me ever since—about the time she the traveling performers—some from Pete Seeger who first fell in love with when suddenly a low groundswell of lucked out by being on the same stage as far away as Australia—all stayed at the five-string banjo at a folk festi- a cheer started to rumble forth from with Doc Watson. She thought that their home on Harvard Street, camped val, when his father Charles, one of the crowd—her name had been called was her chance to give the audience out on the floor, and the soup pot was our great folklorists, something re- always full with the best homemade brought his then 16 ally special—to soup I have ever tasted. year-old son to that let them hear Dorothy and Charles’ daughter El- same Asheville Fes- one of her old len Harper now carries on the festival tival in 1935. That songs accom- her mother started. If her last name was where Pete first panied by the rings a bell, don’t be surprised. Ellen heard the instrument folk guitar’s is world class roots music performer and decided to master Andre Sego- extraordinaire ’s proud it and eventually to via. She chose mom—who learned his trade in his teach others through I Gave My Love grandparents’ folk music store and his legendary red- a Cherry, and now travels all over the world. If folk covered manual, first invited Doc to music is about the connection of one published on a mim- play it with her. generation with another through its eograph machine— To her profound shared musical traditions then Ben is How To Play the disappointment the living legacy of how that music— Five-String Banjo. Doc did little born in a distant past—can endure to As a kid I used more than play reshape the future. to go to the Topanga the chords be- How blessed we are in Southern Banjo and Fiddle Con- hind her dulci- California to have not one, not two, test when it was still mer. It sounded but three folk festivals that bear wit- in Topanga at what is fine, but that ness to this history and continue to

now the Theatricum Photo by Michael Heiter wasn’t why she shine a light on where we are going. Botanicum—which had called upon In supporting them we are supporting was the late Grandpa Walton’s—I after all—in a brand new special cat- him to play with her. Where was the ourselves. mean Will Geer’s—front yard. egory the judges improvised on the fancy flat-picking break? Where were L.A. may not have a professional For many years it was held there and spur of the moment: First prize in “Old the sparkling filler notes that livened football team, but we still have three you could sit in a tree and listen to Time Fiddle with Classical Influenc- up his own performances? She com- major folk festivals that celebrate Ramblin’ Jack Elliott sing the songs es” went to Lorette Carlson. That was plained about it to him afterwards and old time music, and as the song says, of his mentor. all the street cred she needed. Lenny his reply caught her up short. “But that’s good enough for me. That would be Woody Guthrie— was proud of his mom. We all were. Jeanie,” he said, “I did just what that who lived rent free in a little shack It’s funny how a long ago moment in a song called for—no more and no less.” on Will’s property in the early 1950’s, folk festival can become a part of your She realized then that he wasn’t there Author’s note: All three of these festi- before he was hospitalized back in life that stays with you forever. to show off for the audience—he was vals have their own web sites, with all New Jersey with Huntington’s Cho- Elaine Weissman’s greatest leg- there to serve the song. What a lesson, of the information you need to know to rea. In those days you could still visit acy—the CTMS Summer Solstice and from the master. Thank you, Jean, purchase tickets, see who will be per- Woody’s shack, which had his hand- Festival, which in the beginning was for passing it on. forming and giving workshops, and painted sign on the front door. known simply as the Dulcimer Festi- To this day, even after Elaine’s sad plan your itinerary. Here they are: But my most vivid memory of val—has had the same kind of stay- passing two years ago, Clark and new www.claremontfolkfestival.org; www. Topanga’s early days is the time my ing power. In 1983, Elaine and Clark Executive Director of CTMS Chris topangabanjofiddle.org; and www. friend Lenny Carlson’s mother, who started their own tradition of honoring Warber, have fought to maintain that ctmsfolkmusic.org (click on Summer was and still is a classically trained musicians with a lifetime achieve- high standard—as the best teaching Solstice on the menu at their web site). Hope to see you there! MAY - JUNE 2007 FolkWorks Page 15

on-going music happenings

BLUEGRASS DRUMMING IRISH MUSIC SESSIONS WELSH CHOIR AGOURA BLUEGRASS JAM BANG A DRUM CELTIC ARTS CENTER Sundays 1:30pm • Rutthy • 818-507-0337 1st and 3rd Thursdays 7:00pm Drum Circle & Potluck Mondays 9:00pm (1st Mondays @ 8:00pm) Gateway Church (Kid’s Ministry Building) 2nd Saturdays 7:30-9:30pm (Drums provided free) Beginners Session: Sundays 4:00-6:00pm y iddish ( H U LYANKE) 29646 Agoura Rd., Agoura 323-936-3274 • www.bangadrum.com 4843 Laurel Canyon Blvd, Valley Village 1st Thursdays Sherman Oaks 818-865-8602 REMO RECREATIONAL MUSIC CENTER 818-760-8322 • www.celticartscenter.com Sholem Community Org. BLUEGRASS ASSOC. OF SOUTHERN CALIFORNIA Community Drum Circle THE HARP INN Lenny Potash • 323-665-2908 Bluegrass Concerts Tuesdays 7:00-8:00pm (Drums provided free) 2nd Sundays 3:00–7:00pm WESTERN MUSIC 3rd Tuesdays 8:00pm 7308 Coldwater Canyon Ave., North Hollywood 130 E. 17th St., Costa Mesa Free (Dinner offering by Braemar) 818-982-0461 • www.remo.com 949-646-8855 • www.harpinn.com 3rd Sundays 1:00–3:00pm Braemar Country Club, Grille Room 4700 Western Heritage Way, Griffith Park VILLAGE MANDALA FINN McCOOL 818-971-5002 [email protected] 4001 Reseda Blvd. Tarzana Wednesdays 7:00pm-10:30pm Sundays 4:00-7:00pm Joy Felt 818-705-8870 • www.socalbluegrass.org Western Music Assoc., So. Cal Chapter 111 So. College Ave,. Claremont 2702 Main St., Santa Monica • 310-452-1734 hometown.aol.com/wmascc Blue Ridge Pickin’ Parlor 818-282-9001 909-626-3066 909-980-5663. GROUP SINGING Museum of the American West BLUE RIDGE PICKIN’ PARLOR Bluegrass Jam groups.yahoo.com/group/villagemandala (formerly Autry Museum) 7828 Chatsworth St., Granada Hills villagemandala.tribe.net BEACH CITIES FOLK MUSIC CLUB www.museumoftheamericanwest.org www.pickinparlor.com • 818-282-9001 WHITTIER COMMUNITY DRUM CIRCLE 3rd Thursdays 7:00pm-10:00pm $5 (call for schedule) First Sundays 3:30 to 5:30pm Free The Wayland home WORKSHOPS COFFEE CARTEL Bluegrass Concert Parnell Park Lambert Road and Scott Ave., Whittier 1642 Voorhees Avenue, Manhattan Beach L.A. SONGWRITERS CO-OP SONG WORKSHOP 1st & 3rd Thursdays 8:00-10:00pm 626-961-5453 • www.djembejoy.com www.beachcitiesfolkclub.org 3rd Thursdays 7:30pm Windy Ridge Bluegrass Band Dr. Music O P E N M I K E S JUST PLAIN FOLKS ORANGE COUNTY 1820 So. Catalina Ave., Redondo Beach Third Saturdays 7:00pm–9:00pm 1812 W. Colorado Blvd, Eagle Rock Frank Bayuk 310-567-6321 • [email protected] BOULEVARD MUSIC Linda Kraemer [email protected] 818-203-4939 [email protected] COFFEE GALLERY BACKSTAGE Bluegrass Jam 3rd Sundays - Variety Night www.JPFolks.org www.SongwritersCoop.com 2nd Sundays 12:30-3:30pm 4316 Sepulveda Blvd., Culver City SANTA MONICA TRADITIONAL FOLK MUSIC CLUB 2029 N. Lake, Altadena • www.coffeegallery.com 310-398-2583 [email protected] 1st Saturdays 7:30-11:30pm David Naiditch 626-797-1827 [email protected] FESTIVAL OF THE EGG Sha’Arei Am (Santa Monica Synagogue) COFFEE PLANTATION Bluegrass Jam 3rd Wednesdays 6:30pm - 1:30am 1448 18th St., Santa Monica • [email protected] 2nd Thursdays Slow Jam - 6:00pm- 30 min mostly-acoustic sets, all fem. Santa Monica Folk Music Club 4th Thursdays Open Jam - 6:00pm- Moonshadows www.santamonicafolkmusicclub.org 18122 Brookhurst S., Unit E , Fountain Valley 10437 Burbank Blvd., N. Hollywood TRADITIONAL FOLK MUSIC CIRCLE 714-962-2232 [email protected] 818-508-7008 4th Sundays 3:00-8:00pm CORONA BLUEGRASS JAM FOLK MUSIC CENTER Debby and Terry Koken’s house Mondays 7:00pm - 10:00pm 4th Sundays signup 7:00pm, 7:30pm $1 1778 Kenwood Pl., Costa Mesa BEFORE ATTENDING Crossroads Christian Church 220 Yale Ave., Claremont • 909-624-2928 [email protected] 949-574-0333 ANY EVENT 2331 Kellogg Ave. Corona THE FRET HOUSE SONGWRITER SHOWCASE Todd Holtkamp 951-347-2597 • [email protected] 1st Saturdays - signup 7:30pm Contact the event producer to ver- CAFÉ BELLISSIMO EL CAMINO COLLEGE 309 N. Citrus, Covina • 626-339-7020 ify information before attending www.covina.com/frethouse Main Street Songwriters Showcase Bluegrass Jam Tuesdays 7:30pm any event. (Things change!!!) 1st Sundays 1:00-5:00pm (12:00-4:00pm DST) HALLENBECKS 22458 Ventura Blvd., Woodland Hills 16007 Crenshaw Blvd., Torrance Tuesdays - signup 7:30pm - Free 818-25-0026 www.garretswayne.com/msss.html Bill Elliott 909-678-1180 5510 Cahuenga Blvd., North Hollywood CORRECTIONS Ron Walters 310-534-1439 818-985-5916 • www.hallenbecks.com L.A. SONGWRITER’S SHOWCASE FolkWorks attempts to provide 3rd Wednesdays 7:30pm ME-N-ED’S PIZZA PARLOR Bluegrass Concerts HIGHLAND GROUNDS Coffee Gallery Backstage current and accurate informa- Saturdays 6:30-10:30pm Wednesdays 8:00-11:00pm 2029 N. Lake Ave., Altadena • [email protected] 4115 Paramount Blvd. (at Carson), Lakewood 742 N. Highland Ave., Hollywood tion on all events but this is not 562-421-8908 323-466-1507 • ww.highlandgrounds.com SHAPE NOTE/SACRED HARP always possible. NORTH COUNTY BLUEGRASS NIGHT KULAK’S WOODSHED EAGLE ROCK 1st Tuesdays 7:00pm- Mondays 7:30pm • Free 1st Sundays 3:30-6:00pm Please send corrections to: Round Table Pizza 5230 1/2 Laurel Canyon Blvd., North Hollywood Mary Rose Ogren O’Leary 323-354-7707 [email protected] or 818- Ash and Washington St., Escondido (San Diego) 818-766-9913 • www.kulakswoodshed.com www.fasola.org Sandy Beesley [email protected] 785-3839 McCABE’S GUITAR SHOP WEST L.A. SDBS BLUEGRASS JAM Last Sundays 5:45pm 3rd Sundays 3:00-5:30pm LIST YOUR EVENT! 2nd Tuesdays 7:00-10:00pm 3101 Pico Boulevard, Santa Monica Pat Keating • 310-557-1927 Fuddruckers 5500 Grossmont Center Dr., La Mesa 310-828-4497 • www.mccabesguitar.com To have your on-going dance or 3rd Tuesdays 7:00-10:00pm SANTA MONICA THE LEARNERS GROUP Fuddruckers 340 3rd Ave., Chula Vista THE TALKING STICK 2nd Saturdays 4:00-6:00pm music event listed on www.Folk- 4th Tuesdays 6:00 - 9:00pm Wednesdays 8:00pm Laura • 310-450-3516 Works.org provide the following Boll Weevil Restaurant 1630 Ocean Park Blvd., Santa Monica SIGNAL HILL HOUSE JAM 7080 Miramar Rd., San Diego www.thetalkingstick.net 1st & 3rd Tuesday 6:00pm information: San Diego Bluegrass Society OLD TIME JAM SESSIONS 240 Industry Dr., Signal Hill • Indicate if it’s an on-going or [email protected] Don Rowan • 562- 961-0277 AUDUBON CENTER AND EUGENE DEBS PARK one-time event TORRANCE ELKS LOUNGE Bluegrass Jam 4th Saturdays Eugene Debs Park 1-4pm SONGMAKERS 4th Sundays 1:00-5:00pm 4700 North Griffin Ave., L.A. 1820 Abalone Ave., Torrance Wednesdays Simi Valley Hoot • Category/Type (i.e., Cajun, Joe Wack [email protected] Simi Valley 7:30-11:30pm • 805-583-5777 Bill Elliott 909-678-1180 www.ca.audubon.org/debs_park.htm Folk) Bob/Lynn Cater 310-678-1180 1st Mondays Musical 1st Monday CTMS CENTER FOR FOLK MUSIC Simi Valley 1:00-4:00pm • 805-520-1098 • Location Name THE UGLY MUG CAFE Bluegrass Jam 1st Sundays 1:00 - 4:00pm 3rd Sundays 7:00-9:00pm 16953 Ventura Blvd., Encino • 818-817-7756 1st Fridays North Country Hoot • Event Day(s) and Time 261 N. Glassell, Orange Northridge 8:00pm-Midnight • 818-993-8492 714-997-5610 or 714-524-0597 FRANK & JOE’S SOUTHERN SMOKEHOUSE Wednesdays 7:00pm 1st Saturdays Orange County Hoot • Cost VIVA CANTINA Bluegrass / Country Concerts 110 E. Colorado Blvd., Monrovia • 626-574-0292 Anaheim Hills 8:00pm-Midnight • 714-282-8112 1st, 3rd and occasional 5th Wednesdays • Event Sponsor or Organization The Brombies and guests • 8:00pm- HERMOSA BEACH 2nd Saturdays Camarillo Hoot 900 Riverside Dr., Burbank 2nd Saturdays 1:00-5:00pm Camarillo 8:00pm-Midnight • 805-484-7596 • Location Address and City 818-845-2425 • www.vivacantina.com location to be announced 3rd Thursdays Camarillo “Lite” Hoot Jim Hamilton • [email protected] VINCENZO’S PIZZA Bluegrass Concerts Camarillo 7:00-11:00pm • 805-482-0029 • Contact Name, Phone and/or Saturdays 7:30-10:30pm THE LIVING TRADITION 3rd Saturdays South Bay Hoot e-mail Grateful Dudes 4th Saturdays 5:00-6:30pm Redondo Beach 8:00pm-Midnight • 310-376-0222 24500 Lyons Ave., Newhall • 661-259-6733 Downtown Community Center 250 E. Center St., Anaheim 3rd Sundays East Valley Hoot Send to: [email protected] ZOEY’S CAFE Bluegrass Jam 714-870-8763 • [email protected] Van Nuys 1:00-5:00pm • 818-780-5979 2nd and 4th Thursdays 6:00pm - 9:30pm or 818-785-3839 451 E. Main St., Ventura • www.zoeyscafe.com 4th Saturdays West Valley Hoot NOTE: NOT ALL SESSIONS ARE Gene Rubin 805-658-8311 Woodland Hills 8:00pm-Midnight • 818-887-0446 OPEN, PLEASE ASK SESSION [email protected] 4th Sundays West L.A. Hoot & Potluck West L.A. 5:00-9:00pm • 310-203-0162 LEADER IF IT’S OK TO JOIN IN! 5th Saturdays Take The Fifth Hoot Sherman Oaks 8:00pm-Midnight • 818-761-2766

p a s s i n g s M arch 1 7 th 2 0 0 7 MISSING DES By Mimi Tanaka This St. Patrick’s Day was strangely quiet for many members of the Irish Community. The festivities went on as usual, but for many there was a distinct silence. There was no lively button box music, for Des Regan had passed away on February 19th, 2007. Desmond James O’Regan of Moycullen, County Galway, Ireland gave us the great joy of his music for the better part of his 70 years. Des Regan has been a central figure in the Irish Community, per- forming at many of the community events for decades with his Irish Show Band. His career as an Irish button accordion player is noted in Susan Gedutis’ book, See You at the Hall, ’s Golden Era of Irish Music and Dance. In his lifetime, he played with some of the best in Irish music including other box players such as Kevin Keegan and Joe Burke. Des was a distinguished player on an instrument that many mu- sicians forsake due to the challenges. His love of the music sailed through the jigs and reels he played. When he played A Bonnie Bunch of Roses, it sounded holy and you could hear the church bells resonat- ing. Those of us who were lucky enough to share sessions with him will mourn his passing for a long time. Page 16 FolkWorks MAY - JUNE 2007

FOLK HAPPENINGS AT A GLANCE MAY 2 0 0 7 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 2 OJAI STORYTELLING FESTIVAL (SE) OJAI STORYTELLING FESTIVAL (SE) 1 PRINCE DIABATE (SE) LOMA LINDA UKULELE CAPITOL STEPS (SE) OJAI STORYTELLING CLAREMONT FOLK FESTIVAL (SE) BERNIE PEARL (SE) FESTIVAL (SE) FESTIVAL (SE) SANDII CASTLEBERRY (SE) HALAU ‘O KEIKIALI’I (SE) Balkan (OGD) HULLABALOO FESTIVAL (SE) BALANDUGU KAN (SE) DON EDWARDS (SE) STAGECOACH FESTIVAL (SE) LOWEN & NAVARRO (SE) CAPITOL STEPS (SE) Cajun/Zydeco (OGD) RONNY COX (SE) ASSOCIATION OF RANDY SPARKS PRESENTS QUETZAL AND DANZA FLORICANTO/USA (SE) LAN TRAN (SE) DAVID WILCOX (SE) International (OGD) RAMBLIN’ JACK ELLIOT (SE) SANDII CASTLEBERRY (SE) FINGERSTYLE GUITARISTS (SE) ‘BUFFALO BILL’ BOYCOTT (SE) A FAR CRY (SE) HOMETOWN JAMBOREE (SE) African (OGD) CAPITOL STEPS (SE) ALAN THORNHILL (SE) Irish (OGD) ABIGAIL WASHBURN OLD WAYS DAYS (SE) BRIGHT EYES (SE) SEVERIN BROWNE CYRUS CLARKE With The (SE) AND THE EXPEDITION (SE) Armenian (OGD) Israeli (OGD) WINDY RIDGE BLUEGRASS (SE) THREE-PENNY UPRIGHT (SE) AND JAMES COBERLY SMITH (SE) Flamenco (OGD) STEVE YOUNG (SE) ROBERT MORGAN FISHER (SE) CAPITOL STEPS (SE) ROBIN HUW BOWEN (SE) PF SLOAN (SE) Scandinavian (OGD) SEVERIN BROWNE LAURIE LEWIS & TOM ROZUM (SE) ROSALIE SORRELS (SE) LOWEN & NAVARRO (SE) International (OGD) Scottish (OGD) KEN O’MALLEY (SE) AND JAMES COBERLY SMITH (SE) ROSEANNE CASH (SE) JOHN STANDEFER (SE) WINDY RIDGE BLUEGRASS (SE) PEPPINO D’AGOSTINO (SE) SION AND ANDERSON (SE) Israeli (OGD) Bluegrass (OGM) Cajun/Zydeco (OGD) LAURIE LEWIS & TOM ROZUM (SE) RICH DELGROSSO Contra (OGD) Persian (OGD) English (OGD) Flamenco (OGD) CAPITOL STEPS (SE) and MICHAEL LAMPERT (SE) THE SMOTHERS BROTHERS (SE) Drumming (OGM) UDAY BHAWALKAR (SE) Greek (OGD) ROSALIE SORRELS (SE) DAVID GRIER (SE) CELTIC WOMAN (SE) Scottish (OGD) Old Time Jam (OGM) Greek (OGD) MANIKRAO MUNDE (SE) PAUL GEREMIA (SE) STAN RIDGEWAY (SE) CELTIC WOMAN (SE) TATTERS (SE) International (OGD) Open Mike (OGM) Open Mike (OGM) International (OGD) African (OGD) Contra (OGD) SARA PETITE (SE) KEN O’MALLEY (SE) SION AND ANDERSON (SE) Israeli (OGD) Flamenco (OGD) Drum Circle (OGM) Irish (OGD) Israeli (OGD) KEN O’MALLEY (SE) Songmakers (OGM) Scottish (OGD) International (OGD) Contra (OGD) Greek (OGD) African (OGD) Contra (OGD) Songwriter Showcase (OGM) Scottish (OGD) Israeli (OGD) Tango (OGD) International (OGD) Flamenco (OGD) International (OGD) Songmakers (OGM) Bluegrass (OGM) Shape Note / Bluegrass (OGM) Israeli (OGD) Tango (OGD) Israeli (OGD) Scottish (OGD) Group Singing (OGM) Sacred Harp (OGM) Bluegrass (OGM) Group Singing (OGM) Yiddish Singing (OGM) Open Mike (OGM) Songmakers (OGM) Open Mike (OGM) Songmakers (OGM) Songmakers (OGM) 6 7 8 9 10 11 12 3 4 5 6 7 8 9 STAGECOACH FESTIVAL (SE) PARKFIELD BLUEGRASS FESTIVAL (SE) SAM HINTON FOLK CELEBRATION (SE) NATHAN MCEUEN (SE) VIENNA TENG / BERNIE PEARL (SE) PARKFIELD BLUEGRASS PARKFIELD BLUEGRASS African (OGD) (SE) SUSIE GLAZE (SE) Balkan (OGD) THE FOLK COLLECTION (SE) JONATHA BROOKE (SE) RHYTHM CHILD (SE) JENNY OWEN YOUNGS (SE) FESTIVAL (SE) FESTIVAL (SE) WINDY RIDGE BLUEGRASS (SE) MASANGA MARIMBA ENSEMBLE (SE) MICHAEL D. McCARTY (SE) CELTIC WOMAN (SE) ALISON BROWN QUARTET (SE) CHRIS PIERCE (SE) Contra (OGD) Balkan (OGD) LUCINDA WILLIAMS (SE) Cajun/Zydeco (OGD) WINDY RIDGE BLUEGRASS (SE) LINDA GELERIS (SE) FRANCISCO AGUABELLA (SE) African (OGD) LOREENA McKENNITT (SE) LOREENA McKENNITT (SE) LISA HALEY (SE) CAPITOL STEPS (SE) TRIPLE CHICKEN FOOT / GRANT MOJACAR FLAMENCO (SE) International (OGD) International (OGD) RIDERS OF THE PURPLE SAGE (SE) International (OGD) Cajun/Zydeco (OGD) A PRAIRIE HOME COMPANION (SE) THE FOLK COLLECTION (SE) DAVID GRIER (SE) STAN RIDGEWAY (SE) FAIRPORT CONVENTION (SE) PAT DONOHUE (SE) LANGSTON, JAMIE WYATT AND Armenian (OGD) with THE WORKING BERNIE PEARL (SE) DAVE IWATAKI’S J-TOWN / Polish (OGD) Irish (OGD) JOHN CRUZ Irish (OGD) English (OGD) ASHLEY MAHER BRIGHT EYES (SE) TRUELY BRONZEVILLE SUITE (SE) TISH HINAJOSA (SE) BELINDA GAIL Flamenco (OGD) COWBOY BAND (SE) KEN O’MALLEY (SE) Scottish (OGD) Israeli (OGD) with TODD HANNIGAN (SE) Israeli (OGD) Flamenco (OGD) plus LISA LYNNE & ADJOA (SE) & CURLY MUSGRAVE (SE) LAN TRAN (SE) NATHAN MCEUEN (SE) KILLING CASSANOVA (SE) JOHN TAYLOR AND HAM THE REFUGEES (SE) (SE) International (OGD) Balkan (OGD) FAIRPORT CONVENTION (SE) FAIRPORT CONVENTION (SE) WITH EVAN MARSHALL (SE) Israeli (OGD) Morris (OGD) African (OGD) Scandinavian (OGD) Greek (OGD) WE 5 MISSY RAINES (SE) JOHN STANDEFER (SE) Balkan (OGD) BERKELEY HART & MARK FOFFON (SE) JOEL RAFAEL (SE) VIENNA TENG Israeli (OGD) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) PERFECT STRANGERS (SE) Bluegrass Jam (OGM) Scandinavian (OGD) Armenian (OGD) Scottish (OGD) International (OGD) JAMIE LAVAL And ASHLEY With RAMON AND JESSICA (SE) International (OGD) AL KOOPER (SE) AL KOOPER (SE) MICK OVERMAN (SE) BRODER (SE) JOHN BATDORF and JENNY OWEN YOUNGS (SE) Persian (OGD) International (OGD) Flamenco (OGD) SARA PETITE (SE) Old Time Jam (OGM) Scottish (OGD) Flamenco (OGD) Bluegrass (OGM) Irish (OGD) JAMES LEE STANLEY (SE) Irish (OGD) Israeli (OGD) TATTERS (SE) Scottish (OGD) Irish (OGD) Greek (OGD) KEN O’MALLEY (SE) PERFECT STRANGERS (SE) Irish Session (OGM) Bluegrass (OGM) International (OGD) Drumming (OGM) Israeli (OGD) / DUSTY RHODES PANCHO SANCHEZ (SE) RONNY COX (SE) Morris (OGD) Bluegrass Jam (OGM) International (OGD) Greek (OGD) GOVE SCRIVENOR (SE) Israeli (OGD) AND THE RIVER BAND (SE) BOB SCHNEIDER (SE) LOS LOBOS (SE) Israeli (OGD) Drum Circle (OGM) Irish Session (OGM) Old Time Jam (OGM) Scottish (OGD) African (OGD) Contra (OGD) African (OGD) Contra (OGD) Scandinavian (OGD) Hungarian (OGD) THE FOLK COLLECTION (SE) HEATHER MYLES & THE CADILLAC International (OGD) Open Mike (OGM) Scandinavian (OGD) Irish (OGD) GREGORY PAGE (SE) Shape Note / Sacred Harp (OGM) Open Mike (OGM) Persian (OGD) Open Mike (OGM) Bluegrass (OGM) English (OGD) Flamenco (OGD) Scottish (OGD) COWBOYS with THE SLIDEWINDERS Polish (OGD) Scottish (OGD) Drum Circle (OGM) Scottish (OGD) Israeli (OGD) International (OGD) African (OGD) Contra (OGD) Welsh Choir (OGM) Bluegrass Jam (OGM) Scottish (OGD) Songmakers (OGM) Yiddish Singing (OGM) International (OGD) Israeli (OGD) Bluegrass Jam (OGM) Bluegrass (OGM) English (OGD) Flamenco (OGD) & THE GOLDEN HILL RAMBLERS (SE) Songwriter Showcase (OGM) Drumming (OGM) Scottish (OGD) Scottish (OGD) Songmakers (OGM) Open Mike (OGM) Israeli (OGD) Tango (OGD) Old Time Jam (OGM) Irish Session (OGM) International (OGD) Israeli (OGD) KEN O’MALLEY (SE) Bluegrass (OGM) Group Singing (OGM) Irish Session (OGM) Old Time Jam (OGM) Bluegrass Jam (OGM) Tango (OGD) Bluegrass (OGM) Drum Circle (OGM) Greek (OGD) Hungarian (OGD) Open Mike (OGM) Drum Circle (OGM) Drum Circle (OGM) Open Mike (OGM) Group Singing (OGM) Drum Circle (OGM) Songwriter Showcase (OGM) International (OGD) Old Time Jam (OGM) Shape Note / Sacred Harp (OGM) Bluegrass Jam (OGM) Old Time Jam (OGM) Songmakers (OGM) Songmakers (OGM) Shape Note / Sacred Harp (OGM) Scottish (OGD) Songmakers (OGM) Welsh Choir (OGM) Songmakers (OGM) 13 14 15 16 17 18 19 10 12 13 14 15 16 PARKFIELD BLUEGRASS DITTY BOPS (SE) BLUEGRASS REDLINERS (SE) ALEXANDRA KING (SE) HIGH HILLS BLUEGRASS BAND (SE) CONEJO COWBOY POETRY & WEST- CONEJO COWBOY POETRY & ROGER CAIRNS (SE) 11 African (OGD) JAKE SHIMABUKURO (SE) CBA Father’s Day CBA FATHER’S DAY CBA FATHER’S DAY WESTERN MUSIC FESTIVAL (SE) Balkan (OGD) FESTIVAL (SE) ZYDECO DANCE With ERN MUSIC FESTIVAL (SE) Bluegrass Festival (SE) BLUEGRASS FESTIVAL (SE) BLUEGRASS FESTIVAL (SE) TISH HINAJOSA (SE) BUDDY GUY (SE) Balkan (OGD) JEFFERY BROUSSARD and the OLD TIME SOCIAL (SE) MARY CHAPIN CARPTENTER (SE) International (OGD) Armenian (OGD) Balkan (OGD) GOVE SCRIVENOR (SE) OLD TIME SOCIAL (SE) AUTOHARP FESTIVAL (SE) KEN O’MALLEY (SE) HUCK FINN COUNTRY & BLUE- HUCK FINN COUNTRY & BLUEGRASS Balkan (OGD) African (OGD) Cajun/Zydeco (OGD) CREOLE COWBOYS (SE) JOHN BATDORF and Irish (OGD) Flamenco (OGD) Cajun/Zydeco (OGD) JUBILEE (SE) FAIRPORT CONVENTION (SE) International (OGD) Armenian (OGD) International (OGD) BUDDY GUY (SE) AUTOHARP FESTIVAL (SE) DOHENY BLUES FESTIVAL (SE) JAMES LEE STANLEY (SE) International (OGD) International (OGD) Cajun/Zydeco (OGD) GRASS JUBILEE (SE) INDIAN FAIR (SE) LISA FINNIE (SE) Israeli (OGD) LIVE OAK MUSIC FESTIVAL (SE) ASLEEP AT THE WHEEL (SE) JESSE WINCHESTER (SE) & African (OGD) Flamenco (OGD) LIVE OAK MUSIC FESTIVAL (SE) Irish (OGD) Flamenco (OGD) Irish (OGD) OLD TIME SOCIAL (SE) Morris (OGD) Israeli (OGD) Irish (OGD) SAN FRANCISCO TRIPLE CHICKEN FOOT (SE) Israeli (OGD) International (OGD) Israeli (OGD) LYNN MARIE (SE) KELLY JOE PHELPS (SE) OLD TOWN TEMECULA WESTERN DAYS (SE) Cajun/Zydeco (OGD) Persian (OGD) Israeli (OGD) Greek (OGD) BERNIE PEARL (SE) FREE FOLK FESTIVAL (SE) WINDY RIDGE BLUEGRASS (SE) Scandinavian (OGD) African (OGD) Morris (OGD) Israeli (OGD) Scandinavian (OGD) THE KNITTERS (SE) OPEN DOOR ORCHESTRA (SE) Contra (OGD) Scottish (OGD) Scandinavian (OGD) International (OGD) PRINCE DIABATE (SE) ASHLEY MAHER (SE) TRIPLE CHICKEN FOOT (SE) JEFF LINSKY (SE) STAGEROBBERS BLUEGRASS BAND (SE) Scottish (OGD) LAURENCE JUBER (SE) BERNIE PEARL plus DWAYNE SMITH (SE) Cajun/Zydeco (OGD) Scandinavian (OGD) Persian (OGD) Scottish (OGD) BERNIE PEARL (SE) JEFF LINSKY (SE) International (OGD) Bluegrass Jam (OGM) Scottish (OGD) Irish (OGD) KEN O’MALLEY (SE) Bluegrass Jam (OGM) PRINCE DIABATE (SE) Contra (OGD) Scottish (OGD) Scottish (OGD) Bluegrass (OGM) Cajun/Zydeco (OGD) DANNY O’KEEFE (SE) ASHLEY MAHER With REG MEUROSS (SE) Israeli (OGD) Open Mike (OGM) Drumming (OGM) Israeli (OGD) JOHNNY WINTER (SE) Irish Session (OGM) JANET KLEIN (SE) International (OGD) Bluegrass Jam (OGM) Bluegrass (OGM) Open Mike (OGM) English (OGD) HOT CLUB QUARTETTE (SE) RIDERS OF THE PURPLE SAGE (SE) Polish (OGD) Drum Circle (OGM) Old Time Jam (OGM) Scottish (OGD) Contra (OGD) THE BE GOOD TANYAS STAN WEST (SE) KELLY JOE PHELPS (SE) Open Mike (OGM) Greek (OGD) (SE) Israeli (OGD) Irish Session (OGM) Bluegrass Jam (OGM) Old Time Jam (OGM) Flamenco (OGD) JESSE WINCHESTER & TOM RUSH (SE) Scottish (OGD) Songwriter Showcase (OGM) Open Mike (OGM) Bluegrass Jam (OGM) Greek (OGD) with SEAN HAYES (SE) PETE MORTON Polish (OGD) Open Mike (OGM) Drum Circle (OGM) Drumming (OGM) PHIL PARLAPIANO with LOWEN & NAVARRO (SE) Bluegrass (OGM) Songmakers (OGM) International (OGD) plus MARIA DUNN (SE) International (OGD) Contra (OGD) PATTY HALL and PAUL ARNOLDI (SE) Scottish (OGD) Open Mike (OGM) Songwriter Showcase (OGM) Irish Session (OGM) Scottish (OGD) LAURENCE JUBER (SE) Irish (OGD) Israeli (OGD) Greek (OGD) STEVE FERGUSON plus ROBBY LONGLEY (SE) Bluegrass (OGM) Songwriter Showcase (OGM) Songmakers (OGM) Scottish (OGD) Bluegrass (OGM) CARLOS OLMEDA (SE) Welsh Choir (OGM) African (OGD) Contra (OGD) International (OGD) Irish Session (OGM) Shape Note / Group Singing (OGM) African (OGD) Contra (OGD) Flamenco (OGD) International (OGD) Welsh Choir (OGM) Sacred Harp (OGM) Workshops (OGM) Scottish (OGD) Flamenco (OGD) International (OGD) Israeli (OGD) Tango (OGD) Songmakers (OGM) Israeli (OGD) Tango (OGD) Bluegrass (OGM) Bluegrass (OGM) Group Singing (OGM) Group Singing (OGM) Songmakers (OGM) Songmakers (OGM) 20 21 22 23 24 25 26 17 18 19 20 21 22 23 TOPANGA BANJO FIDDLE STRAWBERRY MUSIC FESTIVAL (SE) CBA FATHER’S DAY SUMMER SOLSTICE FOLK MUSIC, DANCE & Balkan (OGD) African (OGD) Balkan (OGD) STRAWBERRY MUSIC STRAWBERRY MUSIC Balkan (OGD) CHRIS STUART Balkan (OGD) WINDY RIDGE BLUEGRASS (SE) SUMMER SOLSTICE FOLK MUSIC, STORYTELLING FESTIVAL (SE) CONTEST AND FOLK FESTIVAL (SE) CAJUN/CREOLE FESTIVAL (SE) BLUEGRASS FESTIVAL (SE) International (OGD) Armenian (OGD) Cajun/Zydeco (OGD) FESTIVAL (SE) FESTIVAL (SE) International (OGD) and BACKCOUNTRY (SE) Cajun/Zydeco (OGD) IRIS DEMENT (SE) DANCE & IRISH FAIR & MUSIC FESTIVAL (SE) SEVERIN BROWNE & JAMES COBERLY HUCK FINN COUNTRY DOHENY BLUES FESTIVAL (SE) BERNIE PEARL (SE) TISH HINOJOSA (SE) African (OGD) STORYTELLING FESTIVAL (SE) LONG BEACH BAYOU FESTIVAL (SE) Irish (OGD) Flamenco (OGD) International (OGD) SMITH & THE BROTHERS CAZIMERO (SE) & BLUEGRASS JUBILEE (SE) Irish (OGD) International (OGD) (SE) AUTOHARP FESTIVAL (SE) LONG BEACH ANDREA FERRAZ (SE) Israeli (OGD) International (OGD) Irish (OGD) ZYDECO DANCE DENNIS ROGER REED (SE) ALFREDO ROLANDO ORTIZ (SE) LIVE OAK MUSIC FESTIVAL (SE) Israeli (OGD) Armenian (OGD) Irish (OGD) Cajun/Zydeco (OGD) GWENDOLYN With WILLIE BUSHNELL (SE) BAYOU FESTIVAL (SE) VENICE (SE) & The GOODTIME GANG (SE) Morris (OGD) Israeli (OGD) Israeli (OGD) MARLEY’S GHOST (SE) AMY HANAIALI’I SAN FRANCISCO FREE FOLK FESTIVAL (SE) Morris (OGD) Flamenco (OGD) Israeli (OGD) English (OGD) MIGHTY ECHOES (SE) VENICE (SE) YUVAL RON ENSEMBLE (SE) Scandinavian (OGD) Persian (OGD) Scandinavian (OGD) REG MUEROSS and FUR DIXON HOT CLUB QUARTET (SE) plus KAUKAHI & KELI’I KANEALI’I (SE) MARIA DUNN (SE) Scandinavian (OGD) International (OGD) Scandinavian (OGD) Flamenco (OGD) DUO TONES (SE) and STEVE WERNER (SE) HIGH HILLS BLUEGRASS BAND (SE) JOHN STEWART (SE) INCENDIO (SE) LOCAL ARTISTS IN THE ROUND (SE) TISH HINAJOSA (SE) Scottish (OGD) Scottish (OGD) Scottish (OGD) MOJACAR FLAMENCO (SE) Scottish (OGD) Israeli (OGD) Scottish (OGD) Greek (OGD) Cajun/Zydeco (OGD) ALAN RHODY (SE) RONU MAJUMDAR Greek (OGD) JOHN BATDORF and JAMES LEE STANLEY SLIGO RAGS (SE) Bluegrass Jam (OGM) Bluegrass Jam (OGM) Old Time Jam (OGM) KEN O’MALLEY (SE) and ABHIJIT BANERJEE (SE) Bluegrass Jam (OGM) Persian (OGD) Bluegrass (OGM) International (OGD) (SE) Flamenco (OGD) IAN WHITCOMB Hungarian (OGD) TATTERS (SE) Irish Session (OGM) Drum Circle (OGM) Drumming (OGM) Greek (OGD) plus FRED SOKOLOW (SE) African (OGD) Irish Session (OGM) Scottish (OGD) Open Mike (OGM) Irish (OGD) DUCK BAKER (SE) KELLY JOE PHELPS (SE) Greek (OGD) International (OGD) JIMMY LaFAVE, Open Mike (OGM) Open Mike (OGM) Open Mike (OGM) Hungarian (OGD) PAUL GEREMIA (SE) International (OGD) Open Mike (OGM) Bluegrass (OGM) Old Time Jam (OGM) Israeli (OGD) ANDREW HARDIN & JOHN INMON African (OGD) International (OGD) International (OGD) Scottish (OGD) Songwriter Showcase (OGM) Songmakers (OGM) International (OGD) AARON BOWEN (SE) Israeli (OGD) Polish (OGD) Bluegrass Jam (OGM) Drumming (OGM) Scottish (OGD) Plus JOEL RAFAEL (SE) Israeli (OGD) Polish (OGD) Irish (OGD) African (OGD) Contra (OGD) Scottish (OGD) (SE) Scottish (OGD) English (OGD) Flamenco (OGD) Drum Circle (OGM) Songwriter Showcase (OGM) Bluegrass (OGM) Scottish (OGD) Bluegrass Jam (OGM) Israeli (OGD) Bluegrass Jam (OGM) African (OGD) Contra (OGD) Irish Session (OGM) Open Mike (OGM) International (OGD) Israeli (OGD) Irish Session (OGM) Open Mike (OGM) Songmakers (OGM) Group Singing (OGM) English (OGD) Flamenco (OGD) Scottish (OGD) Tango (OGD) Old Time Jam (OGM) Songmakers (OGM) Open Mike (OGM) Songwriter Showcase (OGM) Workshops (OGM) Bluegrass Jam (OGM) Songmakers (OGM) International (OGD) Israeli (OGD) Welsh Choir (OGM) Songmakers (OGM) Shape Note / Sacred Harp (OGM) Songmakers (OGM) Tango (OGD) Western Music (OGM) Welsh Choir (OGM) Old Time Jam (OGM) Western Music (OGM) Songmakers (OGM) 27 28 29 30 31 24 25 26 27 28 29 30 SUMMER SOLSTICE FOLK MUSIC, DANCE & STRAWBERRY MUSIC FESTIVAL (SE) Balkan (OGD) (SE) KEN O’MALLEY (SE) THE SMOTHERS BROTHERS (SE) STORYTELLING FESTIVAL (SE) THE BROMBIES (SE) African (OGD) AND UNION STATION JOEL RAFAEL (SE) KATE WOLF MEMORIAL MUSIC KATE WOLF MEMORIAL MUSIC CAJUN/CREOLE FESTIVAL (SE) International (OGD) African (OGD) LISA FINNIE & JOHN STANDEFER (SE) IRISH FAIR & MUSIC FESTIVAL (SE) Balkan (OGD) Armenian (OGD) with and TONY KEN O’MALLEY (SE) FESTIVAL (SE) FESTIVAL (SE) THE SHERWOOD CONSORT (SE) Irish (OGD) Armenian (OGD) PATTY BOOKER (SE) BESTER QUARTET LONG BEACH BAYOU FESTIVAL (SE) International (OGD) Flamenco (OGD) RICE (SE) Cajun/Zydeco (OGD) EVAN MARSHALL (SE) LOS PINGOUS (SE) LOUDON WAINRIGHT III (SE) Israeli (OGD) Flamenco (OGD) JOHN STANDEFER (SE) and MOTION TRIO (SE) JIMMY LAFAVE (SE) Irish (OGD) International (OGD) KEN O’MALLEY (SE) Flamenco (OGD) ALISON KRAUSS AND UNION STATION LISA HALEY and the ZYDECATS (SE) MASANGA MARIMBA ENSEMBLE (SE) Balkan (OGD) with JERRY DOUGLAS and TONY African (OGD) Morris (OGD) International (OGD) Balkan (OGD) KEN O’MALLEY (SE) JOHN BATDORF and Israeli (OGD) Israeli (OGD) Greek (OGD) BERNIE PEARL (SE) RICE (SE) International (OGD) Scandinavian (OGD) Israeli (OGD) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) JAMES LEE STANLEY (SE) Morris (OGD) Persian (OGD) Cajun/Zydeco (OGD) International (OGD) SLIGO RAGS (SE) JESSE COLIN YOUNG DENNIS ROGER REED (SE) Israeli (OGD) Scottish (OGD) Persian (OGD) International (OGD) Flamenco (OGD) & CELTIC MAMBO (SE) Scandinavian (OGD) Scottish (OGD) International (OGD) Irish (OGD) JOHN BATDORF SYD KITCHEN (SE) Polish (OGD) Bluegrass Jam (OGM) Scottish (OGD) Irish (OGD) Greek (OGD) African (OGD) Scottish (OGD) Bluegrass Jam (OGM) Irish (OGD) Israeli (OGD) and JAMES LEE STANLEY (SE) International (OGD) WE 5 (SE) Scottish (OGD) Irish Session (OGM) Drum Circle (OGM) Israeli (OGD) International (OGD) Bluegrass Jam (OGM) Drum Circle (OGM) Israeli (OGD) Scottish (OGD) KEN O’MALLEY (SE) Israeli (OGD) Greek (OGD) Bluegrass Jam (OGM) Open Mike (OGM) Open Mike (OGM) Scandinavian (OGD) Irish (OGD) Polish (OGD) Irish Session (OGM) Open Mike (OGM) Scandinavian (OGD) Bluegrass Jam (OGM) HIGH HILLS International (OGD) BLUEGRASS BAND (SE) Group Singing (OGM) Songwriter Showcase (OGM) Scottish (OGD) Israeli (OGD) Scottish (OGD) Open Mike (OGM) Songwriter Showcase (OGM) Scottish (OGD) Bluegrass Jam (OGM) Scottish (OGD) African (OGD) Contra (OGD) Irish Session (OGM) Drumming (OGM) Scottish (OGD) Old Time Jam (OGM) Group Singing (OGM) Flamenco (OGD) Open Mike (OGM) Old Time Jam (OGM) Irish Session (OGM) Drumming (OGM) International (OGD) Songmakers (OGM) Open Mike (OGM) Open Mike (OGM) Open Mike (OGM) Songmakers (OGM) Israeli (OGD) Welsh Choir (OGM) Songmakers (OGM) Songmakers (OGM) Welsh Choir (OGM) Tango (OGD) Bluegras MAY - JUNE 2007 FolkWorks Page 17

FOLK HAPPENINGS AT A GLANCE JUNE 2 0 0 7 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 2 OJAI STORYTELLING FESTIVAL (SE) OJAI STORYTELLING FESTIVAL (SE) 1 PRINCE DIABATE (SE) LOMA LINDA UKULELE CAPITOL STEPS (SE) OJAI STORYTELLING CLAREMONT FOLK FESTIVAL (SE) BERNIE PEARL (SE) FESTIVAL (SE) FESTIVAL (SE) SANDII CASTLEBERRY (SE) HALAU ‘O KEIKIALI’I (SE) Balkan (OGD) HULLABALOO FESTIVAL (SE) BALANDUGU KAN (SE) DON EDWARDS (SE) STAGECOACH FESTIVAL (SE) LOWEN & NAVARRO (SE) CAPITOL STEPS (SE) Cajun/Zydeco (OGD) RONNY COX (SE) ASSOCIATION OF RANDY SPARKS PRESENTS QUETZAL AND DANZA FLORICANTO/USA (SE) LAN TRAN (SE) DAVID WILCOX (SE) International (OGD) RAMBLIN’ JACK ELLIOT (SE) SANDII CASTLEBERRY (SE) FINGERSTYLE GUITARISTS (SE) ‘BUFFALO BILL’ BOYCOTT (SE) A FAR CRY (SE) HOMETOWN JAMBOREE (SE) African (OGD) CAPITOL STEPS (SE) ALAN THORNHILL (SE) Irish (OGD) ABIGAIL WASHBURN OLD WAYS DAYS (SE) BRIGHT EYES (SE) SEVERIN BROWNE CYRUS CLARKE With The SPARROW QUARTET (SE) AND THE EXPEDITION (SE) Armenian (OGD) Israeli (OGD) WINDY RIDGE BLUEGRASS (SE) THREE-PENNY UPRIGHT (SE) AND JAMES COBERLY SMITH (SE) Flamenco (OGD) STEVE YOUNG (SE) ROBERT MORGAN FISHER (SE) CAPITOL STEPS (SE) ROBIN HUW BOWEN (SE) PF SLOAN (SE) Scandinavian (OGD) SEVERIN BROWNE LAURIE LEWIS & TOM ROZUM (SE) ROSALIE SORRELS (SE) LOWEN & NAVARRO (SE) International (OGD) Scottish (OGD) KEN O’MALLEY (SE) AND JAMES COBERLY SMITH (SE) ROSEANNE CASH (SE) JOHN STANDEFER (SE) WINDY RIDGE BLUEGRASS (SE) PEPPINO D’AGOSTINO (SE) SION AND ANDERSON (SE) Israeli (OGD) Bluegrass (OGM) Cajun/Zydeco (OGD) LAURIE LEWIS & TOM ROZUM (SE) RICH DELGROSSO Contra (OGD) Persian (OGD) English (OGD) Flamenco (OGD) CAPITOL STEPS (SE) and MICHAEL LAMPERT (SE) THE SMOTHERS BROTHERS (SE) Drumming (OGM) UDAY BHAWALKAR (SE) Greek (OGD) ROSALIE SORRELS (SE) DAVID GRIER (SE) CELTIC WOMAN (SE) Scottish (OGD) Old Time Jam (OGM) Greek (OGD) MANIKRAO MUNDE (SE) PAUL GEREMIA (SE) STAN RIDGEWAY (SE) CELTIC WOMAN (SE) TATTERS (SE) International (OGD) Open Mike (OGM) Open Mike (OGM) International (OGD) African (OGD) Contra (OGD) SARA PETITE (SE) KEN O’MALLEY (SE) SION AND ANDERSON (SE) Israeli (OGD) Flamenco (OGD) Drum Circle (OGM) Irish (OGD) Israeli (OGD) KEN O’MALLEY (SE) Songmakers (OGM) Scottish (OGD) International (OGD) Contra (OGD) Greek (OGD) African (OGD) Contra (OGD) Songwriter Showcase (OGM) Scottish (OGD) Israeli (OGD) Tango (OGD) International (OGD) Flamenco (OGD) International (OGD) Songmakers (OGM) Bluegrass (OGM) Shape Note / Bluegrass (OGM) Israeli (OGD) Tango (OGD) Israeli (OGD) Scottish (OGD) Group Singing (OGM) Sacred Harp (OGM) Bluegrass (OGM) Group Singing (OGM) Yiddish Singing (OGM) Open Mike (OGM) Songmakers (OGM) Open Mike (OGM) Songmakers (OGM) Songmakers (OGM) 6 7 8 9 10 11 12 3 4 5 6 7 8 9 STAGECOACH FESTIVAL (SE) PARKFIELD BLUEGRASS FESTIVAL (SE) SAM HINTON FOLK CELEBRATION (SE) NATHAN MCEUEN (SE) VIENNA TENG / BERNIE PEARL (SE) PARKFIELD BLUEGRASS PARKFIELD BLUEGRASS African (OGD) INDIGO GIRLS (SE) SUSIE GLAZE (SE) Balkan (OGD) THE FOLK COLLECTION (SE) JONATHA BROOKE (SE) RHYTHM CHILD (SE) JENNY OWEN YOUNGS (SE) FESTIVAL (SE) FESTIVAL (SE) WINDY RIDGE BLUEGRASS (SE) MASANGA MARIMBA ENSEMBLE (SE) MICHAEL D. McCARTY (SE) CELTIC WOMAN (SE) ALISON BROWN QUARTET (SE) CHRIS PIERCE (SE) Contra (OGD) Balkan (OGD) LUCINDA WILLIAMS (SE) Cajun/Zydeco (OGD) WINDY RIDGE BLUEGRASS (SE) LINDA GELERIS (SE) FRANCISCO AGUABELLA (SE) African (OGD) LOREENA McKENNITT (SE) LOREENA McKENNITT (SE) LISA HALEY (SE) CAPITOL STEPS (SE) TRIPLE CHICKEN FOOT / GRANT ASLEEP AT THE WHEEL MOJACAR FLAMENCO (SE) International (OGD) International (OGD) RIDERS OF THE PURPLE SAGE (SE) International (OGD) Cajun/Zydeco (OGD) A PRAIRIE HOME COMPANION (SE) THE FOLK COLLECTION (SE) DAVID GRIER (SE) STAN RIDGEWAY (SE) FAIRPORT CONVENTION (SE) PAT DONOHUE (SE) LANGSTON, JAMIE WYATT AND Armenian (OGD) with THE WORKING BERNIE PEARL (SE) DAVE IWATAKI’S J-TOWN / Polish (OGD) Irish (OGD) JOHN CRUZ Irish (OGD) English (OGD) ASHLEY MAHER BRIGHT EYES (SE) TRUELY BRONZEVILLE SUITE (SE) TISH HINAJOSA (SE) BELINDA GAIL Flamenco (OGD) COWBOY BAND (SE) KEN O’MALLEY (SE) Scottish (OGD) Israeli (OGD) with TODD HANNIGAN (SE) Israeli (OGD) Flamenco (OGD) plus LISA LYNNE & ADJOA (SE) & CURLY MUSGRAVE (SE) LAN TRAN (SE) NATHAN MCEUEN (SE) KILLING CASSANOVA (SE) JOHN TAYLOR AND HAM THE REFUGEES (SE) JOEL RAFAEL (SE) International (OGD) Balkan (OGD) FAIRPORT CONVENTION (SE) FAIRPORT CONVENTION (SE) WITH EVAN MARSHALL (SE) Israeli (OGD) Morris (OGD) African (OGD) Scandinavian (OGD) Greek (OGD) WE 5 MISSY RAINES (SE) JOHN STANDEFER (SE) Balkan (OGD) BERKELEY HART & MARK FOFFON (SE) JOEL RAFAEL (SE) VIENNA TENG Israeli (OGD) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) PERFECT STRANGERS (SE) Bluegrass Jam (OGM) Scandinavian (OGD) Armenian (OGD) Scottish (OGD) International (OGD) JAMIE LAVAL And ASHLEY With RAMON AND JESSICA (SE) International (OGD) AL KOOPER (SE) AL KOOPER (SE) MICK OVERMAN (SE) BRODER (SE) JOHN BATDORF and JENNY OWEN YOUNGS (SE) Persian (OGD) International (OGD) Flamenco (OGD) SARA PETITE (SE) Old Time Jam (OGM) Scottish (OGD) Flamenco (OGD) Bluegrass (OGM) Irish (OGD) JAMES LEE STANLEY (SE) Irish (OGD) Israeli (OGD) TATTERS (SE) Scottish (OGD) Irish (OGD) Greek (OGD) KEN O’MALLEY (SE) PERFECT STRANGERS (SE) Irish Session (OGM) Bluegrass (OGM) International (OGD) Drumming (OGM) Israeli (OGD) LOS LOBOS / DUSTY RHODES PANCHO SANCHEZ (SE) RONNY COX (SE) Morris (OGD) Bluegrass Jam (OGM) International (OGD) Greek (OGD) GOVE SCRIVENOR (SE) Israeli (OGD) AND THE RIVER BAND (SE) BOB SCHNEIDER (SE) LOS LOBOS (SE) Israeli (OGD) Drum Circle (OGM) Irish Session (OGM) Old Time Jam (OGM) Scottish (OGD) African (OGD) Contra (OGD) African (OGD) Contra (OGD) Scandinavian (OGD) Hungarian (OGD) THE FOLK COLLECTION (SE) HEATHER MYLES & THE CADILLAC International (OGD) Open Mike (OGM) Scandinavian (OGD) Irish (OGD) GREGORY PAGE (SE) Shape Note / Sacred Harp (OGM) Open Mike (OGM) Persian (OGD) Open Mike (OGM) Bluegrass (OGM) English (OGD) Flamenco (OGD) Scottish (OGD) COWBOYS with THE SLIDEWINDERS Polish (OGD) Scottish (OGD) Drum Circle (OGM) Scottish (OGD) Israeli (OGD) International (OGD) African (OGD) Contra (OGD) Welsh Choir (OGM) Bluegrass Jam (OGM) Scottish (OGD) Songmakers (OGM) Yiddish Singing (OGM) International (OGD) Israeli (OGD) Bluegrass Jam (OGM) Bluegrass (OGM) English (OGD) Flamenco (OGD) & THE GOLDEN HILL RAMBLERS (SE) Songwriter Showcase (OGM) Drumming (OGM) Scottish (OGD) Scottish (OGD) Songmakers (OGM) Open Mike (OGM) Israeli (OGD) Tango (OGD) Old Time Jam (OGM) Irish Session (OGM) International (OGD) Israeli (OGD) KEN O’MALLEY (SE) Bluegrass (OGM) Group Singing (OGM) Irish Session (OGM) Old Time Jam (OGM) Bluegrass Jam (OGM) Tango (OGD) Bluegrass (OGM) Drum Circle (OGM) Greek (OGD) Hungarian (OGD) Open Mike (OGM) Drum Circle (OGM) Drum Circle (OGM) Open Mike (OGM) Group Singing (OGM) Drum Circle (OGM) Songwriter Showcase (OGM) International (OGD) Old Time Jam (OGM) Shape Note / Sacred Harp (OGM) Bluegrass Jam (OGM) Old Time Jam (OGM) Songmakers (OGM) Songmakers (OGM) Shape Note / Sacred Harp (OGM) Scottish (OGD) Songmakers (OGM) Welsh Choir (OGM) Songmakers (OGM) 13 14 15 16 17 18 19 10 12 13 14 15 16 PARKFIELD BLUEGRASS DITTY BOPS (SE) BLUEGRASS REDLINERS (SE) ALEXANDRA KING (SE) HIGH HILLS BLUEGRASS BAND (SE) CONEJO COWBOY POETRY & WEST- CONEJO COWBOY POETRY & ROGER CAIRNS (SE) 11 African (OGD) JAKE SHIMABUKURO (SE) CBA Father’s Day CBA FATHER’S DAY CBA FATHER’S DAY WESTERN MUSIC FESTIVAL (SE) Balkan (OGD) FESTIVAL (SE) ZYDECO DANCE With ERN MUSIC FESTIVAL (SE) Bluegrass Festival (SE) BLUEGRASS FESTIVAL (SE) BLUEGRASS FESTIVAL (SE) TISH HINAJOSA (SE) BUDDY GUY (SE) Balkan (OGD) JEFFERY BROUSSARD and the OLD TIME SOCIAL (SE) MARY CHAPIN CARPTENTER (SE) International (OGD) Armenian (OGD) Balkan (OGD) GOVE SCRIVENOR (SE) OLD TIME SOCIAL (SE) AUTOHARP FESTIVAL (SE) KEN O’MALLEY (SE) HUCK FINN COUNTRY & BLUE- HUCK FINN COUNTRY & BLUEGRASS Balkan (OGD) African (OGD) Cajun/Zydeco (OGD) CREOLE COWBOYS (SE) JOHN BATDORF and Irish (OGD) Flamenco (OGD) Cajun/Zydeco (OGD) JUBILEE (SE) FAIRPORT CONVENTION (SE) International (OGD) Armenian (OGD) International (OGD) BUDDY GUY (SE) AUTOHARP FESTIVAL (SE) DOHENY BLUES FESTIVAL (SE) JAMES LEE STANLEY (SE) International (OGD) International (OGD) Cajun/Zydeco (OGD) GRASS JUBILEE (SE) INDIAN FAIR (SE) LISA FINNIE (SE) Israeli (OGD) LIVE OAK MUSIC FESTIVAL (SE) ASLEEP AT THE WHEEL (SE) JESSE WINCHESTER (SE) RORY BLOCK & African (OGD) Flamenco (OGD) LIVE OAK MUSIC FESTIVAL (SE) Irish (OGD) Flamenco (OGD) Irish (OGD) OLD TIME SOCIAL (SE) Morris (OGD) Israeli (OGD) Irish (OGD) SAN FRANCISCO TRIPLE CHICKEN FOOT (SE) Israeli (OGD) International (OGD) Israeli (OGD) LYNN MARIE (SE) KELLY JOE PHELPS (SE) OLD TOWN TEMECULA WESTERN DAYS (SE) Cajun/Zydeco (OGD) Persian (OGD) Israeli (OGD) Greek (OGD) BERNIE PEARL (SE) FREE FOLK FESTIVAL (SE) WINDY RIDGE BLUEGRASS (SE) Scandinavian (OGD) African (OGD) Morris (OGD) Israeli (OGD) Scandinavian (OGD) THE KNITTERS (SE) OPEN DOOR ORCHESTRA (SE) Contra (OGD) Scottish (OGD) Scandinavian (OGD) International (OGD) PRINCE DIABATE (SE) ASHLEY MAHER (SE) TRIPLE CHICKEN FOOT (SE) JEFF LINSKY (SE) STAGEROBBERS BLUEGRASS BAND (SE) Scottish (OGD) LAURENCE JUBER (SE) BERNIE PEARL plus DWAYNE SMITH (SE) Cajun/Zydeco (OGD) Scandinavian (OGD) Persian (OGD) Scottish (OGD) BERNIE PEARL (SE) JEFF LINSKY (SE) International (OGD) Bluegrass Jam (OGM) Scottish (OGD) Irish (OGD) KEN O’MALLEY (SE) Bluegrass Jam (OGM) PRINCE DIABATE (SE) Contra (OGD) Scottish (OGD) Scottish (OGD) Bluegrass (OGM) Cajun/Zydeco (OGD) DANNY O’KEEFE (SE) ASHLEY MAHER With REG MEUROSS (SE) Israeli (OGD) Open Mike (OGM) Drumming (OGM) Israeli (OGD) JOHNNY WINTER (SE) Irish Session (OGM) JANET KLEIN (SE) International (OGD) Bluegrass Jam (OGM) Bluegrass (OGM) Open Mike (OGM) English (OGD) HOT CLUB QUARTETTE (SE) RIDERS OF THE PURPLE SAGE (SE) Polish (OGD) Drum Circle (OGM) Old Time Jam (OGM) Scottish (OGD) Contra (OGD) THE BE GOOD TANYAS STAN WEST (SE) KELLY JOE PHELPS (SE) Open Mike (OGM) Greek (OGD) JOHN STEWART (SE) Israeli (OGD) Irish Session (OGM) Bluegrass Jam (OGM) Old Time Jam (OGM) Flamenco (OGD) JESSE WINCHESTER & TOM RUSH (SE) Scottish (OGD) Songwriter Showcase (OGM) Open Mike (OGM) Bluegrass Jam (OGM) Greek (OGD) with SEAN HAYES (SE) PETE MORTON Polish (OGD) Open Mike (OGM) Drum Circle (OGM) Drumming (OGM) PHIL PARLAPIANO with LOWEN & NAVARRO (SE) Bluegrass (OGM) Songmakers (OGM) International (OGD) plus MARIA DUNN (SE) International (OGD) Contra (OGD) PATTY HALL and PAUL ARNOLDI (SE) Scottish (OGD) Open Mike (OGM) Songwriter Showcase (OGM) Irish Session (OGM) Scottish (OGD) LAURENCE JUBER (SE) Irish (OGD) Israeli (OGD) Greek (OGD) STEVE FERGUSON plus ROBBY LONGLEY (SE) Bluegrass (OGM) Songwriter Showcase (OGM) Songmakers (OGM) Scottish (OGD) Bluegrass (OGM) CARLOS OLMEDA (SE) Welsh Choir (OGM) African (OGD) Contra (OGD) International (OGD) Irish Session (OGM) Shape Note / Group Singing (OGM) African (OGD) Contra (OGD) Flamenco (OGD) International (OGD) Welsh Choir (OGM) Sacred Harp (OGM) Workshops (OGM) Scottish (OGD) Flamenco (OGD) International (OGD) Israeli (OGD) Tango (OGD) Songmakers (OGM) Israeli (OGD) Tango (OGD) Bluegrass (OGM) Bluegrass (OGM) Group Singing (OGM) Group Singing (OGM) Songmakers (OGM) Songmakers (OGM) 20 21 22 23 24 25 26 17 18 19 20 21 22 23 TOPANGA BANJO FIDDLE STRAWBERRY MUSIC FESTIVAL (SE) CBA FATHER’S DAY SUMMER SOLSTICE FOLK MUSIC, DANCE & Balkan (OGD) African (OGD) Balkan (OGD) STRAWBERRY MUSIC STRAWBERRY MUSIC Balkan (OGD) CHRIS STUART Balkan (OGD) WINDY RIDGE BLUEGRASS (SE) SUMMER SOLSTICE FOLK MUSIC, STORYTELLING FESTIVAL (SE) CONTEST AND FOLK FESTIVAL (SE) CAJUN/CREOLE FESTIVAL (SE) BLUEGRASS FESTIVAL (SE) International (OGD) Armenian (OGD) Cajun/Zydeco (OGD) FESTIVAL (SE) FESTIVAL (SE) International (OGD) and BACKCOUNTRY (SE) Cajun/Zydeco (OGD) IRIS DEMENT (SE) DANCE & IRISH FAIR & MUSIC FESTIVAL (SE) SEVERIN BROWNE & JAMES COBERLY HUCK FINN COUNTRY DOHENY BLUES FESTIVAL (SE) BERNIE PEARL (SE) TISH HINOJOSA (SE) African (OGD) STORYTELLING FESTIVAL (SE) LONG BEACH BAYOU FESTIVAL (SE) Irish (OGD) Flamenco (OGD) International (OGD) SMITH & THE BROTHERS CAZIMERO (SE) & BLUEGRASS JUBILEE (SE) Irish (OGD) International (OGD) JIMMY LAFAVE (SE) AUTOHARP FESTIVAL (SE) LONG BEACH ANDREA FERRAZ (SE) Israeli (OGD) International (OGD) Irish (OGD) ZYDECO DANCE DENNIS ROGER REED (SE) ALFREDO ROLANDO ORTIZ (SE) LIVE OAK MUSIC FESTIVAL (SE) Israeli (OGD) Armenian (OGD) Irish (OGD) Cajun/Zydeco (OGD) GWENDOLYN With WILLIE BUSHNELL (SE) BAYOU FESTIVAL (SE) VENICE (SE) & The GOODTIME GANG (SE) Morris (OGD) Israeli (OGD) Israeli (OGD) MARLEY’S GHOST (SE) AMY HANAIALI’I SAN FRANCISCO FREE FOLK FESTIVAL (SE) Morris (OGD) Flamenco (OGD) Israeli (OGD) English (OGD) MIGHTY ECHOES (SE) VENICE (SE) YUVAL RON ENSEMBLE (SE) Scandinavian (OGD) Persian (OGD) Scandinavian (OGD) REG MUEROSS and FUR DIXON HOT CLUB QUARTET (SE) plus KAUKAHI & KELI’I KANEALI’I (SE) MARIA DUNN (SE) Scandinavian (OGD) International (OGD) Scandinavian (OGD) Flamenco (OGD) DUO TONES (SE) and STEVE WERNER (SE) HIGH HILLS BLUEGRASS BAND (SE) JOHN STEWART (SE) INCENDIO (SE) LOCAL ARTISTS IN THE ROUND (SE) TISH HINAJOSA (SE) Scottish (OGD) Scottish (OGD) Scottish (OGD) MOJACAR FLAMENCO (SE) Scottish (OGD) Israeli (OGD) Scottish (OGD) Greek (OGD) Cajun/Zydeco (OGD) ALAN RHODY (SE) RONU MAJUMDAR Greek (OGD) JOHN BATDORF and JAMES LEE STANLEY SLIGO RAGS (SE) Bluegrass Jam (OGM) Bluegrass Jam (OGM) Old Time Jam (OGM) KEN O’MALLEY (SE) and ABHIJIT BANERJEE (SE) Bluegrass Jam (OGM) Persian (OGD) Bluegrass (OGM) International (OGD) (SE) Flamenco (OGD) IAN WHITCOMB Hungarian (OGD) TATTERS (SE) Irish Session (OGM) Drum Circle (OGM) Drumming (OGM) Greek (OGD) plus FRED SOKOLOW (SE) African (OGD) Irish Session (OGM) Scottish (OGD) Open Mike (OGM) Irish (OGD) DUCK BAKER (SE) KELLY JOE PHELPS (SE) Greek (OGD) International (OGD) JIMMY LaFAVE, Open Mike (OGM) Open Mike (OGM) Open Mike (OGM) Hungarian (OGD) PAUL GEREMIA (SE) International (OGD) Open Mike (OGM) Bluegrass (OGM) Old Time Jam (OGM) Israeli (OGD) ANDREW HARDIN & JOHN INMON African (OGD) International (OGD) International (OGD) Scottish (OGD) Songwriter Showcase (OGM) Songmakers (OGM) International (OGD) AARON BOWEN (SE) Israeli (OGD) Polish (OGD) Bluegrass Jam (OGM) Drumming (OGM) Scottish (OGD) Plus JOEL RAFAEL (SE) Israeli (OGD) Polish (OGD) Irish (OGD) African (OGD) Contra (OGD) Scottish (OGD) JESSE COLIN YOUNG (SE) Scottish (OGD) English (OGD) Flamenco (OGD) Drum Circle (OGM) Songwriter Showcase (OGM) Bluegrass (OGM) Scottish (OGD) Bluegrass Jam (OGM) Israeli (OGD) Bluegrass Jam (OGM) African (OGD) Contra (OGD) Irish Session (OGM) Open Mike (OGM) International (OGD) Israeli (OGD) Irish Session (OGM) Open Mike (OGM) Songmakers (OGM) Group Singing (OGM) English (OGD) Flamenco (OGD) Scottish (OGD) Tango (OGD) Old Time Jam (OGM) Songmakers (OGM) Open Mike (OGM) Songwriter Showcase (OGM) Workshops (OGM) Bluegrass Jam (OGM) Songmakers (OGM) International (OGD) Israeli (OGD) Welsh Choir (OGM) Songmakers (OGM) Shape Note / Sacred Harp (OGM) Songmakers (OGM) Tango (OGD) Western Music (OGM) Welsh Choir (OGM) Old Time Jam (OGM) Western Music (OGM) Songmakers (OGM) 27 28 29 30 31 24 25 26 27 28 29 30 SUMMER SOLSTICE FOLK MUSIC, DANCE & STRAWBERRY MUSIC FESTIVAL (SE) Balkan (OGD) BUCKY COVINGTON (SE) KEN O’MALLEY (SE) THE SMOTHERS BROTHERS (SE) STORYTELLING FESTIVAL (SE) THE BROMBIES (SE) African (OGD) ALISON KRAUSS AND UNION STATION JOEL RAFAEL (SE) KATE WOLF MEMORIAL MUSIC KATE WOLF MEMORIAL MUSIC CAJUN/CREOLE FESTIVAL (SE) International (OGD) African (OGD) LISA FINNIE & JOHN STANDEFER (SE) IRISH FAIR & MUSIC FESTIVAL (SE) Balkan (OGD) Armenian (OGD) with JERRY DOUGLAS and TONY KEN O’MALLEY (SE) FESTIVAL (SE) FESTIVAL (SE) THE SHERWOOD CONSORT (SE) Irish (OGD) Armenian (OGD) PATTY BOOKER (SE) BESTER QUARTET LONG BEACH BAYOU FESTIVAL (SE) International (OGD) Flamenco (OGD) RICE (SE) Cajun/Zydeco (OGD) EVAN MARSHALL (SE) LOS PINGOUS (SE) LOUDON WAINRIGHT III (SE) Israeli (OGD) Flamenco (OGD) JOHN STANDEFER (SE) and MOTION TRIO (SE) JIMMY LAFAVE (SE) Irish (OGD) International (OGD) KEN O’MALLEY (SE) Flamenco (OGD) ALISON KRAUSS AND UNION STATION LISA HALEY and the ZYDECATS (SE) MASANGA MARIMBA ENSEMBLE (SE) Balkan (OGD) with JERRY DOUGLAS and TONY African (OGD) Morris (OGD) International (OGD) Balkan (OGD) KEN O’MALLEY (SE) JOHN BATDORF and Israeli (OGD) Israeli (OGD) Greek (OGD) BERNIE PEARL (SE) RICE (SE) International (OGD) Scandinavian (OGD) Israeli (OGD) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) JAMES LEE STANLEY (SE) Morris (OGD) Persian (OGD) Cajun/Zydeco (OGD) International (OGD) SLIGO RAGS (SE) JESSE COLIN YOUNG DENNIS ROGER REED (SE) Israeli (OGD) Scottish (OGD) Persian (OGD) International (OGD) Flamenco (OGD) & CELTIC MAMBO (SE) Scandinavian (OGD) Scottish (OGD) International (OGD) Irish (OGD) JOHN BATDORF SYD KITCHEN (SE) Polish (OGD) Bluegrass Jam (OGM) Scottish (OGD) Irish (OGD) Greek (OGD) African (OGD) Scottish (OGD) Bluegrass Jam (OGM) Irish (OGD) Israeli (OGD) and JAMES LEE STANLEY (SE) International (OGD) WE 5 (SE) Scottish (OGD) Irish Session (OGM) Drum Circle (OGM) Israeli (OGD) International (OGD) Bluegrass Jam (OGM) Drum Circle (OGM) Israeli (OGD) Scottish (OGD) KEN O’MALLEY (SE) Israeli (OGD) Greek (OGD) Bluegrass Jam (OGM) Open Mike (OGM) Open Mike (OGM) Scandinavian (OGD) Irish (OGD) Polish (OGD) Irish Session (OGM) Open Mike (OGM) Scandinavian (OGD) Bluegrass Jam (OGM) HIGH HILLS International (OGD) BLUEGRASS BAND (SE) Group Singing (OGM) Songwriter Showcase (OGM) Scottish (OGD) Israeli (OGD) Scottish (OGD) Open Mike (OGM) Songwriter Showcase (OGM) Scottish (OGD) Bluegrass Jam (OGM) Scottish (OGD) African (OGD) Contra (OGD) Irish Session (OGM) Drumming (OGM) Scottish (OGD) Old Time Jam (OGM) Group Singing (OGM) Flamenco (OGD) Open Mike (OGM) Old Time Jam (OGM) Irish Session (OGM) Drumming (OGM) International (OGD) Songmakers (OGM) Open Mike (OGM) Open Mike (OGM) Open Mike (OGM) Songmakers (OGM) Israeli (OGD) Welsh Choir (OGM) Songmakers (OGM) Songmakers (OGM) Welsh Choir (OGM) Tango (OGD) Bluegras Page 18 FolkWorks MAY - JUNE 2007

on-going dance happenings

BEFORE ATTENDING ANY EVENT 5th Saturday - Dance 7:00-11:00pm (Experienced) TUESDAY GYPSIES SKANDIA SOUTH Contact the event producer to verify information before Throop Memorial Church Tuesdays7:30-10:30pm $7.50 Mondays 7:30-10:30pm attending any event. (Things change!!!) 300 S. Los Robles Ave, Pasadena Culver City Masonic Lodge Downtown Community Center • 250 E. Center, Anaheim Kathy 818-989-1356 9635 Venice Blvd., Culver City Ted Martin 714-533-8667 • [email protected] CORRECTIONS THE LIVING TRADITION Gerda Ben-Zeev 310-474-1232 • [email protected] WEST COAST GAMMELDANS CLUB FolkWorks attempts to provide current and accurate Millicent Stein 310-390-1069 information on all events but this is not always www.thelivingtradition.org Wednedsdays 7:30 - 9:30pm possible. 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm TROUPE MOSAIC 5361 Vallecito Ave, Westminster Send to: [email protected] or 818-785-3839 Downtown Community Center Tuesdays 6:30-8:30pm Allan 714-875-8870 [email protected] 250 E. Center St.@Philadelphia, Anaheim Gottlieb Dance Studio • 9743 Noble Ave., North Hills Shirley 714-932-2513 [email protected] Rich DiMarco 714-894-4113 • [email protected] Mara Johnson 818-831-1854 AFRICAN DANCING VASA JUNIOR FOLK DANCE CLUB ENGLISH COUNTR Y DANCING VESELO SELO FOLK DANCERS First, third and fifth Wednesdays from 7:30-9:00pm YORUBA HOUSE Thursdays, Fridays 7:30-10:30pm (intermediate class) Skandia Hall, 2031 E. Villa St., Pasadena -Armand and 310-475-4440 CALIFORNIA DANCE CO-OPERATIVE Saturdays 8:00-11:00pm Sharron Deny 626-798-8726 [email protected] [email protected] • yorubahouse.net www.CalDanceCoop.org Hillcrest Park Recreation Center Carol Goller 714-892-2579 [email protected] 1155 North Lemon & Valley View, Fullerton TRADITIONALDANCE CLASS FROM CAMEROON, 1st & 3rd Thursdays 8:00-10:00pm SCOTTISH DANCING CENTRALAFRICA First United Methodist Church Lorraine Rothman 714-680-4356 with Noah Andzongo 1551 El Prado, Torrance WESTCHESTER LARIATS (Youth Group) AGOURA HILLS Sundays 3:00 - 4:30pm Giovanni 310-793-7499 • [email protected] Mondays 3:30-9:30pm $30 or $40/10-wk session Sundays 1:00-3:00pm Beginner Lula Washington Dance Theatre 2nd & 4th Sundays - 1:00pm - 4:00pm Westchester United Methodist Church Agoura Hills Performing Arts Center, 5015 Cornell Rd. 3773 South Crenshaw Blvd., Los Angeles Lindberg Park 5401 Rhoda Way, Culver City 8065 Emerson Ave., Los Angeles Frank Ibbot 805-373-9905 [email protected] 909-728-8724 [email protected] Annie 310-837-3427 • [email protected] Diane Winthrop 310-376-8756 • [email protected] ANAHEIM 818- 548-8014 [email protected] Mondays 7:00-9:30pm FLAMENCO DANCING WEST HOLLYWOOD FOLK DANCERS AFROCUBAN DANCE CLASS Wednesday 10:15-11:45am Betsy Ross School, 535 S.Walnut St. with Teresita Dome Perez POINT BY POINT DANCE STUDIO West Hollywood Park, San Vicente & Melrose Bob Harmon 714-774-8535 Saturdays noon-1:30pm (begins Saturday, August 27) Saturdays & Thursdays West Hollywood • Tikva Mason 310-652-8706 CHATSWORTH Dancers’ Studio, 5772 Pico Blvd., L.A. 1315 Fair Oaks, Suite #104, South Pasadena WEST L.A. FOLK DANCERS Wednesdays 8:00-9:30pm Social Class 323 721-1749 • www.curuye.com Katerina Tomás 626-403-7489 Great American Dance Factory, 21750 Devonshire [email protected] Mondays Lesson 7:45-10:45pm BRAZILIAN RHYTHMS & DRUMS Fridays 7:45-10:45pm Leone & Rober Burger 818-576-1015 [email protected] with Carlinhos Pandeiro de Ouro LE STUDIO Brockton School • 1309 Armacost Ave., West L.A CULVER CITY Mondays 7:30pm - 9:00pm 100 W. Villa, Pasadena Beverly Barr 310-202-6166 • [email protected] Tuesdays 7:30-10:00pm (All levels, beginners call) 18th Street Art Center, 1639 18th Street, Santa Monica Tuesdays 6:30pm WESTWOOD CO-OP FOLK DANCERS Lindberg Park, 5401 Rhoda Way 310-315-9383 [email protected] Marcellina de Luna 626-524-6363 lamarcellina@yahoo. Marsden MacRae 310-391-3052 [email protected] com Thursdays 7:30-10:45pm $4 WEST AFRICAN DANCE Felicia Mahood Senior Club EAGLE ROCK with Nzingha Camara GREEK DANCING 11338 Santa Monica Blvd. (at Corinth), L.A. Thursdays 7:30-10:00pm (All levels) Wednesdays 6:30pm - 8:00pm $12 Tom Trilling 310-391-4062 KYPSELI GREEK DANCE CENTER St. Barbanabas Episcopal Church, 2109 Chickasaw Ave. The Dance Collective 4327 S. Degnan Blvd. L.A. Becky Green 626-351-5189 [email protected] [email protected] Fridays 8:00-11:30pm $5.00 WEST VALLEY FOLK DANCERS Skandia Hall 2031 E. Villa St., Pasadena Fridays 7:15-10:00pm $3 LANCASTER NIGERIAN DANCE Dalia Miller 818-990-5542 • [email protected] Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park 1st & 3rd Fridays Beginner/Intermediate 7:00-9:00pm with Fraces Awe [email protected] Jay Michtom 818-368-1957 • [email protected] Lutheran Church of the Master,725 East Ave. J Wednesdays 7:30pm-9:00pm Joyce Helfand 626-446-1346 Louise Bilman 323-660-1030 Aase Hansen 818-845-5726 Lula Washington 3773 S. Crenshaw, L.A. IRISH DANCING 323-294-7445 • www.nitade.com ASTERIA CLEARY SCHOOL OF IRISH DANCE LOMITA Thursdays 8:30-10:30pm $8.00 www.irish-dance.net • 818-503-4577 Mondays Intermeidate 8:00-10:00pm ARMENIAN DANCING Pacific Arts Studio CELTIC ARTS CENTER Academy of Dance 24705 Narbonne (at 247th St.) OUNJIAN’S ARMENIAN DANCE CLASS 10469 Santa Monica Blvd., L.A. Irish Ceili Jack Rennie 310-377-1675 • [email protected] Dennis Gura [email protected] 310-503-8839 Tuesdays 7:45-10:00pm Mondays 8:00-9:00pm (ex. 1st Mondays) MANHATTAN BEACH 17231 Sherman Way, Van Nuys HUNGARIAN DANCING Wednesdays - 7:30-9:00pm Tuesdays Beginner - 7:00pm • Intermediate - 8:15pm Susan Ounjian 818-845-7555 4843 Laurel Canyon Blvd., Valley Village Knights of Columbus Hall 224-1/2 S. Sepulveda Blvd. HUNGARIAN CLASS (BEGINNING) 818-752-3488 • www.celticartscenter.com TOM BOZIGIAN Wilma Fee 310-546-2005 [email protected] 2nd & 4th Fridays 8:30-10:30pm $7.00 Rosemary Abend 310-373-1985 [email protected] 562-941-0845 • www.bozigian.com Gypsy Camp 3265 Motor Ave., Los Angeles MAIRE CLERKIN 310-801-5520 • [email protected] NORTHRIDGE BALKAN DANCING Jon Rand 310-202-9024 • [email protected] LOS ANGELES IRISH SET DANCERS Thursdays - Intermediate - 8:00-10:00pm LIFE BALKAN DANCE folk D A N C I N G Mondays 7:30 - 9:30pm Sonia’s Dance Center, 8664 Lindley Ave., Northridge Wednesdays 7:45- ALTADENA FOLK DANCERS The Burbank Moose Lodge Deanna St. Amand 818-761-4750 • [email protected] Pacific Arts Studio Wednesdays 10:30-11:30am 1901 W. Burbank Blvd., Burbank PALMDALE / LANCASTER 10469 Santa Monica Blvd., L.A. Thursdays 3:00-4:00pm Thursdays 7:30 - 9:30pm 1st & 3rd Thursdays 3:30-4:30pm Children 5 and older Sherrie Cochran [email protected] • 626-293-8523 Altadena Senior Center • 560 E Mariposa St., Altadena The Columbian Fathers Lutheran Church of the Master, 725 East Ave. J Gerda 310-399-2321 Karila 818-957-3383 2600 North Vermont Ave., Los Angeles Kathy Byers 661-722-3533 [email protected] www.lifefestival.com/wednesdaynightbalkan.html ANAHEIM INTERNATIONAL FOLKDANCERS O’CONNOR-KENNEDY SCHOOL OF IRISH DANCE PASADENA SAN PEDRO BALKAN FOLK DANCERS Wednesdays 7:30-9:30pm • 511 S. Harbor, Anaheim 818-773-3633 • [email protected] Wednesdays 7:30-9:30pm (All levels) Mondays 7:30-9:30pm CALTECH FOLK DANCERS THOMPSON SCHOOL OF IRISH DANCE Westminster Presbyterian Church, 2230 WJefferson Blvd Dalmatian American Club Doug Macdonald 909-624-9496 [email protected] 17th & Palos Verdes, San Pedro Tuesdays 8:00-11:55pm Cecily Thompson 562-867-5166 • [email protected] Throop Memorial Church 300 S. Los Robles, Pasadena Zaga Grgas 310-832-4317 ISRAELI DANCING REDONDO BEACH Pauline Klak 310-832-1074 Nancy Milligan 626-797-5157 • [email protected] Sundays 7:00 - 9:00pm (Intermediate/Advanced) ARCADIA FOLK DANCERS American Legion Hall, 412 South Camino Real BELLY D A N C I N G CONEJO VALLEY FOLK DANCERS Wednesdays 7:30-9:30pm $1-2 Saturdays (call for schedule) Carol Johnson 310-372-8535 • [email protected] Call for schedule/locations Shaarei Torah, Arcadia • Avi Gabai 626-445-0810 Mésmera, 323-669-0333 • www.mesmera.com Hillcrest Center (Small Rehearsal Room) SANTA PAULA 403 West Hillcrest Drive, Thousand Oaks COSTA MESA ISRAELI DANCERS Wednesdays 7:30-10:00pm (All levels) B U L G A R I A N dancing Jill Lundgren 805-497-1957 • [email protected] Wednesdays 7:00-11:30pm Briggs School, 14438 West Telephone Rd. DUNAJ INT’L DANCE ENSEMBLE JCC of Orange County • 250 Baker St., Costa Mesa Oberdan Otto 805-389-0063 [email protected] Pacific Arts Studio Yoni Carr 760-631-0802 • [email protected] 10469 Santa Monica Blvd., L.A. Wednesdays 7:30-10:00pm SIMI VALLEY 11533, Pico Blvd., West Los Angeles Wiseplace 1411 N. Broadway, Santa Ana ISRAELI FOLK DANCING AT UCLA Mondays Mady 310-820-3527 [email protected] [email protected] Mondays 9:00pm UCLAAckerman Union 2414 Beginners - 7:30-9:00pm • Intermediate 9:00-10:00pm Ian 818-753-0740 [email protected] Richard Duree 714-641-7450 James Zimmer • [email protected] 310-284-3636 Rancho Santa Susana Comm. Ctr., 5005-C Los Angeles Ave. Mary Lund 818-996-5059 [email protected] C A J U N / Z Y DECO DANCING FOLK DANCE FUN ISRAELI DANCE WITH JAMES ZIMMER 3rd Saturdays 7:30-9:30 pm Tuesdays 7:30pm-Midnight SOUTH PASADENA Thursdays - Lesson 7:00-8:00pm ($7) 8648 Woodman Ave., Van Nuys WJCC 5870 W. Olympic Blvd, Los Angeles Sundays Dance to CD’s 8:00-10:00pm Ruth Gore 818-349-0877 $7 ($6 for JCC Members) All ages welcome. Beginner - 6:00-7:00pm Intermediate 7:00-9:00pm PCH Club James Zimmer 310-284-3638 [email protected] War Memorial Hall, 435 Fair Oaks Ave. Best Western Golden Sails Hotel INTERNATIONAL FOLK DANCE CLUB AT UCLA Mondays 9:00-11:00 pm Free www.geocities.com/IsraeliDance Ann McBride 818-841-8161 [email protected] 6285 East Pacific Coast Highway, Long Beach 1st Fridays 8:30pm Free Karen 562-708-8946 [email protected] UCLA Ackerman Student Union Building THOUSAND OAKS Room 2414 • 2nd Floor Lounge Westwood University Synagogue, 11960 Sunset Blvd., Brentwood Tuesdays 7:30-9:30pm (Experienced) 2nd Sundays - Live Band 5:30-9:00pm $15 310-284-3636 • [email protected] Thursdays 8:00-9:30pm Hillcrest Center for the Arts, 403 W. Hillcrest Dr. Elks Lodge Sundays 2:00-3:00pm Robb Quint 805-498-2303 [email protected] 1735 West 162nd St., Gardena • 562 427-8834 LAGUNA FOLK DANCERS Encino Community Center, LA Recreation & Parks Wednesdays 8:00-10:00pm 4935 Balboa Blvd, Encino 818-995-1690 TORRANCE Wednesdays - Lessons 7:00pm Dancing 8:00-9:00pm $5 Sundays 8:00-10:00pm [email protected] 310-284-3638 Fridays Beginner - 7:00-8:15pm Joe’s Crab Shack Laguna Community Center Intermediate - 8:30-9:45pm 6550 Marina Dr., Long Beach 384 Legion Ave & Glenneyre, Laguna UNIVERSITY OF JUDAISM Torrance Civic Center, Cultural Building, Studio 3 Wednesdays 7:30-10pm LALA LINE 626-441-7333 Richard Duree 714-641-7450 • [email protected] Between Torrance & Madrona 5600 Mulholland Dr., Los Angeles Jack Rennie 310-377-1675 [email protected] For additional Cajun/Zydeco dancing: LEISURE WORLD FOLK DANCERS Natalie Stern 818-343-8009 users.aol.com/zydecobrad/zydeco.html Tuesdays 8:30-11:00am Saturdays 8:30-11:00am TUSTIN Club House 1, Leisure World, Laguna Hills VINTAGE ISRAELI CONTRA DANCING Wednesdays 7:00-10:00pm Florence Kanderer 949-425-8456 Anisa’s School of Dance Columbus Tustin Activity Center, 17522 Beneta Way CALIFORNIA DANCE CO-OPERATIVE 14252 Ventura Blvd., Sherman Oaks Shirley Saturnensky 714-557-4662 MOUNTAIN DANCERS [email protected] www.CalDanceCoop.org • Hotline 818-951-2003 Tuesdays 7:00-9:30pm VAN NUYS 1st Fridays - Lesson 8:00pm Dance 8:30-11:30pm Oneyonta Congregational Church MACEDONDIAN dancing Mondays Beginner - 7:00-8:30pm South Pasadena War Memorial Hall 1515 Garfield Ave., South Pasadena Pacific Arts Studio Intermediate - 8:00-10:00pm 435 S. Fair Oaks Ave., South Pasadena Rick Daenitz 626-797-16191 10469 Santa Monica Blvd., L.A. Valley College, Ethel at Hatteras St. Dennis 626-282-5850 • [email protected] 11533, Pico Blvd., West Los Angeles Aase Hansen 818-845-5726 [email protected] NARODNI FOLKDANCERS Mady 310-820-3527 [email protected] 1st Saturdays - Lesson 7:30pm Dance 8:00-11:00pm Thursdays 7:30-10:30pm $3 Ian 818-753-0740 [email protected] VENTURA Brentwood Youth House Dance America, 12405 Woodruff Ave., Downey Fridays 7:30-10:00pm Beginner / Intermediate 731 So. Bundy, Brentwood John Matthews 562-424-6377 • [email protected] MORRIS DANCING Ventura College, Dance Studio, 4667 Telegraph Road Jeff 310-396-3322 • [email protected] NEWPORT BEACH RISING PHOENIX MORRIS Mary Brandon 818-222-4584 / Frank Ibbott 805-373-9905 1st Sundays - Lesson 3:30pm Dance 4:00-7:00pm Sundays (International/Israeli) Mondays 2nd Mondays TA N G O dancing All Saints Epoiscopal Church 8:00pm-9:00pm Beginners Sunset Bar & Grill 1240 3rd St. Promenade, Santa Monica 3847 Terracina Drive, Riverside 9:00pm-12 midnite Intermediate and Advanced Audrey Goodman [email protected] SHERMAN OAKS Meg 909-359-6984 • [email protected] Avant Garde Ballroom • 4220 Scott Dr., Newport Beach Saturdays 8:30pm Class $10-18 Avi Gabay 310-560-4262 • [email protected] WILD WOOD MORRIS 9:30 milonga (social dance) 2nd Saturdays - Lesson 7:30pm Dance 8:00-11:00pm 6270 E. Los Santos Drive, Long Beach El Encuentro Sierra Madre Masonic Temple PASADENA FOLKDANCE CO-OP Julie James 562-493-7151 The Tango Room Dance Center 33 E. Sierra Madre Blvd., Sierra Madre Fridays 7:45-11pm Teaching to 9pm $2 [email protected] • wildwoodmorris.com 4346 Woodman Ave., Sherman Oaks Frannie 626-303-1136 Throop Unitarian Church 818-981-6500 • www.TheTangoRoom.com [email protected] 300 S. Los Robles, Pasadena PERSIAN DANCING Marshall Cates 626-792-9118 • [email protected] 2nd Sundays - Slow Jam 2:00pm SHIDA PEGAHI Lesson 3:30 Dance 4:00-7:00pm RESEDA INT’L FOLK DANCERS Tuesdays 6:00pm • 310-287-1017 La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne Thursdays 3:00-4:45pm POLISH DANCING Lance 909-624-9185 • [email protected] Reseda Senior Center • 18255 Victory Blvd., Reseda JoAnne McColloch 818-340-6432 GORALE POLISH FOLK DANCERS 3rd Fridays - Social 7:00pm ROBERTSON FOLK DANCE Sundays 6:00-8:00pm Lesson 8:00pm Dance 8:30-11:30pm Pope John Paul Polish Center South Pasadena War Memorial Hall Mondays 10:00-11:30am 1641 Preuss Rd., Los Angeles 310-278-5383 3999 Rose Dr., Yorba Linda 435 S. Fair Oaks Ave., South Pasadena Rick Kobzi 714-774-3569 • [email protected] Marie 626-284-2394 • [email protected] SIERRA MADRE FOLK DANCE CLASS 3rd Saturdays - Lesson 7:30pm Dance 8:00-11:00pm Mondays 8:00-9:30pm SCANDINAVIAN DANCING Throop Memorial Church Sierra Madre Recreation Building SKANDIA DANCE CLUB 300 S. Los Robles Ave, Pasadena 611 E. Sierra Madre Blvd., Sierra Madre Wednesdays 7:30-10:00pm $5 John 626-303-4269 • [email protected] Ann Armstrong 626-358-5942 Lindberg Park • 5401 Rhoda Way, Culver City 4th Saturdays - Lesson 7:30pm Dance 8:00-11:00pm SOUTH BAY FOLK DANCERS Sparky 310-827-3618 • Ted Martin [email protected] Brentwood Youth House 2nd Fridays 7:45-9:45pm led by Cameron Flanders & John Chittum 731 South Bundy Drive Torrance Cultural Center Beata 310-621-8538 • [email protected] 3330 Civic Center Dr., Torrance Beth Steckler 310-372-8040 MAY - JUNE 2007 FolkWorks Page 19 Old-Time Oracle The Banjo Tattoo, Dan Gellert’s Mojo Alchemy or an Introduction to Musical Homogeny and Mediocrity in Old-Time Music By David Bragger

ne may recall the story from like friends jamming in tor, Gellert weaves together a spell last issue about my meeting a kitchen (one of my fa- using the ingredients and incantations Owith traditional tattoo mas- vorite activities, I might passed down to him from old. Unlike ter/banjoist Scott Harrison. Since that add). Possibly, old-time the tribal charlatan however, Gellert article, I’ve revisited him in Portland, soul or “Mojo” is a ge- harnesses a real dimension of time and OR to complete the tattoo he started in netic gift given to very space and produces wonderful results December 2006. It was the most pain- few today and found on with his fretless musical wands. He ful banjo experience of my life. He even fewer recordings. also adds quite a few flourishes of his gave me a vintage style rose with a In 2004, however, I was own in the form of booty shaking syn- fretless minstrel banjo cradled within lucky to find some. copation with his horsehair stick and its petals. In fact, banjos were quite Three summers ago beatskin thumb. I will not give you a the theme of the day. I randomly met during an epic road trip play by play review. Listen to the CD. three clawhammer banjo players just of fiddle tune collecting, If track 1 Eph Got a Coon doesn’t se- hours before arriving at Atlas Tattoo. visits with , duce you with 19th century funk, then Portland certainly lives up to its repu- and long nights of old- exchange the CD for a or tation as an old-time music hub! time festival revelry, I left Dick Van Patten spoken word album. As Scott machined the ink into the Clifftop Appalachian I’m sure you’d love them. my inner arm, we discussed banjos String Band Festival with Gellert sounds like a resurrected and tattoo classifications among other a stack of CDs. About musician who would have been re- things. He noted that the categories half of them were old cording in the 1920s and 1930s. He used to classify tattoos are very limit- recordings of deceased doesn’t sound like a modern interpret- ing these days. It’s true. Most tattoo traditional music-makers tioned before. If there is noteworthy er of a great master, but like one of converts feel compelled to get some and the others were newer items by musicianship, it’s usually masked by the gods from the old-time pantheon “meaningful” tattoo which then must contemporary string bands and tradi- hokey, poorly recorded, and unneces- of mountain string players that never tional artists. I al- sary bass play- ways support the ing. It seems that new but I usually modern bands end up listening pander to a mod- to the old. Each ern pop radio year I find myself palette by adding confronted with the superfluous more and more bass to their wall of these indepen- of sound. If one dently produced of these groups old-time CDs. Al- thought of leav- though I’d listen ing it out or in- to many of them cluded bowed before modern ra- bass or like dio, they usually the East Texas fall flat and wind Serenaders, they up collecting dust might be on to Photo by David Bragger behind my ce- something. I fall into one of a small handful of ramic tiki mug collection. There are hope they’re tak- genres (Japanese, black and gray, neo- too many available recordings of the ing notes. But let’s move on to the was. His style is entirely rooted in the traditional, bio-mechanical, etc.). In a same trendy fiddle tunes with that ho- heart of the matter... tradition yet transcendent. Like the moment of glorious insight he men- mogenized festival sound that I men- In my opinion, the finest modern legendary fiddlers and banjoists of tioned that clients never get a design old-time recording is old, he takes things to a level beyond simply because it’s cool or has “soul.” Waitin’ on the Break his contemporaries. He effortlessly What a brilliant observation. I started of Day: Old Time Mu- embodies the vintage stylings of old- to think about old-time music. sic on Fretless Banjo time source material while translating The Skillet Lickers had soul. Wade and Fiddle by Dan them with a type of musical invention Ward and Louie Bluie sure did. Why Gellert. For most old- that should remain wordless. In short, do so little of today’s traditional art- time aficionados, I’m he is doing what Dock Boggs, Edden ists achieve some of that mountain just preaching to the Hammons, Howard Armstrong, and soul and old-time plantation funk choir. They can stop Rufus Kasey were doing. He’s play- that we hear grooved into those old reading now. But for ing with serious Mojo, groove, and 78s and field recordings? It’s not an those of you that are soul. easy question to ponder. Many mod- new to the old-time ern string band recordings seem to genre, I will tell you David Bragger is a Los Angeles-based recreate festival jam sessions that the what I tell my fiddle instructor and player of old time fid- musicians may find trance-like and/or and banjo students: dle and banjo music. He also photo- nostalgic. Some try to replicate their This CD delivers old graphs, films, and collects the lore of favorite Kentucky or West Virginia school Mojo. Very traditional artists, from puppeteers in chestnuts on CDs dedicated to only few artists and re- Myanmar to fiddlers of Appalachia one sub-genre of old-time music (ex. cordings today can www.myspace.com/davidbragger instrumental fiddle tunes). Many of pull this off. Like the

these old-time recordings just sound Photo by David Bragger shamanic witch doc- Page 20 FolkWorks MAY - JUNE 2007

UNCLE RUTHIE Wo- he-lo breathes of work, health and love

The promise of our deep desire. WO-HE-LO Calling from a million campfires gleaming By UNCLE RUTHIE BUELL The pledges form a single cry. (IN A PERSIAN MARKET – Camp Nawakwa lyrics)

n my last column I wrote about we had no idea that we were sing- realize this on long driving trips with There were also honors to be earned the farm where I lived the happi- ing Bye, Bye, Blackbird! my deceased husband Bruce Buell, a for arts and crafts, but while other Iest part of my childhood. In this When we sang: classical music radio announcer, who eight year olds were making lanyards, column I will tell you of my two sum- If she’s smiling all the while stoically endured miles and miles of my friend, Pepper and I would sneak mers in a concentration camp called she’s just come from camp Camp Nawakwa versions of Red Red off to the brook in back of the Chinas, Nawakwa. OK, it wasn’t really a con- If her cheeks are red as beets Robin, In a Persian Market, Ain’t She that flowed to the lake. We wore our centration camp. It was much worse. she’s just come from Camp! Sweet and the list goes on. Finally, one big high rubber boots and pretended It was a summer camp for Camp Fire If she’s brown with a deep, healthy day, just outside of Gorman California, we were explorers. We were not very Girls. I went to Camp Nawakwa for tan Bruce accused me of composing new good at making connections, so we two summers. Why, you ask? Because willing to work and to help like a Camp Nawakwa songs, on the spot, as never connected the Chinas with the it was better than being at home with man! we were driving. Not true! stuff that sometimes flowed out of sev- an abusive mother. I’ve written briefly I’ll stop here - you all know Peggy Sometimes I would provide respite eral big pipes, into the brook. One day about Cora, my mom, who was the O’Neil and I’m not a sadistic person, from my singing for Bruce by telling a counselor caught us wading in Lake darling of her family, the youngest and no matter what my husband tells you. him about life at Camp Nawakwa. Urine, and put an end to the only fun prettiest, and who entered into marriage We sang all the time at Camp The founder and Director Emeritus of we ever had during activity period. clueless about raising children.(In later Nawakwa. We sang The Parade of the Camp Nawakwa was Mrs. Gable. She We sang songs at the Sunday camp- years, we were finally friends. But she Wooden Soldiers during our futile at- lived in a little cottage next to the camp fire…Nawakwa words to semi-reli- was still difficult. I am probably the tempts to sweep the ubiquitous sand office and the mess hall. She was about gious tunes and symphonies. To this only person who saw the film, Mom- from our cabin: three hundred years old and had her day I cannot hear the Largo from the mie Dearest and left the theater jealous Eight o’clock and breakfast done own special song: New World Symphony without be- of Christina Crawford!) and to their cabins see them run The Sweetheart of Sigma Chi ing transported to the shores of Lake But, I digress. I was eight years old those girls in blue Your eyes still shine like they used Michigan. Na-Wa-Kwa, Na-Wa-Kwa. when I was sent to Camp Nawakwa, on all eager to give dirt a scare! to shine You’re the camp I love. the shores of Lake Michigan just out- As we marched, (yes, marched) to and the blue of their depth doesn’t I just went through some of my side the town of South Haven. I arrived the mess hall we blared forth The Stars fade with time; songbooks, Popular Songs from the with a duffle bag filled with very ugly and Stripes Forever. Mrs. Gable, all your girls adore Twenties and Thirties and found 43 clothes with nametapes on every sock, O’Nawakwa our camp here’s to you you… Camp Nawakwa Songs. I am planning shirt, pajama top and bottom. My name to the blue and the white ever true. Then Mrs. Gable would appear at the a house concert in the very near future, was on my flashlight, my drinking cup, In each word, in each song, mess hall door, smiling a tight smile and to which all are invited: Concentration in short, on every required article the in each cheer, we’ll keep our waving slowly, very much like Queen Camp Classics with Uncle Ruthie. No camp list ordered us to bring. standards in the lead Elizabeth driving by in her coach. admission will be charged. In fact, I I arrived home with one high rub- and so to our camp we will cheer There were Sunday Campfires on will probably pay you to attend. ber boot and two undershirts labeled Our camp is first, the beach, where the counselors wore Lonesome, and sorry, because I Judy Cohen. our camp is last shapeless buckskin gowns covered with came to camp There was sand everywhere, on the our camp forever! sewn-on circles, squares and crescents, Lonesome, and sorry, I’ve cried my cabin floors, in our shoes, and at night And in the mess hall, as we gagged which were called Honors. There was hankie damp, we slept with sand between our sheets. down our gruel, we serenaded the the Mrs. Gable honor, which you could Mama, I miss you—your baby wants The toilets, called “CHINAS,” were a cook with Columbia, The Gem of the win if you had been kind to everyone to kiss you, quarter mile from the cabins, along a Ocean: and not used any bad words all week. I’m so lonesome, and sorry, Please dark path lined with poison ivy. Mrs. White, the pride of Nawakwa I didn’t really know any bad words at take me right home! Why am I telling you this depress- your meals are the best in the land age eight (actually I didn’t know the ing tale of my childhood? Was there the taste of each Campfire maiden “F” word till I was twelve, and started Uncle Ruthie is the producer and host any redeeming social value to Camp responds to the good things on saying it everywhere without really of HALFWAY DOWN THE STAIRS, Nawakwa? Yes. There were songs. hand! knowing the meaning). But I didn’t get heard every Saturday morning at (“Aha! You chortle, I knew it!”) Not You have to know something really many Mrs. Gable honors because my 8:00am on KPFK Radio, 90.7FM. She so fast. There’s a catch. Yes, there were scary about me. I never forget a song. counselor said I was not kind to every- also teaches music at The Blind Chil- songs. Thousands of songs. Every pop- I remember every song I ever learned one. I’m still not. dren’s Center in Los Angeles. Ruthie ular and semi-popular and sentimental - good or bad, clean or dirty, short or The Nawakwa honor was easier to does concerts for children, families song from the nineteen twenties, up to long - lets face it, how many people do earn, especially if you could drink eight and adults, as well as teacher work- 1939. There was even a songbook with you know who can sing all four verses glasses of water a day. Every night just shops. She teaches beginning piano, lyrics for all these songs. But the lyr- of our national anthem, or every verse before bedtime there would be sev- and especially welcomes students with ics were not the original lyrics to the of America the Beautiful or even, Die eral of us gulping down three or four special needs. She can be reached at songs, and no one told us this. When, Lorelei? glasses of water, and then later either 310- 838-8133, or at uncleruthie@aol. lustily we trilled: Gradually, as an adult, I came to re- wetting the bed or trembling our way com. Pack up all your care and woe, alize that I knew the Camp Nawakwa with our faint flashlights to the Chinas. here we go, singing low lyrics to hundreds of popular songs We were all very honest about claim- to Camp Nawakwa of the twenties and thirties. I came to ing the honors. MAY - JUNE 2007 FolkWorks Page 21 …that reminds me… THE SKIRLING OF THE BODHRAN By Valerie Cooley

ne night in January, when me back to the group purpose, which week.” I did, of course, so he brought three? “No,” he said, “there are four. the houses were still deco- was to finalize the concert program. I it out and proudly showed me how the Each one consists of four separate Orated for Christmas and rain- wasn’t sure why I was there but I lis- shadows in the grain of the deerskin strings of leather so there are sixteen drops made little halos around the col- tened with mild interest. I perked up looked like mountain peaks backlit in all. I have my pattern and instruc- ored lights, I went to Tom McGrath’s when they started discussing how the by the sun. Everything about the man tions still, if you’d like to make one,” house for a Celtic Folk Fest committee bagpiper should make his entrance: spoke of craftsmanship, elegance, and he offered, the kindly lord of the man- meeting. It was a nice little house, one From the wings of the stage? From the love of beauty. I turned the drum over, or again. you might see on a Christmas card: a back door, behind the audience? Tom expecting to see the braces and handle This is a gentle town, softened by peaked, shingled roof, a huge, well-lit was for the rear entrance. carved of the finest Oregon myrtle- water, freshened by wind, and fed tree beaming through diamond-paned “You know,” he said, “bagpipers wood, possibly even incised with little by people who raise goats and veg- windows, and a sumptuous wreath on did not play for the pleasure of one Celtic knots here and there. This was etables. There are occasional signs the door. The owner, the emcee from and all. The skirling of the pipes tear- the man to do it that way, I thought of another side, though, like the bar- last year’s Celtic fest, met us at the ing through the fog was said to strike admiringly. rels all over town last year bearing door like the lord of the manor, an im- such terror in the hearts of the enemy, But what met my softly expectant signs that said, “Leave elk hides here” posing man whose presence somehow as to prepare them instantly for de- eyes was as terrifying in its way as the and people did. No one could tell me made the charming little house seem feat.” skirl of the bagpipe. From the back- why. And, one day at an estate sale, I much grander than it had a moment There was a bright gleam in his side, it looked as though the deerskin opened the door to a small bedroom before. We were steered graciously eyes as he spoke. Was he wishing didn’t stop at the edge of the drum as that was empty except for a giant rack through the living room, past a stone he were a piper? Was he imagining they usually do, but continued around of elk antlers stretching from corner fireplace laid with an ample fire, to a spearing and cudgeling his share of to the back, where it was shredded to corner. table in the dining room. It was a large the British enemy? Or did he, in fact, into a few gory-looking strings lashed I can’t wait to hear Tom play his room with a desk in the corner topped hunt illegally with a bald eagle, one together to form a handle. It looked as bodhran at the festival jam session. by a bookshelf. I missed the introduc- of the few raptors that will eat dead though it were still wet. My mind had Will his eyes gleam as its soft but tions as I scanned book titles. There meat? been on fierce, brutal, ancient battles relentless sound rises to a terrifying were dictionaries, phone books, and a Once again, I was drawn back into and what it saw, whether it was like skirl, routing the other jammers and thesaurus. There was a Celtic section the planning, but the details of group that or not, was a fresh skin torn, bare- the bystanders? And will anyone else – history, place names, family names, order and timing only dulled my handed, off an adversary, wrapped hear what I hear? genealogy, music, and costumes. What awareness of the real world. My mind around the precious drum, and tied really caught my interest, though, was was on fierce battles and triumphant with bits of sinew and viscera. Valerie Cooley is living in Coos Bay, a row of bird books – field guides, life bagpipers. Finally the meeting was of- All I’d had to drink was a glass of Oregon. When she’s not playing with histories, and several on falconry. I ficially over. water. I often doze during meetings her beautiful and brilliant young wondered if he had ever hunted with a “Do you play the pipes?” I asked and, dozing, I often dream. Could granddaughters, she paddles her kay- bird and if he’d seen my favorite new Tom. I have still been dreaming when I ak on the bay, watches birds, gardens, book on how to identify hawks too far “No,” he said regretfully (I think), looked at it? I wondered. I called him and contradances once a month away to see. “but I play the bodhran. Would you a couple of days later and asked how The chairperson gently guided like to see mine? I just finished it last many crosspieces he had on the back,

went away to sea, too. So, off they tone compared to the last one, Seven around there for a while. We travel a coninued from page  went and they learned Haul away, Joe Seas. Looking back, I think that Seven lot. cause were standing on a stage. in Romanian or something. Seas was a reflection of the difficult, AC: Sounds like you follow your PINT: And there are plenty of PINT: There was a huge sea shanty depressing years following 9/11 and bliss. people who do shanties in very tradi- scene in Poland in the late eighties and the Bush Administration’s wars. It PINT: We enjoy what we’re doing. tional ways in performance. That is early nineties. seems like every song was about death We make great friends wherever we being taken care of so we have license AC: And these were shanties origi- and disaster. The Set of the Sail is more go. to play with the songs and spin them a nally in Polish? upbeat and positive. DALE: And folk music has the little bit, to explore the musical quali- PINT: There were but they also DALE: The hurdy-gurdy has a highest quality of people in it. They ties of the song and not just the histori- adopted some of the British songs and larger role in this collection as well—a may be strange but they’re good and cal essence of it. translated them into Polish. We played few more tunes with lots of gurdies kind and generous and friendly. AC: Tell us about the instruments at a festival or two there a little after piled up with harmonies. AC: You’re based in Seattle? you work in. the peak of it. AC: I’m looking forward to hear- DALE: That’s where I was born PINT: The easy ones are the ones I DALE: Thousands of people sing- ing it. How are the gigs lining up? and pretty much grew up in the area. play – guitar and mandolin. Felicia has ing a long. And they really know how PINT: We’re at the Renaissance My Mom still lives there, so her house the exotic sound. to party in Poland. Faire in Irwindale April 28 and 29 and is our permanent address. Here’s an DALE: I play the hurdy-gurdy… PINT: Talk about going to festivals there’s been some talk of a house con- odd little connection: When I was AC: Why the hurdy-gurdy? and meeting musicians, we went to a cert in the Joshua Tree area and pos- growing up, we babysat a piano for a DALE: Some people have a drone sea festival in Holland and that had a sibly one near Fallbrook late April or local restaurateur and we all took piano gene and others don’t, and I definitely whole international collection of art- early May. lessons. My mom played it, my sister do. I’ve always liked the sound of bag- ists. And we ended up getting invited PINT: In England we have an played it, sometimes our cat played pipes. Fan noises – I always sing along. to a festival in Estonia. agent and so we go there every year. it. I practiced on that piano for years. For some reason, I just love that drone AC: Tell me about your upcoming They have lots and lots of folk clubs, Finally, he took back the piano and that can happen. So the hurdy-gurdy CD. summer folk festivals, and some that put it in his pub. Well, William’s band was the best of both worlds. You’ve PINT: The new CD is called The are specifically nautical. The Liverpool used to play in that pub and. William got the drone and the fiddle without all Set of the Sail and the actual release Shanty Festival or the Hull Sea Fever sometimes would set his beer on that the problems of intonation. It just re- date will be determined by Waterbug Festival. In the States it’s left to us and piano! Isn’t that great? ally opened music up for me in amaz- Records. it’s much more haphazard. Pint and Dale’s latest CD is The ing ways. I love playing it. DALE: Like most of our record- DALE: I’m terrible at the phone so Set of the Sail distributed by Waterbug AC: You sing in French sometimes ings, it’s a collection of nautically poor William gets saddled with most Records. Favorite picks of AC include and I understand that your mother is themed songs – some traditional and of it. Seven Seas (2004) and Hearts of Gold French, Felicia. Do you find many some contemporary – that we’ve col- PINT: We’ve been doing it long (1994). For more information, check French seafaring songs? lected over the last few years. Most of enough that we do get calls from peo- out the Pint and Dale website www. DALE: There are tons of French them have a connection with England ple. Like in Dana Point we did the Tall pintndale.com. sea shanties-- in some way. We’ve spent a lot of time Ships Festival. Then we meet people there over the last few years and some there who want us to do a house con- Audrey Coleman is a writer, educator, PINT: And German-- audio producer, and passionate ex- DALE: Polish, Estonian. of the songs were gathered at sea mu- cert or something else. sic festivals like Sea Fever in Hull on DALE: And we get calls from peo- plorer of traditional music and world PINT: We’ve picked them up in the culture. different countries we’ve visited. the north east coast near the mouth of ple who’ve found us on the website. DALE: Even landlocked ones have the Humber River. PINT: There are a lot of festivals sea shanties because a lot of those guys PINT: I think this CD has a lighter on the Eastern seaboard so we’ll stay Page 22 FolkWorks MAY - JUNE 2007

JOEL: What is it about the early hi—whose primary instrument was will continue to influence musicians continued from page  decades of the 20th century that you the steel . Unfortunately, for a long time to come. and surrounded by makeshift props find so interesting? there’s only about four recordings in JOEL: You seem to be working which give a wink and an elbow of DAVID: I’ve always found the existence of him actually playing the in thematic performances of late. Do embellishment to whatever theme music of the 1910s to the 1930s to be uke! But they’re the best. you see this as a way to keep the music they are imbedded in. No matter how the some of the most fun and inspir- JOEL: Is the talented John Reyn- fresh or is the vaudevillian approach ragged the production may get, the ing music I’ve heard. As a kid, I re- olds a mentor, collaborator/partner in a resurrection of those happy days of music stays up front and engaging. member immediately being rapt with crime or someone who owes you a lot yesteryear? It’s an excuse to have a good time for excitement over the playful complexi- of money? DAVID: Yeah, I think it adds a what is really a madcap romp through ties of . But I’ve always been DAVID: Ha ha! Let’s not talk fun element to the show. I’ve got an , burlesque, a backroom attracted to that period for some rea- about money, shall we? If anybody urge to be a little theatrical in a very speakeasy, a squat in the parlor room son—the clothing styles, the movies. owes, it’s me! …I’m very grateful to Vaudevillian way. Our first show had and always a Keystone-Kop-run down On film, we have some of the greatest be working with John. He’s the most a circus side-show flavor to it, com- . examples of comedy in all of Western amazing guitar player I’ve ever seen. plete with knife-thrower and juggler Occasionally seen with another lo- culture—the Marx brothers, Chaplin, And the flair of his plectrum-banjo guest acts. We had a lot of fun with cal perpetrator of retro romance, Janet Keaton, Harold Lloyd. As a filmmak- playing is only surpassed by one of that—John and I like to be big kids. Klein, both David and John change er myself, I love the art of the silent his heroes, Eddie Peabody. He’s great Our next show, at the Steve Allen The- hats and ply their passion and partake film. I don’t really think it ater in Hollywood, was in a plethora of other plucky perform- was such an “Age of Inno- The Bilgewater Broth- ing posses. David is involved with the cence” but it was certainly ers’ Swamp Jamboree— Barleycorns, duets with Parlor Boy, a simpler time—and I do where the stage was done Brad Kay and may sit in with the Cal- like that. I think every- up to look like a swamp, ifornia Navels (www.thecaliforniana- body wants life to be sim- with fog, old lanterns and vels.com). John, in addition to his long pler, really. the sounds of crickets. resume with many famous bands and JOEL: Do you look Musically, we got into a Hollywood performers, also joins up at the interest in old time jug and washboard band with his brother, Ralf, in the Rhythm music as an aspect of nos- sound, which felt so ap- Rascals (www.reynoldsbrothers.net), talgia for more innocent propriate. Then we did and sits in with the Colonels of Corn. times or is it just “timeless The Bilgewater Brothers Before interviewing David Barlia, music” that needs to be on the Moon, for which I got the lowdown on John Reynolds played and preserved? we gathered up lots of and the rich musical history he car- DAVID: Uhm, yes. tunes about the moon—of ries with him. As the grandson of si- Both. A lot of it is timeless, which there is a staggering lent film star, ZaSu Pitts, there is old and very warm. I think number to choose from. fashioned show biz blood that runs there’s a joyful warmth We had a rocket ship and through John’s veins. John calls the there that’s sorely lacking a robot and invited the au- music he plays, “old pop music” or in a lot of today’s music. dience to come dressed as early “Betty Boop.” John admits, “I JOEL: As a relatively aliens. That was also the inherited my grandmother’s taste for recent player in this kind first show that introduced old things.” Add to this the family mu- of music, does it seem like Claudia Rose, who’s be- sical heritage (a father and grandfather there’s an endless supply come an integral part of who both played the “bones”) and the of old songs waiting to be the show. She really adds time spent in his grandmother’s his- discovered and arranged? heat to our newest show, toric 1920s Paul Williams designed DAVID: You know, The Bilgewater Broth- house, and what else would a young I don’t listen to much of ers Go To HELL! Her kid do back in 1964 but pick up the anything outside of this pe- wonderful singing and 5-string banjo and get lessons from riod anymore. When I say dancing is really the ic- local stringed instrument guru, David that to people, of course ing on the cake—or the Lindley? In the following years, he their reaction is, “That’s treacle on the brimstone? switched over to the 4-string version, all you listen to??!” We’re Hmm… eventually doing a 5-year stint play- talking about a period of, JOEL: Do you fore- ing banjo at Disneyland during his let’s say 30 years. That’s a see a larger stage for the college years. Picking up the guitar, long time for a lot of amazing artists fun to work with, really wacky. But Bilgewater Brothers in Los Angeles he took lessons from the great George to have recorded. There’s also some- he’s somebody who’d been away or is it more enjoyable flying below M. Smith, guitarist for the Paramount thing fun about being musical, a sort from the front of the stage for a the radar with a cult following? Have Studio Orchestra. Later, he wound up of musical archaeologist, digging for while—you know, playing sideman you investigated the interest level of playing with the local Mood Indigo treasure. When I discovered what I to other bands, with quiet profession- the music in other parts of the coun- trio for several years. Along the way, might find on old 78 records, antique alism. But anybody who knew what try? he opened for the Smothers Brothers, stores suddenly became a whole lot he was capable of was wishing he’d DAVID: I would like very much to learning the ropes of the music and more exciting. come to the foreground more. I saw take our Moon Show to the west side, show biz world. Other gigs have been JOEL: What started your interest an opportunity to form a partnership somewhere in the Santa Monica area. with Dean Mora’s Modern Rhythmists in the ukulele and where did you get with two front-men. I’m just looking for the right place. dance orchestra (www.morasmodern. that cigar box uke? What’s been the JOEL: Do you see a resurgence We really need to get a CD put to- com) at the Oviatt Building and a stint response to the slide ukulele? in interest in the music and musical gether—which will certainly help sell with Johnny Crawford’s Dance Or- DAVID: Actually, I play one in- instruments from the early part of the us to places further from home. We chestra (www.crawfordmusic.com), strument: Ukulele. I have several last century? There seems to be some have got lots of friends on MySpace where his expert whistling also got the ukes, naturally, including a banjo- cross-pollination of influence from the all over the world! Heh-heh, well, spotlight. Look further and you’ll see ukulele and a cigar-box uke, which swing, vaudeville, and early jazz eras who doesn’t? John has performed with such legends I made myself with a kit (available as many of today’s musical groups (be JOEL: Does this kind of mu- as and Julie Andrews. from www.papasboxes.com). I love they country, rock, or folk) will often sic need an “Oh Brother Where Art In addition to his expert banjo and that I can trade off , play with throw in a banjo lick, accordion run, Thou?” to bring in a new audience as guitar work, and the aforementioned the exact same fingerings and produce or uke strum into their mix of songs. that film did for bluegrass? canary-like whistling, you may catch several different sounds. My main in- DAVID: Like I say, ukes are pop- DAVID: Well, it wouldn’t hurt! him displaying his talent with “bila- strument is a Resonator Ukulele made ping up in new bands everywhere— I’ve certainly got ideas as a film- bial fricatation.” It’s your basic ‘fart’ by Johnson—an excellent instrument. and many of them are not at all retro. maker leading me in that direction. sound generated by hand suction, but As a bit of a joke, really, I tried out There’s a lot of people playing mod- That film was such a sensation, and brought to new “heights” when the playing that as a slide instrument— ern original compositions with uke ac- it was heavily fueled by the wonder- technique is flaunted in the Ellington which actually worked amazingly companiment. I’ve seen several ban- ful soundtrack, but well-paired with standard, Caravan. well, though I made it sound more jos around as well—again in modern the Coen Brothers, whose work I also In between all the multiple group funny than musical. groups. John swears that Hell is full of love. sit-ins and session, with his plectrum JOEL: What do you think is the Banjo players, for some reason. JOEL: Other than the Parlor banjo and National steel guitar in tow, future of the uke? Do you listen to any JOEL: Do you think the future of Boys, California Navels, the Barley- he joins David Barlia to make musical other ukulele players, Hawaiian or music will be space age minimalist corns, the Rhythm Rascals, who else mayhem as the Bilgewater Brothers. other wise? drone or an amalgamation of sound do you like in the present old time mu- They met a few years ago when John DAVID: New ukulele-based produced by every American Idol sic world? saw David in performance with Parlor bands seem to be popping up every- winner, or a tape loop of profane hip DAVID: There are a lot of great Boy pianist, Brad Kay, in a local cof- where like crazy. If you do a search hop curses, or a return to a banjo, a bands out there, more than I can keep fee house and thus began the musical on MySpace for “ukulele” you will melody and witty lyricism? up with, that’s for sure. I came across partnership. David, the man of many find a tremendous number of players DAVID: You know, I think things an excellent group in the UK, called hats, as he proudly calls himself, took at all levels. One of my all-time favor- have a tendency to go round in circles The Gramophone Party. They have an some time to let out some serious ite players was a Hawaiian musician just as much as they evolve in new excellent slide guitar player, who also bilge water for Folkworks. by the name of “King” Benny Nawa- directions. I think these older sounds continued on page 28 MAY - JUNE 2007 FolkWorks Page 23 LOOKAROUND GOING POSTAL By Brooke Alberts

love to get things in the mail that cept was developed by the Swiss artist ‘I am spiritual,’ make everyone spiri- content of iconography and designs are actually For Me- not just sent M. Stirnemann in 1996 and the notion tual.” traditionally used in rock and body and Ito me because I live at my ad- has caught on with the artistically in- CAFAM is hosting an exhibition ground paintings, but only the ones dress. What’s even better is when the clined as a way to express themselves, called “Dreaming in Color: Aboriginal that are OK for outsider viewing. This mail does not consist solely of bills connect with each other and share Art from Balgo” (Balgo is located in show will be organized around the and notices from school. I am a Person their personal styles. Subject matter Western Australia between the Tanami categories of Women’s Law (women’s of Many Hobbies, and currently I’m is proposed (such as “animals wear- and the Great Sandy Deserts.) rituals and images inspired by wom- engaged in swapping things through ing hats,” “inspired by Yogi Tea” or It is on loan from the Kluge-Rohe en’s body paint designs), Men’s Law the mail. This means that not entirely “Paris”) and each artist is free to use Aboriginal Art Collection, University (stories of Tingari and Watikutjarra random but certainly intriguingly un- painting, drawing, sewing, collage (or of Virginia, (augmented by objects ancestors), My Country (their place of known items arrive at intervals in my whatever feels like fun) to address the from the Felton Foundation of Santa conception or birth) and Formation of mailbox. Currently I am involved in theme and then send the cards to their Monica) from April 29th to Aug. 12th. Landscape (tales of how ancestral be- the free exchange of teabags, maga- swap-mates. It will be the first time that an exhibi- ings created the earth’s forms). A se- zine articles, homemade envelopes, Many of these exchanges are open tion of Australian Aboriginal art has lection of anthropological items from “cute socks,” items from India, cre- to swappers from around the world, been mounted in a Southern Califor- the people of the region will be dis- ative writing prompts (in the form so patience is required when an enve- nia museum. There will be a lecture played along with the contemporary of a fortune-cookie fortune and an lope is wending its way from Europe Sunday May 6th at 3:00pm at the CA- paintings. evocative photo image), a small soft or New Zealand. I generally make it a FAM on Aboriginal Australian Art There will be a lecture on Aborigi- handmade toy, and a few others. Since practice to send any flat items in en- by historians Kerry Smallwood and nal Art by historians Kerry Smallwood it is contained in the swapping ethos velopes that I create out of old calen- Richard Kelton. and Richard Kelton at the Craft and to amuse and entertain the swapper dar or magazine pages, just because There will be roughly thirty-five Folk Art Museum on Sunday, May 6 at the other end, it’s a good workout it’s fun and gratifying for those at of the colorful, rich in surface pattern, at 3pm. for creativity and generosity muscles. both ends. As an inveterate Connec- visually active and also meaningful Craft and Folk Art One swap consisted of one item to tor (I was a pen-pal enthusiast as a contemporary acrylic paintings by Museum each of five partners. The categories young thing, and an Internet commu- members of the Kutatja, Ngarti and 5814 Wilshire Boulevard Los were something: a. Orange b. Sweet nicator since Back in the Day, when Walmajarri peoples from Balgo on Angeles, CA 90036 c. Cosmic d. Whimsical and e. Odd. I had to go use the UCSB Physics display. The Dreaming referred to in 323-937-4230 www.cafam.org I challenged myself to send out items Dept. computers in the dead of night the show’s title is a complex and all- Hours: Tuesday, Wednesday and that contained at least 2 of these quali- to send communiqués to my honey at encompassing Australian Aboriginal Friday 11am – 5pm, Thursday 11am ties at once. Most recently I joined a the South Pole), this offers me yet an- worldview concept which I will fee- – 7pm, Saturday and Sunday 12 swap where the participants create a other avenue to exchange ideas with bly put forth here: As I understand – 6pm brochure, postcard and souvenir to other like-minded folks. Swap-Bot it, Dreamings are eternally present Admission: General $5.00; Students promote a vacation is some other- has a rating method that allows those ancestral beings (and their actions) and Seniors: $3.00; CAFAM worldly location… who are just in it to receive and not that move and shape Everything. The Members and children under 12 Free; One of the main exchange media to exchange to be identified and dis- Dreaming is also at the foundations of 1st Wednesday of month Free. for the group I am involved in (www. included after too many unexplained laws and ritual, the totemic entities, swap-bot.com) is that of Artist Trad- and un-rectified flake-outs. Now to go and the living landscape. Dreamings Brooke Alberts is a songwriter and ing Cards. These are small works of off and be “inspired by Yogi Tea”... live on through those who have in- has a Masters degree in Medieval art the size of baseball cards (2 ½ in. “Success is when you make your herited the right and responsibility to Studies. x 3 ½ in.), created in series’, signed personality infinite. From ‘I am hap- preserving their memory and perpetu- and numbered. They can be displayed py,’ make everyone happy; ‘I am sat- ation. in trading-card sleeves and are not to isfied,’ make everyone satisfied; ‘I Western Desert acrylic paintings be sold, but only exchanged. The con- am healthy,’ make everyone healthy; characteristically contain forms and

BOOK REVIEWS FAKING IT: THE QUEST FOR AUTHENTICITY IN POPULAR MUSIC BY HUGH BARKER and YUVAL TAYLOR he NY Times Book Review two weeks ago wrote about a new book called Faking It-The Quest For Authenticity in Popular Music (Hugh Chicks Nix TBarker and Yuval Taylor). I am about halfway through, and want to suggest it as a must read because it has a fascinating focus on the roots of folk music in the South (using John Hicks’ Picks Hurt as an example) and the difficulty in defining folk music, etc. It is a fairly By Ross Altman easy read and I think you will be very happy that you purchased or borrowed fter striking out in Nashville at the CMA awards, the Dixie Chicks this book. Bruce. hit a grand slam home run in Los Angeles at the Grammy’s last Newman, DeCoster & Co. AFebruary 11. They swept all three major awards: Song, Record and Bruce S. Newman, Attorney at Law, CPA; Peter J. DeCoster, FCA Album of the Year, on the way to winning all five categories in which they were nominated. They added insult to the injury of the red states’ defeat in DANCING IN THE STREETS all the major contested elections last November, throwing control of the BY BARBARA EHRENREICH House and Senate into blue state Democratic hands for the first time in a have to tell you about this book I am just finishing called Dancing in the generation. Streets by Barbara Ehrenreich. It is brand new but you can order it from Call it the last nail in the southern coffin. The bi-coastal cultural power the library. From a fascinating anthropological standpoint she explains centers New York and LA showed that they have no objection to country I how, starting in the neolithic, people have had circle and line dancing and how music - it was the politics they abhorred. Give us a country band not tied to important it is to humans--something we have evolved with. Bush country, and we’ll embrace it wholeheartedly, which we did. And what happens when people are not allowed to have such gatherings, It was also a great night for folk music, as - who was there over our history up to the present day. to receive a Lifetime Achievement Award - looked resplendent as she in- I know none of US have to be convinced of any of this, but this book gives troduced the Chicks to an international TV audience, as well as the Staples a whole slant that is new, and things to say to people who don’t understand Center crowd. Joan drew abundant applause when she reminded us that over what’s so good about participating in gatherings such as ours. the years she too has been told many times to shut up and sing (the title of Amazingly, she doesn’t seem to even know about modern Balkan dance last year’s documentary on the Dixie Chicks). She ended her brief but bra- culture, or a few other things, but that just makes reading it all the more magi- vura performance by quoting Woody Guthrie: This Land Is Your Land. For cal and resonant. one beautiful evening, it felt like it. Singing and dancing to save the world, Rebecca Dwan Page 24 FolkWorks MAY - JUNE 2007 GRACENOTES BY LINDA DEWAR

ere in rural Scot- What’s the definition of an optimist? tions. About noon on the second day of travel up the land we have A folk musician with a mortgage. river they began to hear drums. Being a city boy by Ha group called ********** nature, the anthropologist was disturbed by this. He “Music Across Perthshire” asked the guide, “What are those drums?” (MAP) that’s a sort of collec- What’s the difference between a musician and a The guide turned to him and said “Drums OK, tive of musicians, venues and promoters of all kinds savings bond? but VERY BAD when they stop.” of music from classical to folk and beyond. Each One of them eventually matures and earns Then, after some hours, the drums suddenly year in late February, MAP produces a collection of money. stopped! This hit the anthropologist like a ton of events called the Dreich End Festival. “Dreich” is ********** bricks, and he yelled at the guide: “The Drums have a Scottish word that means, roughly, “yucky cold, stopped, what happens now?” Once again the Grammy Awards have come and gray, damp weather,” and the festival is a way to The guide crouched down, covered his head with gone, and if you blinked at the wrong moment you remind us that the spring is near. Of course, spring his hands and said, “Accordion solo.” may have missed hearing about the awards in cat- means warm, gray, damp weather, but any improve- egories like Folk, World, and other genres that are ********* ment is welcomed. of interest to FolkWorks readers. So, here is a sum- So last Saturday, I found myself sitting in the Q: What happens if you play a country-western mary: Taybank, a terrific music pub in Dunkeld, prepar- song backward? Traditional Folk Album: We Shall Overcome – The ing to participate in the second annual Taybank Mu- A: Your wife comes back, your dog comes back to Seeger Sessions, sic Marathon. The idea is to hold a 12-hour session life, and you get out of prison. where the music literally never stops - someone Contemporary Folk / Americana Album: Modern must be playing at every moment. Musicians can Times, Bob Dylan(Interestingly, Dylan also won ********** come and go, and everyone takes turns singing or in the Best Rock Vocal category for a track from Want to hear a great live performance of classi- playing whatever they can, making sure to overlap this album) cal, symphonic music without spending a dime for the beginning of one tune with the end of the next so Bluegrass Album: Instrumentals, & admission? Here’s a wonderful idea: “The Power there’s never a second of silence. Kentucky Thunder of Music” Musical Instrument Donation Project is The Taybank used to be owned by Dougie Ma- Native American Music Album: Dance With the a collaboration between The Pasadena Symphony, clean, the Scottish singer-songwriter, and he was Wind, Mary Youngblood Charter Communications, Fidelity Bank and the there from the beginning of the session along with Pasadena Educational Foundation to raise aware- Best Mexican Album: Historias de mi Tierra, Pepe his wife Jenny, who was one of the organizers. Not ness for the need of musical instruments in Pasadena Aguilar everyone realizes that Dougie is not just a singer, but Schools. also one of the best fiddlers in Scotland, and it was Traditional World Music Album: Blessed, Soweto If you have a new or used musical instrument a real treat to play with him and to have him fiddle Gospel Choir gathering dust in a closet, why not donate it to our while I sang. There were dozens of others, too, play- Contemporary World Music Album: Wonder schools so they use it or renovate it for our young, ing everything from accordion to upright bass, pia- Wheel, The Klezmatics future musicians? Bring any instrument to one of the no, and banjo. I managed to play from about 11:30 And, rather than to list all of the categories sepa- upcoming concerts of The Pasadena Symphony and to 1:00, then took a break and played for another rately, it is easier to say that the Dixie Chicks won you will get two free tickets to that concert! hour or so. By 4:00 when I had to leave there were in just about every category they were nominated in, For information, visit the orchestra’s web site at plenty of musicians on hand to spell each other. including Best Country Album, Record of the Year, www.pasadenasymphony.org/main.htm This has to have been just about the most fun I’ve Album of the Year, and Song of the Year. If I may be (Ed note: Perhaps donate old banjos, harmoni- ever had at a session, and it was a very successful permitted to don my activist hat for a moment, may I cas, washtub basses, etc. Maybe they’d get the point, fundraiser for MAP, too. There was no admission just say “Hooray for Free Speech in America!” do ya think?) charge, but they passed a donation bucket around sev- ********** eral times and collected the equivalent of $1000 in ********** pounds sterling. Might be a great idea for some of the An anthropologist decides to investigate the na- “Music is a friend of labor for it lightens the task by music organizations in southern California to try. tives of a far-flung tropical island. He flew there, refreshing the nerves and spirit of the worker.” ~William Green ********** found a guide with a canoe to take him up the river to the remote site where he would make his collec-

distribution

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he greatest American song- troubadour already sounds—he could thirteen mature power of Guthrie’s great bal- writer of the 1960s met the almost be describing himself—or at To Calumet, Michigan in the copper lad that provides the tune: The 1913 Tgreatest American songwriter least the persona he is at great pains country Massacre. of the 1930s when he was a tousle- to project - as he evokes a world that I’ll take you to a place called Thirty years later, at the Madison haired 20 year-old kid from Hibbing, seems sick and it’s hungry, tired and Italian Hall Square Garden concert celebrating Minnesota who still, in Joan Baez’s torn / it looks like it’s a-dyin’ and it’s Where the miners are having their his recording career on Columbia Re- words, had his baby fat. Woody Guth- hardly been born. big Christmas ball. cords, with the greatest rock singers rie, in Dylan’s as yet unwritten immor- That play on words would come In this searing indictment of the in the country now paying tribute to tal words, was busy dying (of Hunting- back to Dylan three years later in his brutality of industrial capitalism Guth- him, Bob went back to those two cor- ton’s Chorea), while Dylan was busy impressionistic masterpiece and rhym- rie recounts an episode in which hun- nerstone songs at the beginning for his being born. Dylan came for inspiration ing tour-de-farce It’s Alright, Ma (I’m dreds of miners are trapped in their own brief set: Song to Woody and It’s and Guthrie, with a cigarette dangling Only Bleeding): He not busy being social hall when a practical joker yells Alright, Ma (I’m Only Bleeding). from his mouth, offered him the best born is busy dying. fire in a crowded theatre, and starts In my end is my beginning, said advice he could. You may recall the late great re- a panic reaction in which 73 miners’ another great American poet, T.S. To have been a fly on the wall in porter Ed Bradley’s 60 Minutes in- children are killed in the narrow stair- Eliot in the poem East Coker from Woody’s room in Greystone Hospi- terview with Dylan two years ago, in well leading down to the single exit. The Four Quartets. The obverse is tal in New Jersey, with Dylan play- which Bradley expressed surprise and Guthrie’s last telling verse is pure folk also true; before Dylan discovered ing Woody’s songs back to him “like dismay that Dylan had announced in poetry: Woody he was playing a Woody Guthrie jukebox,” as Dylan his autobiography Chronicles, Vol. 1 The piano played a slow funeral and piano and trying to create a band would later describe himself at that that he could no longer write songs. tune to become a rock and roll star. It was age, would have been like seeing Bradley was not afraid to ask the un- And the town was lit up by a cold hearing Woody for the first time and Socrates talk to a young Plato, like Dr. comfortable and intrusive follow-up Christmas moon reading his autobiography Bound for Samuel Johnson meeting Boswell for question, “How come?” The parents, they cried and the Glory that literally changed his life the first time, like Wordsworth meet- Dylan’s answer was utterly self- miners they moaned, and made him pick up an acoustic ing Keats, or Emerson meeting Tho- effacing and brutally self-revealing “See what your greed for money guitar. Ever since he had run away reau—a moment to remember. at the same time - he simply recited has done.” from his Mid-western mining town Did Woody tell Bob how important the opening of this song: Darkness at One of Guthrie’s iron-clad clas- home in Hibbing, Minnesota he had it was to come up with a good hook for the break of noon/shadows even the sics, it provides just a glimpse into been trying to figure out how to say a song—both melodic and lyrical? Did silver spoon/the handmade blade, the the range of experience and outrage something in music. Hearing Woody he pass on the wisdom he had adapted child’s balloon/eclipses both the sun at injustice that the young Dylan will Guthrie showed him how to begin to from the French Impressionists: All and moon/to understand you know too himself be articulating in just a couple bring his “thought dreams” to life. you can write is what you see? Did he soon/there’s no sense in trying. Then of years with songs like The Lonesome Woody showed him he didn’t need a tell him to throw out his first draft? he paused for dramatic effect and Death of Hattie Carroll and Masters of band - that one man with a guitar (and None of the above. Did he tell looked at Bradley man to man, as he War. For now, however, Dylan’s Song a harmonica) could sing the truth. him not to mix his metaphors, as E.B. said, “You try to write something like to Woody only hints at the full-blown continued on page 28 White and William Strunk would tell that - it was pure magic - I don’t know young writers in their classic book on how I did it even once, and I can’t do it style? Did he tell him not to search anymore. If I could, I would.” Ross’ Mailbag for answers, but to revel in the ques- Then he added that he was able to tions themselves, as Rilke would tell do other things to compensate for the Occasionally a column elicits some interesting differences of opinion that a young poet in his Letters to a Young loss of his lyrical ability - like write our readers might enjoy—so herewith are a few of the comments on Barry Poet? Did he say anything about point prose. For an artist who could be no- Manilow from three FolkWorks readers with an afterthought by columnist of view? No, no, no. toriously off-putting and even insult- Ross Altman (How Can I Keep From Talking—Jan/Feb 2007 issue). Did he offer him Chekov’s advice ing to inquisitive journalists, he paid that if you see a rifle on the wall in the Bradley the high compliment of com- Hi Ross—I picked up a copy of FolkWorks’ Jan-Feb issue at the Coffee first act of a play, it better go off by the plete honesty. That’s what made Brad- Gallery Backstage last week and read your article. third act? Or that the way to write a ley the great journalist he was—he I have no difference of opinion with you on the subject of the King of good story is to write two hundred bad elicited that kind of honesty again and Pap; however, I do feel inclined to point out that your selection of The Great- ones? No again. again. est Songs of the Sixties bears some glaring omissions, notably Ohio and Joni Nor did he pass on to Bob the ad- What is crucial to recognize for our Mitchell’s Woodstock by CSNY and For What It’s Worth by Buffalo Spring- vice he had given a young Pete Seeger purposes, however, is that even in his field. when they were both members of the first published song, one that evokes I’m sure I could comb my memory to discover dozens more…these are Almanac Singers: Don’t be afraid to be throughout the imagery of the Dust- just the first that came to mind. The point I would make is that there’s a certain serious, or its corollary truth—some- bowl Balladeer, Dylan has already liability in labeling something “the greatest” (unless one floats like a butterfly times you can use humor to make a found his own poetic voice as well. and stings like a bee), and it would be best to title a collection the likes of serious point, as he did in his Surrounded by lines Dylan patched to- which we speak “Great Songs of…” and let the superlatives lie. of Pretty Boy Floyd, “Some men will gether from Guthrie classics: Here’s to - Tom Fair rob you with a six gun, and some with the hands, and the hearts of the men, a fountain pen.” that come with the dust and are gone Change of subject: the new Barry Manilow album (which I have not In short, you could compile a use- with the wind (Pastures of Plenty); And heard)—There were a lot of middle of the road records in the 60s that I really ful manual for songwriters with ad- the very last thing that I want to do/Is hated. But I found a jazz guitar record called Phase 2 by Johnny Smith that vice Woody Guthrie did not give Bob to say I been hittin’ some hard travelin’ contains instrumental versions of all those tunes, and it’s really fabulous. Dylan. So what of the advice he did too (Hard Travelin’), they show off in Blowing in the Wind is a great song because of the ideas contained in the give him? bold relief the line that is pure Dylan: lyrics. But remove those lyrics, and the tune cannot stand by itself as a strictly Don’t rush me. I’m just getting It looks like it’s a-dyin’ and it’s hardly musical composition. warmed up. been born. Even as he pays tribute to By contrast, the lyrics to Frankie Valli’s Can’t Take My Eyes Off You are Before I reveal Guthrie’s secrets, the master, he has already started to utterly devoid of any intellectual or social value, but from a strictly musical you should also know that Dylan did carve out his own road. point of view, the song is far richer, and contains much fodder for jazz impro- not arrive empty-handed, or just to There is more to Song to Woody visation. reflect the master’s words and music than meets the eye, however, for lis- I’m not putting down the songs you mentioned, but I think that a lot of the back to him. Dylan had started writing tening to the music one realizes that middle of the road pop tunes with lame lyrics are more worthwhile (from a songs himself, and brought his first the title is only half right; the song is musical point of view) than many people realize. “keeper,” a paean to his idol, Song to as much a song from Woody. The tune - Mike Perlowin Woody, which would be one of only is one Woody adapted from traditional two original songs on his first, epony- sources (Hear The Nightingales Sing Emphatically agree!! I think you should send this piece to Mr. Manilow (even mous, album, released the following is the most obvious) and used for his if he is Jewish and recovering from hip replacement surgery). Wouldn’t hurt for year. Christmas protest classic 1913 Massa- him (and his promoters to learn that their overreaching efforts to increase sales Listening to that first published cre, a song that records in excruciating might in fact have the opposite effect (on those with an IQ over 85). Dylan song today, written when detail a historic crime against the cop- - Jill Fenimore he was just twenty years old, one is per miners of Calumet, Michigan: continued on page 28 struck by how world-weary the young Take a trip with me in nineteen Page 26 FolkWorks MAY - JUNE 2007 47th ANNUAL TOPANGA BANJO FIDDLE CONTEST By Warren Garfield ince the first Topanga Fiddle paniment, with an occasional rousing nia traditional music community for explorers with his exuberant fiddle- Contest in 1961, numerous chorus song mixed in, guarantees an his driving, rhythmic guitar, melodic playing, keeping spirits high during Sbluegrass, folk and old-time enjoyable and memorable listening picking, traditional sing- non-work periods. Playing fiddle, jaw musicians have graced its stages, in- experience. Add the visual excitement ing style and his inability to hold his harp, bones, spoons, and other instru- cluding Jackson Browne, David Lind- of award-winning Irish step-dancing whiskey. Stuart is on the guitar teach- ments of the period, Daniel takes his ley, Taj Mahal, John Hartford, Byron and you’ve got yourself a party! Mol- ing staff at the CTMS Solstice Festi- audiences on an unforgettable musical Berline, Dan Crary, Frank Hamilton, ly’s Revenge has performed at many val and Lark Camp. He spent his early voyage with stops along the way for Eric Darling, John Hickman, Stuart of the top folk festivals in the U.S. and years in West Virginia and southern humorous and moving stories about Duncan, Phil Salazar, Pat Cloud, Larry at prestigious events in Australia and Ohio, playing bluegrass and country the journey and Cruzatte’s critical McNeeley, Bill Knopf, Howard Year- China. Their latest CD, Raise the Raf- music. While living in the mountains contributions to it. wood, Tom Sauber and many more. ters, was released in 2006. in the old family house, he was ex- COWBOY NICK, host of Twang, Others who got their start as contes- On the Railroad Stage you can posed to the oldest forms of Appala- LA.s only country music show on FM tants became musical headliners. This enjoy STEVE WERNER & FUR chian fiddle music, which led him to radio, can always be heard playing his year on Sunday, May 20th, the Topan- DIXON’s Songs of the Open Road. traditional Irish music. signature mix of Bluegrass, Cowboy ga Festival will again present some of Fur and Steve will take you on a rol- SUSIE GLAZE, backed up this & Classic Country Music every Sat- the finest bluegrass, old-time and folk licking musical joyride through the time by Dan Sankey and Steve urday morning starting at 10am on musicians ever as- back roads and Rankin, presents “The Appalachian KCSN 88.5FM and around the world sembled in Southern highways of the Songs of Jean Ritchie.” Broadway ac- at www.kcsn.org - Arts & Roots Ra- California. West. Perfect har- tress, singer and recording artist Glaze dio for Southern California. Cowboy On the Main monies, awesome is quickly becoming known as the Nick will present a number of musi- Stage, it’s all-out, guitar picking, and next generation of Appalachian roots cal acts, including MERLE JAGGER, unadulterated blue- old and new-timey music interpreters, and a specialist an instrumental trio ready to blaze a grass with PETER traveling songs are in the work of American folk music new trail of amped-up FELDMANN AND sure to please old- legend Jean Ritchie. The native Ten- with a mix of Bluegrass and Jazz for THE VERY LONE- sters and young- nessean’s concert/theatre piece Sing- the new Western millennium. Veteran SOME BOYS, which sters alike. Fur ing the Moon Up: The Voice of Jean session guitarist Mark Christian, a always includes high Dixon is a hand- Ritchie, premiered to critical acclaim native of Southern California orange energy instrumentals crafted songwriter in September 2005 at the Pennsylva- tree ranches, has teamed up with barn- and heartfelt sing- and angel-voiced nia Centre Stage Company. “Susie yard pals Patrick Flores and Brandon ing. Peter Feldmann cowgirl. She gath- Glaze is nothing less than transfix- Goldstein for the ultimate progressive has been the pre- ers her musical in- ing…she draws a hillbilly experi- eminent bluegrass fluences from Gil- song from deep ment. artist of the Santa lian Welch, June inside and delivers Cowboy Nick Barbara area for de- Richard Greene and Mother May- it straight into the will also bring you cades. Tommy Mar- belle Carter, Hazel eyes and heart of I SEE HAWKS ton has a great sense Dickens and John- her listener,” says IN L.A., a trio of finesse, blending several bluegrass, ny Cash. Steve Werner is an unrepen- Michael Casper of which was formed old-time and Western contest fiddle tant, motorcycle-riding, hard-travel- the Altoona Mirror. in 1999 by Rob styles. David West is known as one of ing, Travis-pickin’ son of a gun and And Jean Ritchie Waller and broth- the founding members of the Cache his original songs have the timeless herself writes of ers Paul & Anthony Valley Drifters, and currently di- quality of classic folk songs. He’s an Susie, “Quite sud- Lacques during a vides his time between performances old-school troubadour trained in the denly I know that, philosophical dis- and record production for Los Ange- ways of his heroes: Woody Guthrie, with people like cussion and rock- les-based CMH Records. Tom Lee is , Doc Watson and this to trust, my throwing session one of the West Coast’s premier bass Ramblin’ Jack Elliott. music will go on on an East Mojave players in bluegrass, jazz, and blues Look for Topanga veteran RICH- living, and soaring. desert trek. This circles. Guitarist Mike Nadolson is ARD GREENE and his workshop, And so will I.” band has estab- a great singer as well as a hot-picker “Bluegrass and Old-time Fiddle” In ROSS ALT- lished a signature and he also runs Tricopolis Records, the words of a fellow fiddler, Rich- MAN will sing out sound of high a new venue for Western bluegrass ard is “one of the most innovative with “Folk Songs lonesome, three- bands. and influential fiddle players of all & Human Rights.” part harmonies, At Topanga, you’ll also see TOM time.” Growing up in Los Angeles, Of Ross, “A real twang guitar and BALL & KENNY SULTAN, who he dabbled in classical music until flair for writing on unadorned acous- have been bringing their unique blend his encounter with the pyrotechnic a par with the best Steve Werner & Fur Dixon tic arrangements, of guitar and harmonica blues, rags fiddling of Scotty Stoneman, which of Tom Paxton,” with lyrics mus- and other American roots styles to permanently changed his musical di- says the CTMS Journal. LAs most ing on mortality, whales, and the ge- audiences in the US and Europe for rection. Richard was the winner of sought-after activist folksinger, he has ography of pre-apocalyptic LA The more than two decades. They have the very first Topanga Contest back sung with Arlo and Pete and Sam Hin- band has received rave reviews, a #1 eight recordings as a duo, two solo in 1961. A few years later, he turned ton and Johnny Walker. But more than spot on the F.A.R. Alternative Coun- CDs each, a dozen instructional books professional, joining and that, he has sung with the very people try Chart, and The L.A. Weekly’s Best and videos and they appear as side- the Bluegrass Boys. Several of his re- who created the music he sings - the Country Artist of the Year Award for men on hundreds of other CDs, film leases in the folk and bluegrass genre folk, meaning the poor folk. He has 2002 and 2003. soundtracks and TV shows. Their new have been honored with Grammy and sung - even daily for the last dozen 47th Annual Topanga Banjo ·Fiddle release, Happy Hour, finds the boys IBMA awards and his solo CD Sales years - at nursing homes, psychiatric Contest & Folk Festival, Sunday, May still firmly rooted in the acoustic-folk- Tax Toddle, was Grammy-nominated facilities, and schools for the develop- 20, 2007 from 9 a.m. to 6 p.m. at the blues tradition that keeps them at the for Bluegrass Album of Year. mentally disabled. He has sung for the Paramount Movie Ranch, Agoura, forefront of their field. As usual, Tom You can also see JOHN WEED disadvantaged and disenfranchised, CA. For details call the hotline: 818- Ball plays world-class blues harmon- AND STUART MASON with “Celt- for the homeless and homebound, for 382-4819 or visit the web site: www. ica and guitar as well as the vocals, ic-American Crossover .” In human rights groups and animal rights topangabanjofiddle.org. while Kenny Sultan is featured on this workshop, John and Stuart per- groups, for peace groups and environ- various guitars. form traditional tunes and songs that mental groups, for labor unions and Warren Garfield is a free lance writer You won’t want to miss MOLLY’S explore the musical connection be- outreach programs, for folk festivals, and a board member of the Topanga REVENGE, a band with a genuine af- tween Ireland and Appalachia. A clas- fringe festivals and at Topanga. Banjo Fiddle Contest. He is retired fection for the music they play. Born sically trained violinist, John Weed On the covered Pavilion stage, To- from the film advertising industry, out of the timeless tradition of Celtic doesn’t let that get in the way of his panga fans will be treated to a most where he produced previews of com- music, their classic combination of fiery fiddling. John has also taken unusual presentation, DAN SLOS- ing attractions for Paramount, Disney solo instruments such as Highland advantage of his skills on other in- BERG with Pierre Cruzatte on the and scores of independent movies. bagpipes, uilleann pipes, whistles, struments to tour professionally with Lewis & Clark Trail. Cruzatte was a fiddle, and mandolin against a back- bands of various musical persuasions. member of the Lewis & Clark Expedi- drop of guitar and bouzouki accom- Stuart Mason is known in the Califor- tion (1804-1806) who entertained the MAY - JUNE 2007 FolkWorks Page 27 Page 28 FolkWorks MAY - JUNE 2007 continued from page 22 continued from page 25 plays ukulele—and gets nearly the bial-Fricatation, Bass Kazoo. That’s what brought Dylan to Lord Randall, I’ll know my song well same sound as Benny Nawahi, since DAVID BARLIA - Resonator Uku- Greystone Hospital in the spring of before I start singing. like Nawahi, he’s still got those finger lele, Banjolele, Cigar Box Uke, Whis- 1961—a twenty-year old troubadour Dylan didn’t need Guthrie’s advice, picks on as he plays the uke. In Japan, tling, Kazoo, Vocal Coronet, Jaw’s to meet the man for whom he had just and Guthrie didn’t need to tell him there are The Sweet Hollywaiians, with Harp, Nose Flute. written his first real song. The man for anything - he had already shown him whom I had the pleasure of meeting and The Bilgewater Brothers influences whom Hard Travelin’ was not a la- how it was done. Nonetheless, he did playing a guest appearance with when are: ment, not the blues, but a celebration, give the pilgrim some advice. What they visited a few months ago. Superb - Eddie Peabody, Cliff Edwards a way of life - something to aspire to. was it? Oh yes, I almost forgot: “Kid, group, again with a great slide guitar (a.k.a. “Ukulele Ike”), Nick Lucas, Just one year later he would raise that don’t worry about writing songs; work player. I think at some point, acoustic Harry Reser, Benny Nawahi- Dixie catchword from the Great Depression– on your singing.” slide guitar is going to have to be my Jug Blowers, Philips’ Louisville Jug the theme of dozens of songs about next instrument… Or maybe I should Band, Django Reinhardt, Eddie Lang, hard times, like Times a Getting’ Hard, Ross Altman has a Ph.D. in English. work up that slide uke! Heh-heh. Whispering Jack Smith and Hard Times in the Cryderville Jail, Before becoming a full-time folk singer You can see David and John, fre- See where the Bilgewater Broth- and Woody’s own Hard Travelin’, he taught college English and Speech. quently at the Steve Allen Theatre ers are playing at www.barliesque. to the height of great poetry, with A He now sings around California for (www.steveallentheater.com) in Hol- com which has links to their MySpace Hard Rain’s a’ Gonna Fall. From Hard libraries, unions, schools, political lywood, and at other venues around home and other related sites. Travelin’ to Hard Rain, from Woody groups and folk festivals. You can reach the town. They are their own variety Guthrie to Bob Dylan, who said at the Ross at [email protected]. show bringing you charm, wit, and a Joel Okida is a struggling artist, strug- end of his modern folk ballad based on few wicked licks on the musical lolli- gling writer, and struggling musician. pop that slyly sweetens the LA music It occurs to him that life is all about the scene. struggle. Fortunately, he did not take up acting. However, he’s not half-bad The Bilgewater Brothers are: continued from page 25 JOHN REYNOLDS - Plectrum as a zydeco dancer and the ability to Jill, Banjo (www.4shelties.com/banjos/ make a mean gumbo and lovely walnut As to the subject of your note to me re last column, I would not send the banjofaq.htm#what), National Guitar, tortes has gotten him by. essay to Manilow, because it would only hurt his feelings, and to what good National 12-String, Whistling, Bila- purpose I can’t see. I did not mean it to be a personal attack, but a counter- statement for the kind of music that to me has historical meaning. I stand by --- EXCLUSIVE TOUR --- the essay, but it was written for my audience, not his. In sum, it was written A PEACE MISSION TO ISRAEL with YUVAL RON ENSEMBLE for you, not him. So I’m glad it found its way to the audience for whom it was intended. Again, thank you for writing. This is the time to register for the amazing exclusive peace mission tour we are taking on this coming November 2007. Space is limited! Ross Itinerary, Terms and registration forms are at: Thanks for your note, Ross. http://www.yuvalronmusic.com/home.html?text/calendar. For clarity, my statement re Mr. Manilow was mainly an expression of my html~mainFrame wholehearted agreement. I didn’t think you would actually send it to him nor Please read details below: did I believe you would be encouraged to do so in response to my suggestion. This is an extraordinary Tour the Yuval Ron Ensemble is embarking on, However, I doubt that it would hurt his feelings, as you suggest. Anyone at his centering around a landmark concert for peace in the International Music level would have had to endure a lot of “boos” along the way; indeed, that’s Festival in Jerusalem plus a second concert in the Jewish-Arabic community what helped him rise to the top. And he probably has a few feelings of his own center Beit Hagefen in Haifa. We have extended this concert tour into two about his promoters’ overzealous efforts to sell records. weeks of explorations and exclusive cultural experiences in Israel plus meet- Paul Anka once told a story about how the Las Vegas Hotel/Casino where ings with local Peace Makers who work to bring Jewish and Arabic artists he was appearing decided to include the words “Las Vegas Super Star” on together. the marquee and he made them take it down. He said simply, “Paul Anka is I would like to invite you to come along to this adventure! From the Bed- enough.” I’ve always admired him for that. I would like to think that Manilow ouin tribes in the Negev desert, the sacred sites in Jerusalem, Nazareth, Sea is that kind of guy. of Galilee, to an exclusive ritual on Mt. Masada and to the historic Kabalistic Best, center of Safed - THIS TRIP WILL BE AN EXPERIENCE OF A LIFE Jill TIME! The tour is organized by one of the leading tour company in Israel (Target Afterthought by Ross Altman Conferences Ltd) and the guide, Ze’ev Back is one of the best and most expe- rienced tour guides in the country. Tom Fair will get no argument from me on his choice of songs. However, For more info and to see the day to day activities, Please go to: I did my best to make clear in my original column that I was not making a http://www.yuvalronmusic.com/home.html?text/calendar. case for one particular set of 12 songs as The Greatest Songs of the Sixties. I html~mainFrame gave my list as a personal selection knowing full well that each reader could make up their own list of favorites. What I was making a case for was the Please let me know if you would like to join us or if you have any questions principle of selection—i.e. the kinds of songs being chosen. I am happy to about the trip. see that Tom’s list indicates a complete accord with the larger point I was SPACE IS LIMITED and there is a lot of interest already! So please, making—each of his songs reflects the same sense of historical connection please, please, if you are interested please email us to receive the registra- to events that inspired them and defined the decade, and are thus a part of the tion form ASAP and to reserve the space for this Exclusive Tour to the Holy documentary record of the times. Land - A Peace Mission to Israel with The Yuval Ron Ensemble. As to Tom’s larger point—that it is foolish to compile such lists of “the Best wishes for Health, Peace and prosperity. greatest,” and we should settle for “great,” I couldn’t agree more and it re- Yuval Ron minds me to recommend a book I forgot to mention at the time—Milt Okun’s Great Songs of the Sixties (New York Times Books). With regard to Mike Perlowin’s argument about my tendency to slight the purely musical value of the songs I chose in favor of the lyrical content, again, I couldn’t agree more. If Manilow’s album had been called The Great- est Music (or Pop Music) of the Sixties I would not have picked up my pen. But it wasn’t, and a song is both words and music. I am sympathetic to Mike’s point, however, for there are any number of songs whose sentiments and ideas I agree with yet cannot sing because I am not moved by the music or the way the ideas are expressed. Underlying that, I suppose, is the ultimate mystery of what makes a great song—not only must they meet Coleridge’s definition of poetry—“the best words in the best order”—they must also meet the standard of the best notes in the best order. So I want to thank Mike for calling that issue to my attention, and our readers’ as well. My exchange of emails with Jill Fenimore speaks for itself. I want to thank her for a memorable anecdote about Paul Anka, and for the deft re- minder that even in sin city, we may find moments of grace. In closing, I wish Barry Manilow all the best. Who knows, maybe one day he’ll record a Bob Dylan song, and I’ll eat my column. Author’s postscript: Tom Fair is a musician with a web site at www. myspace.com/tomfair; Mike Perlowin is a professional steel guitar player with a web site at www.mikeperlowin.com; Jill Fenimore is a fellow member of The Santa Monica Traditional Folk Music Club. My thanks to all of them for permission to use their provocative letters in this column. You may reach Ross Altman at [email protected] MAY - JUNE 2007 FolkWorks Page 29 Page 30 FolkWorks MAY - JUNE 2007

KEEPING A WEB SITE COSTS FOLKWORKS MONEY TOO…. THE FOLLOWING ARTISTS AND RECORD LABELS SO EVEN IF YOU ARE HEDG- HAVE DONATED CDS FOR MEMBER PREMIUMS. FOLK ING YOUR BETS ON THE HARD PLEASE JOIN THEM WITH YOUR SUPPORT. AS OF MARCH, 2007 COPY PLEASE SUPPORT FOLK- (SEE BELOW FOR MEMBER BENEFITS) BENEFACTOR WORKS. Caroline Aiken, Unshaken Veretski Pass, Traditional East Thom Britt LOOK FOR NEW BENEFIT David / Jennifer Dempsey Ross Altman, Singer Songfighter European Jewish Music Topanga Banjo Fiddle Contest LISTINGS ON THE WEBSITE. Tom Begich, Cool Blue Light Dennis Roger Reed, Cowboy Blues WE ARE IN THE PROCESS OF PATRON , The Baksheesh Boys Dennis Roger Reed, PARNERING WITH VENUES AND Baksheesh Boys Aubyn / Douglas Biery Leon Bibb and Eric Bibb, Praising Little King of Dreams Frieda / Bob Brown ARTISTS TO MAKE OUR NEW Round the House, ‘til the wee hours Christa Burch ADVENTURES BENEFIT EVERY- Peace: A tribute to Paul Robeson Round the House, Keep This Coupon Karen Cloud ONE! Hamilton Camp, Sweet Joy Ron Young / Linda Dewar Randal Bays, Out of the Woods Recordings, Sherwin / Bonita Edelberg Classic Railroad Songs Richard Elfman Claddagh, The Irish Rover COMING SOON Moira Smiley & VOCO, blink Joy Felt • NEW WEB SITE Ciunas, Up at the Crack of Noon Kay / Cliff Gilpatric John Doyle, Wayward Son James Lee Stanley Roger Goodman / Monika White • NEW BENEFITS FOR MEM- Ripe four Distraction Extreme Klezmer Makeover, Chris Gruber BERS [tickets, CD premiums, new Chris Stuart & Backcountry, Jim Hamilton Under Construction FolkWorks blog, and more..] Mojave River Aleta Hancock Kris Delmhorst, PeterMulvey, Jeff Ann / Mike Hoff • MORE PICKS THAT YOU CAN Foucault, Redbird Syncopaths, Rough Around the Edges Don / Holly Kiger RELY ON WITH LINKS TO MP3 Lila Downs, One Blood Teada, Give Us a Penny and Steven Landes / Bonnie Pritzker FILES AND TICKETS Let Us Be Gone Sheila Mann John Gorka, Writing in the Margins Abigail Washburn, Song of the Frannie Marr • EASY ACCESS FOR SEARCH- Ashley Maher, Flying Over Bridges Mary Anne McCarthy ING OLD FOLKWORKS INFOR- Traveling Daughter Doug Moon Pat McSwyney, A Pint of Stout Wicked Tinkers, Banger for Breakfast Priscilla / Peter Parrish MATION/ARTICLES, and MORE! Pat McSwyney, The Hop Blossom Wicked Tinkers, Whiskey Supper Tom / Melinda Peters Bruce Molsky, Soon Be Time Gary / Diana Phelps Yuval Ron Ensemble, Tree of Life SEE YOU AT A Old Mother Logo, Branching Out Lenny Potash FESTIVAL / CONCERT / Yuval Ron Ensemble, Babette Rothschild Kristina Olsen, The Truth of a Woman OTHER FOLK EVENT! Under the Olive Tree Steve Rosenwasser / Kelli Sager Masanga Marimba Ensemble, Ma- Jim Westbrook sanga Marimba Ensemble FRIENDS IF YOU ARE A CURRENT MEM- Brooke Alberts BER AT FRIEND LEVEL OR HIGH- Rebecca Alberts ER EMAIL FOR INFORMATION tors, other volunteers, Board Mem- donation is tax deductible If you have Ed Alston Carvel Bass ABOUT OUR FABULOUS FOLK- bers, Advertisers] received your invitation in email or Lynne Bauer WORKS CELEBRATION on JUNE snail mail, don’t forget to RSVP. We Chris / Tracy Berryman 9th. IT IS NOT TOO LATE TO JOIN SEND IN $65 or more to: Folk- must know so we will have enough Doug Brown FOLKWORKS AND COME TO Works / PO Box 55051, Sherman FOOD and DRINK. Come celebrate N.T.Calica Joanna Cazden OUR ANNUAL PARTY FOR SUP- Oaks, CA 91413 and receive your in- FolkWorks with music, food and Chris Cooper PORTERS [Donors, writers, distribu- vitation. We are a 501 (c) (3) so your friends. Janet Cornwell Carol L. / Robert W. Crocker Sylvia / John Cumming Susan Daniels Alan & Margaret Davis Lisa Davis Winifred Davis Marvin Duncan Lawrence Dunn Marcia / Brian Edwards Laura / Joel Garfield Kurt / Barbara Gary John / Judy Glass Dave Goodmanson Thomas Graham Don Green / Barbara Weissman Chris Hendershot Betty & David Herman Fron Heller / Bill Mason Ken Helmes / Amy Masumiya Betty / David Herman Sue Hunter Trudy / Peter Israel Bryan Johnson Stacy / Rhetta Johnstone & Family Bob Kay Dodi / Marty Kennerly Carol / Marty Klein Peter Kolstad / Suzanne Benoit Dinah Lehoven Rex Mayreis Michael McKenna / Debbie Webb Brian McKibbin Teresa McNeil MacLean Judy / Jay Messinger Debra Michiels Ron Milberger / Gail Smashey Aaron / Barbara Miranda Doug Moon James Morgenstern / Linda Dow Gitta Morris / Gee Martin A M E MO R I A L James Morgenstern Norma Nordstrom for Bob Westbrook, Walt Nycz / Carol Kugler Dave Ogden Gabrielle O’Neill a member of the Stephen / Susan Parker Russ/Julie Paris Santa Monica Traditional Folk Music Club, will be held on King Reilly Milt / Stefani Rosenberg pm Alan Ross Sunday, May 6th at 3:00 Diane Sherman Anne Silver Friend Meeting Hall Rena Sonshine Suzette Stambler Sunburst Recording 1440 Harvard Street, Santa Monica Timothy Taylor Mimi Tanaka Barry Tavlin Host: Ross Altman Vivian Vinberg Joe Wack / Katie Croshier Cherie White A full tribute will appear in FolkWorks July/Aug issue. Donald Wood MAY - JUNE 2007 FolkWorks Page 31

SPECIAL EVENTS *** SAN DIEGO *** S aturday J une 9 *** SANTA BARBARA *** 10:00am-5:00pm SAM HINTON FOLK CELEBRATION continued from page 32 TUESDAY MAY 1 Old Poway Park T uesday M ay 1 8:00pm CAPITOL STEPS $30.50-32.50 14134 Midland Rd., Poway 8:00pm DAVID WILCOX $23/$18 w Dinner 6:30pm & 8:30pm PRINCE DIABATE [www.princediabate.com] [www.capsteps.com] San Diego Folk Heritage [davidwilcox.com] San Juan Capistrano Multicultural Series 4th & B 7:00pm THE FOLK COLLECTION SOHo Restaurant & Music Club 7:00pm JANET KLEIN [www.janetklein.com] $20 345 B St., San Diego [www.thefolkcollection.com] Coffee Gallery Backstage 619-299-2583 • www.4thandb.com Part of Sam Hinton Folk Celebration W ednesday M ay 2 San Diego Folk Heritage 8:00pm JOHN STEWART [www.chillywinds.com] $24.50 8:00pm CAPITOL STEPS $30.50-32.50 McCabe’s Guitar Shop T hursday M ay 3 7:30pm BELINDA GAIL & CURLY MUSGRAVE [www.capsteps.com] 7:30pm RONNY COX [www.ronnycox.com] $15/$20 DOS www.belindagailsings.com Lobero Theatre 8:00pm PETE MORTON $14/$11 TLT members Acoustic Music San Diego [www.harbourtownrecords.com/morton.html] Acoustic Music San Diego with MARIA DUNN [www.mariadunn.com] 8:00pm JOEL RAFAEL [joelrafael.com] $15 T hursday M ay 3 The Living Tradition F riday M ay 4 Clarke House Concerts * OJAI STORYTELLING FESTIVAL 8:00pm LAURENCE JUBER $17.50 7:30pm DON EDWARDS $15 adv/$20 DOS 9:00pm BOB SCHNEIDER $16/$18 DOS See Festivals Page 3 [www.laurencejuber.com] [www.donedwardsmusic.com] [www.bobschneidermusic.com/] 8:00pm RAMBLIN’ JACK ELLIOT [www.ramblinjack.com] $20 Boulevard Music Acoustic Music San Diego Belly Up Tavern SOHo Restaurant & Music Club 8:00pm SARA PETITE [sarapetite.com] $10 S unday J une 1 0 8:00pm CAPITOL STEPS $30.50-32.50 S unday J une 1 7 The Ould Sod [www.capsteps.com] * CBA FATHER’S DAY BLUEGRASS FESTIVAL 3373 Adams Ave., San Diego 7:30pm $16/$18 DOS Lobero Theatre See Festivals Pg 3 619-284-6594 theouldsod.com [www.marychapincarpenter.com] Humphrey’s Concerts by the Bay * HUCK FINN COUNTRY & BLUEGRASS JUBILEE S aturday M ay 5 F riday M ay 4 See Festivals Page 3 F riday J une 1 5 * OJAI STORYTELLING FESTIVAL 8:00pm BERKLEY HART [www.berkleyhart.com] See Festivals Page 3 * LIVE OAK MUSIC FESTIVAL Canyon Folk House Concerts 8:00pm JOHNNY WINTER [www.johnnywinter.net] $21/$23 DOS See Festivals Page 3 (El Cajon, San Diego) Belly Up Tavern 8:00pm ABIGAIL WASHBURN [www.abigailwashburn.com] $30 With The SPARROW QUARTET /$25 with Dinner * SAN FRANCISCO FREE FOLK FESTIVAL 8:00pm LAURIE LEWIS & TOM ROZUM $20 See Festivals Page 3 with , and Bela Fleck [www.laurielewis.com] S unday J une 1 7 SOHo Restaurant & Music Club 7:00pm MARIA DUNN [www.mariadunn.com] $15 San Diego Folk Heritage 7:30pm JOHN STEWART [www.chillywinds.com] $20 Coffee Gallery Backstage S unday M ay 6 Dark Thirty House Concerts S aturday M ay 5 8:00pm RONU MAJUMDAR $25/$15 * OJAI STORYTELLING FESTIVAL and ABHIJIT BANERJEE Music Circle Members 7:30pm JOEL RAFAEL [www.joelrafael.com] $15 T hursday J une 2 1 See Festivals Page 3 Flute & tabla /$5 student Dark Thirty House Concerts 8:00pm IRIS DEMENT [www.irisdement.com] $26/$28 Occidental College (Herrick Chapel ) /Free Oxy 7:00pm BRIGHT EYES $37.50 7:30pm VIENNA TENG [viennateng.com] $25 Belly Up Tavern [www.myspace.com/brighteyes] Presented by the Music Circle With RAMON AND JESSICA [www.ramonandjessica.net] www.musiccircle.org 7:30pm JIMMY LAFAVE [www.jimmylafave.com] $18-22 GILLIAN WELCH [www.gillianwelch.com] JENNY OWEN YOUNGS Acoustic Music San Diego and OAKLEY HALL [www.oakleyhall.net] [www.myspace.com/jennyowenyoungs] Arlington Theatre T uesday J une 1 9 Acoustic Music San Diego F riday J une 2 2 6:30pm CHRIS STUART and BACKCOUNTRY 7:30pm ALAN THORNHILL [www.alanthornhill.com] $15 [www.chrisstuart.com] 7:30pm VENICE [www.venicecentral.com] $22 Song Tree Concert Series M onday M ay 7 Acoustic Music San Diego Bluegrass Association of So. Cal. 8:00pm CELTIC WOMAN [www.celticwoman.com] $20-75 S unday M ay 6 Copley Symphony Hall S aturday J une 2 3 F riday J une 2 2 750 B St., San Diego 7:00pm NATHAN MCEUEN [www.nathanmceuen.com] * SUMMER SOLSTICE FOLK MUSIC, DANCE & STORYTELLING 619-235-0804 • www.sandiegosymphony.com 7:30pm VENICE [www.venicecentral.com] $22 With The Dr. Surf Orchestra FESTIVAL Acoustic Music San Diego Zalk Theater at Happy Valley School See Festivals Page 3 W ednesday M ay 9 8:00pm JESSE COLIN YOUNG [www.jessecolinyoung.com] $25 8585 Ojai Santa Paula Rd., Upper Ojai * LONG BEACH BAYOU FESTIVAL 8:00pm ASLEEP AT THE WHEEL $23/$25 DOS Anthology 7:30pm TATTERS [www.thetatters.com] $15 See Festivals Page 3 [asleepatthewheel.com] 1337 India St., San Diego Song Tree Concert Series 619-595-0300 • www.anthologysd.com 8:00pm INCENDIO [www.incendioband.com] $18 with THE WORKING COWBOY BAND Coffee Gallery Backstage [www.myspace.com/workingcowboyband] S aturday M ay 1 2 Belly Up Tavern W ednesday J une 2 7 7:00pm TISH HINAJOSA [www.mundotish.com] $16 S aturday J une 2 3 8:00pm ALISON KRAUSS $39.50-89.50 SOHo Restaurant & Music Club F riday M ay 1 1 AND UNION STATION [www.alisonkrauss.com] * SUMMER SOLSTICE FOLK MUSIC, DANCE & STORYTELLING 7:30pm LOREENA McKENNITT $50 Featuring JERRY DOUGLAS plus TONY RICE W ednesday M ay 1 6 FESTIVAL ipayOne Center Theatre See Festivals Page 3 [www.quinlanroad.com] 7:00pm ALEXANDRA KING [www.alexandraking.com] Humphrey’s Concerts by the Bay The Sports Arena Mideast Belly Dance * IRISH FAIR & MUSIC FESTIVAL 3500 Sports Arena Blvd., San Diego SOHo Restaurant & Music Club See Festivals Page 3 7:30pm FAIRPORT CONVENTION $22 [www.fairportconvention.com] T hursday J une 2 8 * LONG BEACH BAYOU FESTIVAL Acoustic Music San Diego T hursday M ay 1 7 See Festivals Page 3 * JOEL RAFAEL [www.joelrafael.com] 6:00pm HIGH HILLS BLUEGRASS BAND * FRANCISCO AGUABELLA Free S aturday M ay 1 2 Joe Rathburn’s Folkey Monkey Milano Coffee [www.highhills.com] [www.franciscoaguabella.com] 8685 Rio San Diego Drive Suite B, San Diego Deer Lodge Restaurant LACMA-Latin Sound Series 7:00pm JOHN TAYLOR AND HAMEWITH $15 619-263-3335 San Diego Folk Heritage /$12 SDFH members 2261 Maricopa Highway, Ojai 5905 Wilshire Blvd., L.A. • 323-857-6000 805-758-0203 • www.ojaideerlodge.net Noon ANDREA FERRAZ [andreaferraz.com] Free 8:00pm SARA PETITE [sarapetite.com] $10 Skirball Café Z Clarke House Concerts S aturday M ay 1 9 8:00pm MIGHTY ECHOES $15 9:00pm GREGORY PAGE [www.gregorypage.com] 8:00pm JESSE WINCHESTER $39.50/$49.50 DOS Coffee Gallery Backstage Lestat’s [www.jessewinchester.com] 8:00pm DUO TONES $15 T hursday M ay 1 7 TOM RUSH [tomrush.com] Fret House Lobero Theatre 7:30pm BUDDY GUY [www.buddyguy.net] $45 Presented by Sings Like Hell 8:00pm JOHN BATDORF $12 Humphrey’s Concerts by the Bay [www.johnbatdorfmusic.com] and JAMES LEE STANLEY 7:30pm JESSE WINCHESTER $25 S unday M ay 2 0 [www.jamesleestanley.com] [www.jessewinchester.com] 8:00pm KELLY JOE PHELPS [www.kellyjoephelps.net] $15 Noble House Concerts Acoustic Music San Diego SOHo Restaurant & Music Club 8:00pm DUCK BAKER [www.duckbaker.com] $15 Boulevard Music F riday M ay 1 8 S aturday M ay 2 6 7:30pm RORY BLOCK [www.roryblock.com] $22 8:00pm ALAN RHODY [www.alanrhody.com] S unday J une 2 4 & KELLY JOE PHELPS [www.kellyjoephelps.net] Trinity Backstage Acoustic Music San Diego * SUMMER SOLSTICE FOLK MUSIC, DANCE & STORYTELLING FESTIVAL 8:00pm THE BE GOOD TANYAS $20 S unday M ay 2 7 See Festivals Page 3 [www.begoodtanyas.com] /$22 DOS * STRAWBERRY MUSIC FESTIVAL with SEAN HAYES [seanhayesmusic.com] 8:00pm LOUDON WAINRIGHT III $25/$20 w Dinner * IRISH FAIR & MUSIC FESTIVAL Belly Up Tavern See Festivals Page 3 [www.lwiii.com] SOHo Restaurant & Music Club * LONG BEACH BAYOU FESTIVAL S aturday M ay 1 9 See Festivals Page 3 11:00am- OLD TOWN TEMECULA WESTERN DAYS S aturday J une 2 6:00pm JIMMY LAFAVE [www.jimmylafave.com/] $15 With Judy Taylor & Wild Oats, Trails & Rails, 7:30pm CYRUS CLARKE AND THE EXPEDITION $15 Bodie House Concerts Older Than Dirt, Black Smith Song Tree Concert Series 10:00am MASANGA MARIMBA ENSEMBLE [www.masanga.com] Old Town Temecula Santa Monica Farmers Market 951-694-6412 • www.temeculacalifornia.com. F riday J une 8 Main St. & Ocean Park 7:30pm RIDERS OF THE PURPLE SAGE $15/$7 kids * JONATHA BROOKE $20/$18 adv santa-monica.org/farmers_market/sunday.htm [www.ridersofthepurplesage.com] SOHo Restaurant & Music Club 7:00pm JOHN BATDORF $15 Fallbrook Americana Music Series [www.johnbatdorfmusic.com] 9:00pm CARLOS OLMEDA F riday J une 1 5 and JAMES LEE STANLEY [www.carlosolmedamusic.com] [www.jamesleestanley.com] Lestat’s * LIVE OAK MUSIC FESTIVAL Coffee Gallery Backstage See Festivals Page 3 F riday M ay 2 5 S aturday J une 1 6 W ednesday J une 2 7 7:30pm TISH HINOJOSA [www.mundotish.com] 9:30pm KEN O’MALLEY [www.kenomalley.com] Acoustic Music San Diego * LIVE OAK MUSIC FESTIVAL O’Brien’s on Main See Festivals Page 3 S aturday M ay 2 6 S unday J une 1 7 T hursday J une 2 8 7:00pm AMY HANAIALI’I $35 LOOK FOR 9:30pm KEN O’MALLEY [www.kenomalley.com] [www.amyhanaialiigilliom.com] * LIVE OAK MUSIC FESTIVAL Ireland’s 32 KAUKAHI & KELI’I KANEALI’I See Festivals Page 3 Humphrey’s Concerts by the Bay S aturday J une 2 3 F riday J une 2 9 9:00pm AARON BOWEN FOLKWORKS’ 8:00pm LOCAL ARTISTS IN THE ROUND * KATE WOLF MEMORIAL MUSIC FESTIVAL [www.myspace.com/aaronbowen] See Festivals Page 3 Lestats With Doug Clegg, Kate Wallace, James McVay and Peter Gallway 7:00pm EVAN MARSHALL [www.solomandolin.com ] Trinity Backstage With Riders of the Purple Sage T uesday M ay 2 9 [ridersofthepurplesage.com] 9:00pm BUCKY COVINGTON $20/$22 DOS NEW 8:00pm JIMMY LaFAVE [www.jimmylafave.com] $39.50 Torrance Cultural Arts Center [buckycovington.musiccitynetworks.com] ANDREW HARDIN [www.andrewhardin.com] /$49.50 DOS Belly Up Tavern & JOHN INMON [www.johninmon.com] 7:30pm ALISON KRAUSS AND UNION STATION $35-75 Plus JOEL RAFAEL [www.joelrafael.com] [www.alisonkrauss.com] T hursday M ay 3 1 Lobero Theatre Featuring JERRY DOUGLAS plus TONY RICE PRESENCE Presented by Sings Like Hell Greek Theatre 8:00pm THE SMOTHERS BROTHERS $40 8:00pm DENNIS ROGER REED [www.smothersbrothers.com] S unday J une 2 4 Sycuan Casino and Resort [www.dennisrogerreed.com] 8:00pm JESSE COLIN YOUNG & CELTIC MAMBO $25 Acoustic roots music 5469 Casino Way, El Cajon (San Diego) 619-445-8092 • www.sycuan.com [www.jessecolinyoung.com] Alta Coffee ON THE WEB SOHo Restaurant & Music Club 8:00pm SYD KITCHEN [www.sydkitchen.com] $15 McCabe’s Guitar Shop S aturday J une 2 M onday J une 2 5 7:30pm PF SLOAN $15-20 8:00pm WE 5 $20 6:00pm THE BROMBIES [thebrombies.com] Coffee Gallery Backstage [mongrelm.com/artist_page.php?aid=A694] Acoustic Music San Diego www. Deer Lodge Restaurant 2261 Maricopa Highway, Ojai S aturday J une 3 0 M onday J une 4 805-758-0203 www.ojaideerlodge.net * KATE WOLF MEMORIAL MUSIC FESTIVAL See Festivals Page 3 7:30pm INDIGO GIRLS [www.indigogirls.com] $40 Humphrey’s Concerts by the Bay FolkWorks. Noon LOS PINGOUS Free Skirball Café Z T uesday J une 5 5:30pm LISA HALEY and the ZYDECATS 7:00pm SUSIE GLAZE [www.susieglaze.com] [www.bluefiddle.com] North County Bluegrass Association Music Night Laguna Sawdust Festival Round Table Pizza, Escondido org 6:30pm BERNIE PEARL [www.berniepearl.com] 7:30pm LUCINDA WILLIAMS $40 Iva Lee’s [www.lucindawilliams.com] 555 S. El Camino Real, San Clemente Humphrey’s Concerts by the Bay 949-361-2855 8:00pm JOHN CRUZ [www.johncruz.com] $10/$12 DOS See our 7:00pm SLIGO RAGS [www.sligorags.com] $18 with TODD HANNIGAN [www.toddhannigan.com] Coffee Gallery Backstage Belly Up Tavern 8:00pm JOHN BATDORF $15 [www.johnbatdorfmusic.com] T hursday J une 7 and JAMES LEE STANLEY new site [www.jamesleestanley.com] * THE FOLK COLLECTION Fret House [www.thefolkcollection.com] Escondido Public Library Concert Series 10:00pm KEN O’MALLEY [www.kenomalley.com] 239 S. Kalima St., Escondido • 760-839-4829 Auld Dubliner with 8:00pm HIGH HILLS BLUEGRAS-S BAND $15 F riday J une 8 [www.highhills.com] 9:00pm HEATHER MYLES & $10/$12 DOS Boulevard Music THE CADILLAC COWBOYS [www.myspace.com/heathermyles] with THE SLIDEWINDERS [www.slidewinders.com] MORE & THE GOLDEN HILL RAMBLERS [www.myspace.com/goldenhillramblers] Belly Up Tavern TO COME Page 32 FolkWorks MAY - JUNE 2007

SPECIAL EVENTS

T uesday M ay 1 T hursday M ay 1 0 11:00am- OLD TOWN TEMECULA WESTERN DAYS 8:00pm A FAR CRY [www.davidnigellloyd.com] With Judy Taylor & Wild Oats, Trails & Rails, SEVERIN BROWNE AND JAMES COBERLY SMITH * LOMA LINDA UKULELE FESTIVAL * PARKFIELD BLUEGRASS FESTIVAL Older Than Dirt, Black Smith [www.jamescoberlysmith.com] See Festivals Page 3 See Festivals Page 3 Old Town Temecula Kulak’s Woodshed T hursday M ay 3 7:30pm LOREENA McKENNITT $29.75-79.75 951-694-6412 • www.temeculacalifornia.com. 8:00pm ROSALIE SORRELS $15 [www.quinlanroad.com] Noon OPEN DOOR ORCHESTRA Free [www.rosaliesorrels.com] /$5 Caltech Students 8:00pm WINDY RIDGE BLUEGRASS Greek Theatre Skirball Café Z Caltech Beckman and children [www.windyridgebluegrass.com] 6:30pm BERNIE PEARL [www.berniepearl.com] Caltech Folk Music Society Coffee Cartel 6:30pm STAGEROBBERS BLUEGRASS BAND Iva Lee’s [www.stagerobbers.com] 8:00pm JOHN STANDEFER [www.praiseguitar.com] $15 8:00pm STEVE YOUNG [www.steveyoung.net] 555 S. El Camino Real, San Clemente Me N’ Ed’s Pizza Parlor Boulevard Music Coffee Gallery Backstage 949-361-2855 7:00pm BERNIE PEARL [www.berniepearl.com] $15 9:30pm KEN O’MALLEY [www.kenomalley.com] 9:30pm KEN O’MALLEY [www.kenomalley.com] (blues) S aturday J une 2 Molly Malone’s Ireland’s 32 Coffee Gallery Backstage * PRINCE DIABATE [www.princediabate.com] 8:00pm FAIRPORT CONVENTION $25 7:30pm JEFF LINSKY [www.jefflinsky.com] $20 Farewell Jam F riday M ay 4 [www.fairportconvention.com] Lord of the Strings Concert Series (Mission Viejo) Temple Bar Coffee Gallery Backstage 1:00pm SANDII CASTLEBERRY 11:00am & 12:30pm HALAU ‘O KEIKIALI’I Free [www.sandiicastleberry.com] 7:30pm ASHLEY MAHER $14/$11 TLT members [www.ashleymaher.com] [www.keikialii.com] Hawaiian dance and music Java Lounge F riday M ay 1 1 W.M. Keck Foundation Children’s Amphitheatre 54245 N. Circle Drive Blvd., Idyllwild With REG MEUROSS [www.regmeuross.com] * PARKFIELD BLUEGRASS FESTIVAL The Living Tradition Walt Disney Concert Hall 951-659-JAVA See Festivals Page 3 Greg Atkin 7:30pm RIDERS OF THE PURPLE SAGE $15/$7 kids 8:00pm RANDY SPARKS PRESENTS ‘BUFFALO BILL’ BOYCOTT 7:30pm DAVE IWATAKI’S J-TOWN Free 714-231-2748 • [email protected] Coffee Gallery Backstage [www.ridersofthepurplesage.com] / BRONZEVILLE SUITE Fallbrook Americana Music Series Noon BALANDUGU KAN Free 8:00pm ROBERT MORGAN FISHER Traditional Japanese and jazz Skirball Cafe Z [www.robertmorganfisher.com] Getty Center 8:00pm STAN WEST $15 Fret House 1:00pm ASSOCIATION OF FINGERSTYLE GUITARISTS SEVERIN BROWNE [www.severinbrowne.com] 7:30pm FAIRPORT CONVENTION $22 Fret House AND JAMES COBERLY SMITH 8:00pm KELLY JOE PHELPS [www.kellyjoephelps.net] $20 [www.fairportconvention.com] 6:00pm HOMETOWN JAMBOREE $12 [www.jamescoberlysmith.com] Acoustic Music San Diego McCabe’s Guitar Shop Kulak’s Woodshed Los Rios Rancho /$6 children 12 and under 8:00pm PERFECT STRANGERS $17.50 8:00pm PHIL PARLAPIANO [www.parlapiano.com] $15 39611 Oak Glen Road, Oak Glen (Yucaipa) 8:00pm LAURIE LEWIS & TOM ROZUM $20 [www.chrisbrashear.com/perfectstrangers.html] with LOWEN & NAVARRO [www.lownav.com] 909-797-1005 • www.losriosrancho.com [www.laurielewis.com] Boulevard Music Bodie House Concerts Blueridge Pickin Parlor 8:00pm LOWEN & NAVARRO [www.lovnav.com] $25 8:00pm AL KOOPER [www.alkooper.com] $24.50 8:00pm PATTY HALL [www.pattyhall.com] $12 Coffee Gallery Backstage 8:00pm CAPITOL STEPS [www.capsteps.com] $27-35 McCabe’s Guitar Shop and PAUL ARNOLDI [www.paularnoldi.com] Caltech Beckman /$10 youth Noble House Concerts 8:00pm WINDY RIDGE BLUEGRASS Caltech Public Events 9:30pm KEN O’MALLEY [www.kenomalley.com] [www.windyridgebluegrass.com] Ireland’s 32 8:00pm STEVE FERGUSON $15 Bean Town 8:00pm DAVID GRIER [www.davidgrier.com] $17.50 plus ROBBY LONGLEY [robertearllongley.com] Boulevard Music Boulevard Music 8:00pm SION AND ANDERSON [ww.sion-anderson.com] S aturday M ay 1 2 Alta Coffee (Newport Beach) 8:00pm CELTIC WOMAN [www.celticwoman.com] $20-75 * PARKFIELD BLUEGRASS FESTIVAL S unday M ay 2 0 8:00pm THE SMOTHERS BROTHERS SOLD OUT McCallum Theatre See Festivals Page 3 * TOPANGA BANJO FIDDLE CONTEST [www.smothersbrothers.com] 8:00pm STAN RIDGEWAY [www.stanridgway.com] $20 11:00am WINDY RIDGE BLUEGRASS Lewis Family Playhouse Coach House AND FOLK FESTIVAL [www.windyridgebluegrass.com] See Festivals Page 3 12505 Cultural Center Dr., Rancho Cucamonga 9:30pm KEN O’MALLEY [www.kenomalley.com] Kahoots Moorpark Tack 909-477-2752 www.vgculturalcenter.com * DOHENY BLUES FESTIVAL Molly Malone’s 31 Poindexter Ave., Moorpark • 805-523-7757 8:00pm ROSALIE SORRELS [www.rosaliesorrels.com] $15 kahootsanimalsupplies.com/chatsworth.html Doheny State Beach, Dana Point www.omegaevents.com/dohenyblues Bodie House Concerts S aturday M ay 5 noon CHRIS PIERCE [www.chrispierce.com] 8:00pm PAUL GEREMIA [www.paulgeremia.org] $15 * CLAREMONT FOLK FESTIVAL Skirball Café Z * AUTOHARP FESTIVAL See May 18 Boulevard Music See Festivals Page 3 4:00pm MOJACAR FLAMENCO Free * HULLABALOO FESTIVAL $250 [www.mojacarflamenco.com] 10:00am & 11:30am GWENDOLYN $10 & The GOODTIME GANG [www.gwendolyn.net] T uesday J une 5 Fundraiser With Ditty Bops Thomas Street Square 8:00pm RIDERS OF THE PURPLE SAGE $15 Henry Fonda Music Box Theatre 2nd and Thomas St., Pomona Kid’s Concert McCabe’s Guitar Coffee Gallery Backstage * STAGECOACH FESTIVAL 6:30pm & 8:30pm FAIRPORT CONVENTION $10 See Festivals Page 3 [www.fairportconvention.com] /$5 children under 12 1:00pm YUVAL RON ENSEMBLE T hursday J une 7 San Juan Capistrano Multicultural Center [www.yuvalronmusic.com] 11:00am & 12:30pm QUETZAL Free Workshops and Concert 8:00pm WINDY RIDGE BLUEGRASS AND DANZA FLORICANTO/USA 8:00pm BERKELEY HART [www.berkleyhart.com] $15 UCLA, North-West Auditorium [www.windyridgebluegrass.com] Chicano music and dance & MARK FOFFON CJS • 310-825-5387 • [email protected] Coffee Cartel W.M. Keck Foundation Children’s Amphitheatre Fret House Walt Disney Concert Hall 7:00pm TISH HINAJOSA [www.mundotish.com] $16 8:00pm AL KOOPER [www.alkooper.com] $24.50 McCabe’s Guitar Shop F riday J une 8 1:00pm SANDII CASTLEBERRY [sandiicastleberry.com] McCabe’s Guitar Shop 6:00pm LINDA GELERIS Free Java Lounge 7:00pm SLIGO RAGS $18 8:00pm MICK OVERMAN [www.maxrecords.com] $15 Coffee Gallery Backstage Classic Coffee 54245 N. Circle Drive Blvd., Idyllwild /$20 door/Free children 12 and under 148 N, Glendora Ave, Glendora 951-659-JAVA CTMS Center for Folk Music 8:00pm TATTERS [www.thetatters.com] $15 626-335-0985 Russ & Julie’s House Concert 6:00pm OLD WAYS DAYS $12 8:00pm PERFECT STRANGERS $15 7:30pm A PRAIRIE HOME COMPANION $39.50-88.75 Los Rios Rancho /$6 children 12 and under [www.chrisbrashear.com/perfectstrangers.html] [prairiehome.publicradio.org] 39611 Oak Glen Road, Oak Glen (Yucaipa) /$5 Caltech students & children T hursday M ay 2 4 Greek Theatre 909-797-1005 www.losriosrancho.com Caltech Folk Music Society * STRAWBERRY MUSIC FESTIVAL See Festivals Page 3 8:00pm ASHLEY MAHER [www.ashleymaher.com] $20 7:00pm THREE-PENNY UPRIGHT 8:00pm GOVE SCRIVENOR [www.solidgove.com] $15 LISA LYNNE [lisalynne.com] Randy Sparks & Friends, a trio Boulevard Music 6:30pm BERNIE PEARL [www.berniepearl.com] ADJOA [sonicbids.com/adjoa] Coffee Gallery Backstage Iva Lee’s 8:00pm THE FOLK COLLECTION Celtic Harp, World Rhythms & Angelic Voices 8:00pm CAPITOL STEPS [www.capsteps.com] $27-35 555 S. El Camino Real, San Clemente Coffee Gallery Backstage [www.thefolkcollection.com] 949-361-2855 Caltech Beckman /$10 youth Kulak’s Woodshed 8:00pm WE 5 $15 Caltech Public Events 7:00pm ZYDECO DANCE $12 plus 2 drink min Fret House 8:00pm ROBIN HUW BOWEN $16/$18 DOS S unday M ay 1 3 With Zydeco dance champ WILLIE BUSHNELL Golden Sails Hotel – PCH Club 8:00pm JAMIE LAVAL [www.jamielaval.com] $12 Welsh Triple Harp * PARKFIELD BLUEGRASS FESTIVAL And ASHLEY BRODER [www.ashleybroder.com] Sylvia Woods Harp Center 6285 Pacific Coast Hwy., Long Beach See Festivals Page 3 Karen 562-708-8946 [email protected] Noble House Concerts 8:00pm ROSEANNE CASH $33-93 7:00pm GOVE SCRIVENOR [www.solidgove.com] 8:00pm LOS LOBOS / $50 [www.rosannecash.com] 8:00pm REG MUEROSS [www.regmeuross.com] $15 Coffee Gallery Backstage And FUR DIXON and STEVE WERNER DUSTY RHODES AND THE RIVER BAND Walt Disney Concert Hall Coach House 7:00pm FAIRPORT CONVENTION $20 [www.furandsteve.com] 8:00pm PEPPINO D’AGOSTINO $15 [www.fairportconvention.com] Coffee Gallery Backstage 9:30pm KEN O’MALLEY [www.kenomalley.com] [www.peppinodagostino.com] McCabe’s Guitar Shop Ireland’s 32 Russ and Julie’s House Concerts 8:00pm ASLEEP AT THE WHEEL $23/$25 DOS F riday M ay 2 5 8:00pm RICH DELGROSSO $15/$20 door [asleepatthewheel.com] * STRAWBERRY MUSIC FESTIVAL S aturday J une 9 [www.mandolinblues.com] /Free Kids 18 Galaxy Theatre • 3503 S Harbor Blvd., Santa Ana See Festivals Page 3 Noon MASANGA MARIMBA ENSEMBLE and MICHAEL LAMPERT and under www.galaxytheatre.com [www.masanga.com] CTMS Center for Folk Music 8:00pm DENNIS ROGER REED 6:00pm TRIPLE CHICKEN FOOT Free [www.dennisrogerreed.com] Skirball Café Z 8:00pm UDAY BHAWALKAR [www.udaybhawalkar.org] $25 [triplechickenfoot.com] Acoustic roots music 2:30pm FRANCISCO AGUABELLA MANIKRAO MUNDE /$15 Music Circle Members The Grand Ole Echo • 1822 Sunset Blvd., L.A. Alta Coffee [www.franciscoaguabella.com] dhrupad, vocals and pakhawaj /$5 student Skirball Café Z Occidental College (Herrick Chapel) /Free Oxy 8:00pm MARLEY’S GHOST [www.marleysghost.com] $16 Presented by the Music Circle M onday M ay 1 4 McCabe’s Guitar Shop 7:00pm & 9:30pm PAT DONOHUE $20 www.musiccircle.org Noon DITTY BOPS [www.thedittybops.com] 8:00pm MOJACAR FLAMENCO $15 Coffee Gallery Backstage Bike to work week 8:00pm CELTIC WOMAN [www.celticwoman.com] $20-75 [www.mojacarflamenco.com] 8:00pm MISSY RAINES [www.missyraines.com] $15 South Lawn 200 N. Spring St Coffee Gallery Backstage Boulevard Music Greek Theatre City of Los Angeles City Hall Los Angeles 8:00pm TATTERS [www.thetatters.com] $10 9:30pm KEN O’MALLEY [www.kenomalley.com] 8:00pm JOHN STANDEFER [www.praiseguitar.com] $15 8:00pm TISH HINAJOSA [www.mundotish.com] $18 Ireland’s 32 Fret House Zoey’s Cafe Loft Coffee Gallery Backstage 8:00pm SION AND ANDERSON [ww.sion-anderson.com] 8:00pm JOHN BATDORF $15 Alta Coffee (Newport Beach) S aturday M ay 2 6 [www.johnbatdorfmusic.com] T uesday M ay 1 5 and JAMES LEE STANLEY 10:00pm KEN O’MALLEY [www.kenomalley.com] * STRAWBERRY MUSIC FESTIVAL 6:30pm BLUEGRASS REDLINERS See Festivals Page 3 [www.jamesleestanley.com] Auld Dubliner Bluegrass Association of So. Cal. Russ and Julie’s House Concerts * CAJUN/CREOLE FESTIVAL S unday M ay 6 8:00pm BUDDY GUY [www.buddyguy.net] $60 See Festivals Page 3 8:00pm PANCHO SANCHEZ [www.ponchosanchez.com ] The Coach House * SEVERIN BROWNE [www.severinbrowne.com] College of the Canyons Performing Arts Center * STAGECOACH FESTIVAL & JAMES COBERLY SMITH Santa Clarita • 661-362-5305 See Festivals Page 3 T hursday M ay 1 7 Redondo Beach Pier 9:00pm LOS LOBOS [www.loslobos.org] 11:00am RHYTHM CHILD [www.rhythmchild.net] $8 7:00pm ZYDECO DANCE $17 + 2 drink min. 3:00pm & 8:00pm THE BROTHERS CAZIMERO $35 Canyon Club Kid’s Concert With JEFFERY BROUSSARD Shannon Center McCabe’s Guitar Shop and the CREOLE COWBOYS 6:30pm & 8:30pm ALFREDO ROLANDO ORTIZ S unday J une 1 0 11:00am- MICHAEL D. McCARTY Golden Sails Hotel – PCH Club 7:00pm ROGER CAIRNS $15 6285 Pacific Coast Hwy., Long Beach [www.alfredo-rolando-ortiz.com] [www.havemouthwillrunit.com] San Juan Capistrano Multicultural Center Coffee Gallery Backstage Storytelling Karen 562-708-8946 [email protected] J. Paul Getty Museum 7:00pm HIGH HILLS BLUEGRASS BAND $18 8:00pm JOHN BATDORF $15 8:00pm LYNN MARIE [www.johnbatdorfmusic.com] Accordion [www.highhills.com] 2:00pm LISA HALEY [www.zydecomusic.com] Coffee Gallery Backstage and JAMES LEE STANLEY Santa Monica Pier Coffee Gallery Backstage [www.jamesleestanley.com] 8:00pm WINDY RIDGE BLUEGRASS 8:00pm IAN WHITCOMB $15 3:30pm CAPITOL STEPS [www.capsteps.com] $27-35 [www.picklehead.com/ian.html] Coffee Gallery Backstage Caltech Beckman /$10 youth [www.windyridgebluegrass.com] Coffee Cartel plus FRED SOKOLOW Caltech Public Events [members.aol.com/sokolowmus/] W ednesday J une 1 3 4:00pm DAVID GRIER WORKSHOP $40 9:00pm TRIPLE CHICKEN FOOT Free Boulevard Music 8:00pm JAKE SHIMABUKURO $17.50 [triplechickenfoot.com] 7:00pm DAVID GRIER [www.davidgrier.com] $15 8:00pm PAUL GEREMIA [www.paulgeremia.org] $15 [www.jakeshimabukuro.com] Fret House Hyperion Tavern The Coach House 1941 Hyperion, L.A. Fret House 7:00pm STAN RIDGEWAY [www.stanridgway.com] $17.50 McCabe’s Guitar Shop 9:30pm KEN O’MALLEY [www.kenomalley.com] S unday M ay 2 7 T hursday J une 1 4 Ireland’s 32 7:00pm BRIGHT EYES $37.50 * STRAWBERRY MUSIC FESTIVAL * CBA Father’s Day Bluegrass Festival [www.myspace.com/brighteyes] F riday M ay 1 8 See Festivals Page 3 See Festivals Page 3 GILLIAN WELCH [www.gillianwelch.com] 9:30pm KEN O’MALLEY [www.kenomalley.com] * CONEJO COWBOY POETRY & WESTERN MUSIC FESTIVAL * CAJUN/CREOLE FESTIVAL and OAKLEY HALL [www.oakleyhall.net] See Festivals Page 3 Ireland’s 32 Walt Disney Concert Hall See Festivals Page 3 * OLD TIME SOCIAL 7:00pm THE SHERWOOD CONSORT $15 7:00pm LAN TRAN [www.lantranonline.com] $10 Coffee Gallery Backstage F riday J une 1 5 Storytelling See Festivals Page 3 * CBA FATHER’S DAY BLUEGRASS FESTIVAL Found Theatre * AUTOHARP FESTIVAL W ednesday M ay 3 0 See Festivals Page 3 599 Long Beach Blvd., Long Beach With BRYAN BOWERS, GOVE SCRIVENOR, 9:30pm KEN O’MALLEY [www.kenomalley.com] * HUCK FINN COUNTRY & BLUEGRASS JUBILEE 562-433-3363 • www.foundtheatre.org and others See Festivals Page 3 Sponsored by Long Beach Storytellers St. Nicholas Ranch near Kings Canyon O’Brien’s on Main longbeachstorytellers.com calautoharp.com 8:00pm LISA FINNIE * LIVE OAK MUSIC FESTIVAL See Festivals Page 3 7:00pm THE REFUGEES [www.wendywaldman.com] $18 7:30pm THE KNITTERS [www.theknitters.net] [home.earthlink.net/~finnie66/id1.html] with Wendy Waldman, Cindy Bullens, With , Exene Cervenka, Dave Alvin, PATTY BOOKER [www.pattybooker.com] 6:30pm BERNIE PEARL [www.berniepearl.com] Deborah Holland & Jenny Yates Jonny Ray Bartel, and D.J. Bonebrake Cinema Bar Iva Lee’s Coffee Gallery Backstage Harold M. Williams Auditorium, Getty Center 7:00pm JOHN STANDEFER [www.praiseguitar.com] $30 555 S. El Camino Real, San Clemente 949-361-2855 7:30pm RONNY COX [www.ronnycox.com] 7:30pm JEFF LINSKY [www.jefflinsky.com] $20 Guitar Workshop and concert Zoey’s Cafe Lord of the Strings Concert Series (Dana Point) Pete Steinberg House Concert • 310-367-2220 6:30pm & 8:30pm PRINCE DIABATE [www.princediabate.com] San Juan Capistrano Multicultural Center 8:00pm DANNY O’KEEFE [www.dannyokeefe.com] $17.50 M onday M ay 7 McCabe’s Guitar Shop T hursday M ay 3 1 8:00pm LAURENCE JUBER [www.laurencejuber.com] $25 7:00pm & 9:00pm NATHAN MCEUEN 7:30pm JOHN STANDEFER [www.praiseguitar.com] $20 Coffee Gallery Backstage 8:00pm HOT CLUB QUARTETTE $15 Kevin Ryan Guitars • Huntington Beach [www.nathanmceuen.com] [www.hotclubquartet.com] Zoey’s Cafe Kevin White S aturday J une 1 6 Coffee Gallery Backstage 714-891-9582 • [email protected] 8:00pm TRIPLE CHICKEN FOOT [triplechickenfoot.com] * CBA FATHER’S DAY BLUEGRASS FESTIVAL GRANT LANGSTON, JAMIE WYATT S aturday M ay 1 9 8:00pm BESTER QUARTET $25/$20 Skirball members See Festivals Page 3 and TRUELY KILLING CASSANOVA and MOTION TRIO /$15 FT Students * HUCK FINN COUNTRY & BLUEGRASS JUBILEE * CONEJO COWBOY POETRY & WESTERN MUSIC FESTIVAL Skirball Cultural Center Saloon Mondays @ The Gig See Festivals Page 3 See Festivals Page 3 7302 Melrose Ave., L.A. 9:30pm KEN O’MALLEY [www.kenomalley.com] * LIVE OAK MUSIC FESTIVAL * OLD TIME SOCIAL Ireland’s 32 T uesday M ay 8 See Festivals Page 3 See Festivals Page 3 * AUTOHARP FESTIVAL F riday J une 1 * SAN FRANCISCO FREE FOLK FESTIVAL 8:00pm VIENNA TENG [viennateng.com] See Festivals Page 3 JENNY OWEN YOUNGS See May 18 6:30pm BERNIE PEARL [www.berniepearl.com] [www.myspace.com/jennyowenyoungs] * DOHENY BLUES FESTIVAL Iva Lee’s noon ASHLEY MAHER [www.ashleymaher.com] Free Hotel Cafe Doheny State Beach, Dana Point 555 S. El Camino Real, San Clemente Skirball Café Z www.omegaevents.com/dohenyblues 949-361-2855 6:30pm BERNIE PEARL [www.berniepearl.com] W ednesday M ay 9 220 W. Sierra Madre Blvd., Sierra Madre 8:00pm LOWEN & NAVARRO [www.lownav.com] $25 and DWAYNE SMITH 6:30pm BERNIE PEARL [www.berniepearl.com] * INDIAN FAIR Coffee Gallery Backstage Iva Lee’s La Palapa Restaurant See Festivals Page 3 555 S. El Camino Real, San Clemente 8:00pm LAN TRAN [www.lantranonline.com] $10 949-361-2855 4020 Olympic Plaza, Long Beach * OLD TIME SOCIAL Storytelling 800-958-7729 See Festivals Page 3 The Quarterly Report 7:30pm ALISON BROWN QUARTET SOLD OUT * LISA FINNIE 4319 Melrose Ave., L.A. • 323-860-6504 [www.alisonbrown.net] [home.earthlink.net/~finnie66/id1.html] continued on page 31 Cerritos Center for the Performing Arts Sierra Madre Art Fair