32

Reviews/Comptes-rendus Live Perfonnances

Cal Cavendish, Jubilee Auditorium, Calgary, Alberta, April 5, 1994

On April 11, 1975, Cal Cavendishmade what we might Auditorium himself, and he must have been disappointedat call musical history in Calgary. I supposeit might be called the turnout. No prophet, it seems,in his own city. "And if by other names,as well, but that can passfor now. His you don't believe it's my city," he quipped, "look at how pilot's license had been suspended,apparently because the much it's grown since I fertilized it." He kept any Ministry of Transport had discoveredthat Cavendishhad disappointmentto himself, however, and was clearly beenunder psychiatric treatment, so the pilot/singer/ warmedby the admiration the severalhundred who did songwriter loadedup his single engineLuscombe 8A with a show up offered him. hundredpounds of cowshit and a hundredcopies of a recent Referring to himself frequently as the Mad Manure single of his, "GovernmentInspected," buzzed the control Bomber, Cavendishhad prepareda model of the Calgary tower at the Calgary airport and the Calgary Tower, a Tower to standto his left on the stage.Audience members revolving restauranton a spaceneedle (both of which were were given 81h x 11" programmes,with the notice that evacuated)and performed what he called an "aerial ballet" during the intermissionthere would be a PAPER PLANE over the city, dumping his load of recordsand manure. He CONTEST, with the instructions, PROGRAMS ARE claimed that he cameclose enoughto the restaurantto see REQUIRED FOR THE PAPER PLANE CONTEST. As he the facesof diners. left the stagefor his break, he informed the audiencethat The subjectof an NFB film, Cavendishhad made the winner would be whoever managedto get his or her severalIps and singlesbefore his adventure,and he con- plane closestto the mock Tower. The audiencehappily tinued to perform sporadically in the city and in the small complied, and in less than the twenty minute intermission, towns nearby, but gradually disappearedfrom sight as the the stagewas littered with airplanes,particularly since quite Seventiesdrew to a close. I saw that he was booked to play a few peoplewent back for more than one throw-there at rodeo star Ivan Daines's country music picnic in the were, you understand,a lot of programmesto go around! summerof 1988 or '89, but I didn't make it to the gig Many saw the winning plane hit the Tower, and the thrower was informally and enthusiasticallycheered. I myself. During the intervening years, the singer has worked at a gather that he won a flight with Cavendish,which the singer variety of day jobs, someof which clearly meanas much to joked about as a fearsomething. him as does music, particularly trucking. He has been at the One interestingaspect of Cavendish'ssongs is that, latter for 15 years, owns his rig, and has recordedtwo although he identifies himself powerfully as a working class cassetteswhich feature recordingsof semisas accompani- Albertan, he notably avoids the stereotypicallycowboy mentsto his songs. CBC Radio's As It Happens image. As attractive as the cowboy stereotypeimage is, and interviewed him and sampledone of thesea couple of useful for the political right (seethe note on the Alberta months ago. He's also regainedhis pilot's license ("Let's Report feature on Ian Tyson in this month's News, Views, have a big hand for the good judgementof the Ministry of & Stuff), it is at best an incompleteicon for Albertans, Transport!... I wouldn't spit out of an airplane now-I since so many other occupations-oilfield work, farming, couldn't afford another 14 years!")-and has recordeda mining-and their attendantsupport systemshave given cassetteof songswhich feature "the beautyand humor of workers in this province their livelihoods and helpedto flying." form their cultures. This April 5, the 53-year-old Cavendishgave a sort of Cowboysonly cameup twice in Cavendish'sconcert. comebackperformance, a benefit for STARS, the Alberta One was a quip: nowadaysmost cowboyswear sneakersso ShockTrauma Air RescueSociety. He entitled the concert, they won't be mistakenfor truckers. In the song "Passand which featuredhis own songsand parodies,Wheels Wings the Drum," the narrator and Dynamite Mac, two coal And Other Things. "Wheels" representedtrucks, primarily miners on a spreein Calgary, precipitatea fight with the his belovedeighteen wheelers, but a few others as well. call, "Let's have somegood stuff, not that cowboy beer." "Wings" were his own planes,as well as planesthat he had After they've laid out their shareof buckaroos,been ridden in (transportplanes) and read about (bush pilots). arrestedand hauledup before the judge, they learn that "Other Things" included oil rig work and workers, Cowtown has "... got a cell reservedfor the Passand the waitresses,his wife, and the allegedbenefits of drinking Drum," for CrowsnestPass and Drumheller, that is, two of non-alcoholicmalt beveragebeer (the primary one being the major coal mining areasof the province. that no one can be sure whether you're insaneor drunk!). Although he professedto have no truck with Apparently, he booked the cavernousJubilee helicopters,he offered, in honor of STARS, "The Jesus 33

Nut," about the nut which holds a helicopter's rotor in didn't recognizeany of that old crowd at the Jubilee. Most place: "The JesusNut can saveyour butt / be sure it's on of them have probably moved on to somethingtrendier, or there tight If that JesusNut comesoff, you can kiss your they don't attend concertsanymore, anyway. Perhapssuch a ass goodbye." self-identified proletarian image is too strong for most A number of Cavendish'ssongs assume a working working people, who often seemto prefer to be cowboys. knowledgeof the equipmenthe has operated.Cavendish D.r it may be the urban oneswho are afraid of this writes and sings for the people who work the controls of image. Called back for an encore(which he'd angledfor heavy machinery, of trucks, of tractors, of airplanes-and previously, in good spirit), Cavendishpromised to makethe who daydreamabout the machinesthey won't handle concertan annualevent, possibly holding it in a less themselves.Introducing a song about flying into Calgary in ambitious location, suchas in one of the nearbytowns. "If a transportplane, Cavendishnotes that most passengersare this would have beenin Balzac, we'd have had 'em packed merely annoyedby the shakesand tremors of the plane, but to the sides!" he always imagineshimself bringing the baby in. There's no As I was leaving, an enthusiasticaudience member said doubt that Cavendishis one of the peoplehe sings about. to me, "In better times, he'd a' madeit." But Alberta has Stylistically, he blends the raunchyhonkytonk -derived beenthrough somevery good times, indeed, during truckdriving style pioneeredby Dave Dudley with the Cavendish'scareers, musical and otherwise. Maybe the man gentler dissonancesof 1963 GreenwichVillage. His voice meant "better times" to mean "times of better taste." occasion-allyflattens out of control when he has to hold Cavendishis worth our attention now. notesin a ballad, but otherwiseit's an excellentinstrument for the moodshe intends to convey, particularly, but not The concertwas tapedfor issueas a cassetteor cd exclusively, the faster, humoroussongs. (Cavendishdidn't say which). In the meantime,he has two Why was the audienceso small? Tuesdaynight is cassettesof truck driving songs(beware, thosewhich feature probably not a great concert night. I don't know how well it the accompanimentof truck engineswill not be to was advertised;I myself managedto get there only by everyone'staste, though Cavendishprofesses to find them chance,but, then, I'm not part of any of the circuits by lovely), the one of flying songs,and an recording from the which most people learn of such events.Cavendish 70s, Cavendish Country, which featuresthe delightful commentedthat one Songhad beena favorite of the crowds "Good Old John" (Diefenbaker,that is) and "Foreign at the SanciousCoffeehouse during the Seventies,and, Cows." though the audienceseemed to include at least a broad For more information on thesereleases write Cavendish demographicin terms of age (it was definitely monoracial,1 at 2112 Vista StreetNE, Calgary. and other classfactors are not easyto judge), I certainly GWL

IAn unpleasant note was struck with his old song, "Calcutta Cowboy," Cavendish's 1960s response to the raga rock phenonmenon. The mock-Pakistani accent the singer used to introduce the song has a provincial subtext that is at least worrisome.

Winnipeg Folk Festival, Birds Hill Park, 1993

Birds Hill Park lies on the outskirts of Winnipeg, needlook no further. Notable Canadiansat the '93 festival Manitoba, and though it may seemjust anotherunassuming included the Lost Dakotas, Vancouver'sStephen Fearing, plot of grass,it is unique in its unrelentingability to bring and the quasi-acapella Moxy Friivous, back by popular peopletogether. Every year for the past twenty, Birds Hill demand. has been host to the Winnipeg Folk Festival. One of the One can also find, however, entirely foreign styles of largestin Canada,it has grown to include eight stages, music throughoutthe weekend,as well as styles you may featuring 90 groups in 200 separateperformances over a have thought long forgotten. The Fairfield Four and their a three-dayspan. While you certainly can't take in capellagospel bring back memoriesof the 1940s,while the everything, the variety and sheerquantity of great music solo harmoniesof the Tuva Ensembleconjure imagesof you'll hear eachday makesthis evemt one worth checking lands far away. [For thosewho've not heard the Tuva Ensemble,trust us that the tenn ..solo hannonies" is not a out. Everything at the Festival is weiliaid-out and planned, typo. GWL.] There is always somethingcompletely different from the schedulingof eachartist to the location of each to listen to, somethingnew to look at. stage,creating a simple, almost effortless experienceof Somethingelse that setsthe Winnipeg Folk Festival good feelin' and, of course, great music. apart is its friendly atmosphere.No other event can bring so Every type of music is representedhere, from the many peopletogether to celebratemusic and the positive wildly popular Skydiggers to the eclectic soundsof Fat effect it has on our lives. One can seefriendly smiles in the Man Waving. Those who seekproof of Canadiantalent midst of a downpour, or sit and chat with a strangerover

Whale's Tails. It is a profoundly hearteningexperience. continue to presenta dynamic, exciting weekendfor people The technicalaspects of the festival are also impressive. with an interest in both Canadianand foreign music. All the Feedbackand other chronic problemswhich seemto plague best to them for the next twenty! festivals acrossthe country are absenthere. After twenty Roger Leeder years of experience,the staff of Winnipeg Folk Festival Calgary, Alhel1a

Book

Richard Chapman.The Complete Guitarist. Macmillan Canada,29 Birch Ave., Toronto, Onto M4V IE2. 192 pages.

Let me admit at the outset that I jumped at the chance is also extremely well done. The format is eminently to review this book. Having already heardof its publication browsable:photos with captions,sidebars, brief snippetsof (and being somewhatof a sucker for such books), I was text. One doesnot learn the facts in this section so much as pleasedat the opportunity to inspectit at my leisure-to one discoversthem. inspectit before shelling out my $29.95 (list). To be blunt, The historical overview finished, Chapmannow turns to in thesedays of "new-found" interest in "unplugged" music, the practical side: Playing the . Here one finds there is an ever-burgeoningpile of books describing the techniquefrom the most simple (how to tune it, how to hold history, the construction, the art, of the acousticguitar. I it) to the most complex (modal improvising, soloing over was curious to seeif and how this book differs from the chords). Virtually every aspectof guitar playing is covered: rest. flatpicking, the cycle of keys, scales,playing the blues-the From the moment I openedit, it was clear that this one list goeson. Tablatureis introducedearly and used was indeeddifferent-substantially so. Though its size, throughout, as is standardmusic notation. To supplement format and meticulousphotographs would place it among thesesystems of notation, he also suppliesphotos of a the better "coffee table" books on the market (at least those player's hand as it fingers the various chordsand exercises. which have a historical focus), this book is primarily Thesephotos are particularly helpful-and novel. Whereas intendedas a practical guide to playing the guitar. Of its the photos in other methodbooks are of the hand of nearly 200 pages,over half of them are devotedto this someone(the instructor) sitting acrossfrom you, these practical and technical aspect.Still more of its pagesare photos are taken as though you were looking at your own devotedto other practical matters: choosingan amp for your hand-an extremely useful perspectivefor those who attempt style of playing, the care and maintenanceof your guitar. to teachthemselves via this book. Fewer than 40 pagesare spent on history and other more Still, this leadsme to my one complaint. I cannot generalmatters. They comprisethe first sectionof the imagine that anyonewould attempt to teachthemselves book-and a few brief commentsare in order. using the book-certainly not through it alone. It's as Given what I've already said about the though there's too much information here. Put simply, it's "ever-burgeoningpile" of historical coffee table books, one daunting. One gets the impressionof having to work might expect me to downplay this first section. On the through methodically, page by page-and yet, within the contrary, I found it to be one of the strengthsof this book. first few pagesthere's enoughto keep the averagebeginner Chapmanbegins with a seven-pagetimeline (1500-1992). occupiedfor a week, at least. First, we are told, one must Using small (but wonderful) photos of historically learn the noteson the fingerboard. Aaaak! Heck, couldn't significant instrumentsplaced along this line (about eight to we first play "Tom Dooley"? No. Not here. In fact, in the a page), he is able to give a marvellously graphic entire book there is but one tune to play ("Malaguena") that representationof the history and developmentof modern I could find. The rest is chords, scales,exercises-with . Next to eachphoto is a descriptionof the someexplanation of why, a great deal on how and a great instrument, the maker and its place in history. Also included dearth on where. Really, then, despiteits promise of are sidebarsof important innovators: Martin, Torres, "complete" and "all-encompassinginstruction," it's far from Gibson, Fender. It's "guitar history at a glance," and in its being the only method book you'll ever need. In fact, if eleganceof presentation,it's worth the price of admission. you've just inherited Aunt Molly's guitar and are looking to The timeline is followed by a more thorough discussion learn somesing-along campfire tunes, I dare say this is not of what Chapmanterms the four main types of guitars: the book you need. (And if you do manageto learn "Tom nylon-stringedclassical, steel-stringedacoustic, archtop, and Dooley" via this book, you'll be calling out the chords to solid-body electric. Each type is afforded a few pages your campfire confreresas "G major" and "D dominant 7" wherein we discover more about its origins, its insteadof "G" and "D7" like everybodyelse!) innovatorsand, via photos of not-yet-assembledinstruments, That said, let's turn to the final sectionof this book, its construction. Here too we find discussionsabout strings, Soundand Amplification. Somewhatmisleadingly, it machineheads. wood. and more. This portion of the book concernsonly amplification by magneticpickups. Electric 36 guitars and amps, in short, are discussed,to the exclusion useful. It is a well-thought-out sectionand, with the of a wide (and ever-growing) variety of piezo pickups and exceptionof a few idiosyncratic British terms (e.g., mini-microphonesfor acousticguitar. Nevertheless,it is an "camber"), will help you and your repairpersondiscuss interestingsection. In it, Chapmancovers the basicsof problemsin a commonlanguage. magnetic/electronicamplification: clean vs. distorted sound, In closing (and in spite of my complaint), I think this is tube vs. solid statecircuitry, reverb, particular famousamps a wonderful book-for a specific audience.It's not a book (Vox AC30, Mesa/Boogie,Fender Twin, Marshall stack). which will teacha beginnerto play, though a beginnermay He even touchesbriefly on the topics of studio and home well enjoy it for its other virtues. Rather, it's a book for recording. The book then closeswith a brief discussionof thosewho alreadyplay and who want to understandwhat guitar care and maintenance. they already do and expandupon what they already know. Given my area of expertise(player, repairer and builder And it's especiallyfor thosewho want that togetherwith a of acoustic guitars), I cannot commenton the amplification marvellousvisual presentationof the guitar: past and sectionmuch, except to say that I found it informative. I present.There are plenty of folks like that out there. I'm can say that Chapman'sdiscussion of care and maintenance one. I'll but it! will not lead you astray and may indeedprove extremely Judy Threet Calgary, Alberta

Recordings

Gerineldo. Chansonsjudeo-espagnoles/Judeo-Spanish Songs, volumes I, II, and III; produced by Oro Anahory-Librowicz and Judith R. Cohen. CSMT Mail Order Service.

The Judeo-Spanishsong tradition rolls like a musical North Africa and the Middle East. snowball, it seems,picking up a new layer in eachcountry The themesvary widely too. Here we have romance, it passesthrough. SinceGerineldo is a CanadianJudeo- deathby heartbreak,weddings, lessonsin Biblical and Spanishgroup, it is fitting that someCanadian snow be Medieval history, a cycle of Jewish holidays, from Simhat addedto the thick layering of Biblical, Spanish,and Torah to Purim to Passoverand back to Simhat Torah Morroccan culture. This happensin "Me Vaya Kapparti," a again. And of course, indispensablein a collection of Judeo- relatively modem song to which Solly Levy has addedhis Spanishsongs, we have a song to celebratethe coming of own verse about life in Canada'scold climate. the Messiah, "Ya Vieneel Senor." I have always loved the Gerineldo was formed in Montreal, in 1981, to story of a little baby, and of two women, eachclaiming that perpetuateand sharethe Judeo-Spanishsongs of its she was the mother. Both women went to the wise King Moroccan heritage.The voices of the four members,Oro Solomon, who would determinewho the real mother was. Anahory-Librowicz, Judith Cohen, Solly Levy, and Kelly "Cut the baby in two", orderedKing Solomon,and of Sultan Amar, blend magnificently in a full rangeof courseone woman cried out, "No! Don't hurt the baby. combinations,from Levy's virtuoso solo in "Las Prendasde Give it to the other woman." And so it was clear, she was Rahel," to the gorgeousblend of a mother and daughter the real mother. This tale is retold in the song," HI luicio dialogueby Cohen and Amar in "Ay Madre." The mother's de Rey Salomon." voice and the daughter'svoice are recordedon two separate The culture portrayed in thesesongs appears at first to tracks, bringing poignant realism to their conversation. be rigidly straight-laced.Adultery is punishableby murder, Traditional instrumentslend authenticity and flavour to and a mother-in-law checksto make sure that the new bride the recording. Instrumentsinclude the oud (Middle Eastern is a virgin. But a lusty erotic imagery dances,thinly veiled, lute),derbukka(single-headed drum), bendir(framedrum), through the songs. sonaja (tambourine),vielle (medievalfiddle), tar (long- This is an important collection. While the liner notes neckedlute) and the by now familiar recorder. The up- are spirited and informative, I wish that Gerineldo would comingfourth cassette will alsoinclude a Moroccan-style include the words and translationsof the songs. You've folk violinist. A pleasingvariety is achievedby the createdcassettes and a video, Gerineldo. When will you be alternatingof pure a capella selectionswith songs putting out a book? Thesesongs need to be listened to, but accompaniedby spirited and rhythmic instrumen-tation."Ay they also needto be sung. With a little help in printed Madre," with its a capellablend of a mother's and form, more of us could add thesemarvelous Judeo-Spanish daughter'spure voices, is flanked on either side by quick songsto our own repertoires. and rhythmic selections.The song after." Ay Madre" even includesthe astoundingbalWalti, or ululation, that Nomi Kaston distinctive guttural shriek heard on joyous occasionsin Calgary, Alberta 37

Beginnings (title also in Ukrainian: Pochatky), 1991. One compactdisc (TMCD 141) featuring "Trubka" (seebelow) with separateinsert sheetfeaturing group photo, bilingual (Ukrainian/English) list of song titles, acknowledgements,and production credits. Recordedand mixed in Edmontonat Anvil Sound Studios. Producedand distributed by Trubka Ukrainian Musical Ensemble,c/o 11127-129 Street, Edmonton, Alberta, T5M OY6.

This recording from Edmonton salutesthe centenaryof krynychenk'y"), and its acousticportrayal of the blowing Ukrainian settlementin Canada(1891-1991) and featuresthe wind in no. 9, a favorite amongprairie Ukrainians ("The talents of three young males (Ralph Sorochan:accordion, Blowing Wind/ Viter vie," with words and music ascribedto keyboards,vocals, Jodie Watsko: drums and percussion, F. Chytyrbok). and Tim Zaharichuk: keyboards,vocals) who call The focus on sound(rather than text) as the primary themselves"Trubka," meaning "horn" in English. The acousticvehicle for transmissionof musical ethnicity accompanyingnotes suggestthat the trio is representativeof reappearsin no. 4 ("The Muddy Water Flows/ Techevoda the third generationof Ukrainian Canadians,a matter that kalamutna"), an import from the Soviet Ukrainian triggers a number of questionsrelating to the continuity of repertoire, like nos. 10 and II as well. This processof Ukrainian musical traditions in this country. Someof these borrowing commonly obtains nowadaysalmost exclusively questionsare raisedbelow. by listening to other soundrecordings-a phenomenonthat Twelve piecesconstitute Beginnings/Pochatky, the title marks a radical departurefrom Ukrainian country music's given to this well-producedalbum of seeminglyunbridled origins as a purely oral creativity unaccustomedto enthusiasm.Seven of theseare cited as "traditional mechanicalreproductive intermediaries of any kind. folksongs"-perennial hits from the Old Country canon that The most innovative item in this is no.5 ("With a togetherwith the remaining five items are performedas Heartache/Zdushevnym boliu") featuring music and lyrics works that belong to the genre of Ukrainian Canadianparty- composedby the trio itself. This in itself confirms the dance.The polka and waltz dominateas bouncy rhythms tradition's continuing viability. that carry all. Nonetheless,distinctive signs of originality surfacein the group's intriguing arrangementfor item no. 3 Robert B. Klymasz ("My ThoughtslDumymo;," with text by the national poet Canadian Museumof Civilization of Ukraine, T.H. Shevchenko),its revolutionary rendition Hull, Quebec for no. 7 ("In the Field of the Three Wellsl 0;, u pol; try

Larry Kaplan. Worth All the Telling. Folk Legacy CD-i22. Folk-Legacy Records,Sharon Mountain Rd., Sharon,CT 06069, USA; also Larry Kaplan, 7 DennisonSt., Essex, CT 06426, USA

Worth All the Telling is an acousticrecording worth "To hell with all thoseBibles!" all the getting for any folk enthusiast(Canadian or "Hope the storm don't bring him back here." otherwise). I first heard one of Larry Kaplan's songs, "Song Three of Kaplan's songshave a Canadianconnection, for Gale," sung by Saskatoonsinger PaddyTutty, and and my particular favourite is "My Brother Mike and Me," immediatelywanted the album for my collection. about the small, family fishermanwho has to competewith Kaplan is essentiallya storyteller, and he tells somefine the larger company-ownedboats to make a living. The stories through songwriting on this CD. All seventeen wonderful chorus of this one includes two lines which say, numbersare written by him, including two instrumentals. "When his two best friends are his only crew, / When his Packagingof the recording includes brief notes and own son sayshe's glad to take the wheel." Other completelyrics. Canadian-orientednumbers in this work are "The Wreck of The strengthin most of his songslies in the articulation the 'Rupert Bay'" and "Song for the 'Bowdoin'". of the value and charm of the ordinary. Kaplan is able to The recording includes lots of referencesto seagoing captureevents, situationsand spokenphrases of the vessels,coastal fishing, old-time dancing, poverty, and of so-calledcommon folks and project them into music. courseordinary living. Larry Kaplan's pleasanttenor voice After even a few casuallisteningsto this recording, I and good enunciationmake for enjoyablelistening and easy often found myself humming excerptsfrom the songsand concentrationon the lyrics, which I would judge as a real recalling phrasesalong with melodies.I even chuckled to assetfor any singer. Accompanimentby Kaplan himself myself, and out loud, while rememberingthe more includes guitar, banjo and bass.Other artists appearplaying humorousportions. Examplesof phrasesthat have really , concertina,hammered dulcimer, fiddle and viola. The jumped out at me during a time or two of listening include: accompanimenton all piecesis tasteful, and the songsare "...won't matter to me if you sing 'em that well." never cluttered by it. All the while, the vocals predominate, "Turn the boat around..." in order to stressthe importanceof the words. Kaplan has 38

succeededin producing a valuableaddition to anyone's Barry Luft collection of recordedmusic. Calgary, Albel1a

Chris and Ken Whiteley. Bluesology (A Journey Through The Blues). Pyrdmid PDOO7.512 Roxton Road, Toronto, M6G 3R4.

On this ambitious disc, folk festival and studio stalwarts has the right kind of string band with a backbeatfeel (not Ken and Chris Whiteley attempt to take listenerson a surprising when you considerthe Whiteleys' work in the historical-geographicaltour of the blues from inception to Original Sloth Band), but it never gets beyond its un- presenttimes, and from the Mississippi Delta to Toronto. inspiring vocal performance. Too bad the tour isn't worth the price of your ticket. Chris Whiteley's harmonicaon the Sonny Terry (or The production, by the brothers, is fine; sparkling clean Blind Boy Fuller) tune "Custard Pie" is a nice homageto without soundingtoo upton-high-techfor the blues. The Terry's rhythmic, chordal style, but his Little Walter licks choice of tunes is well thought out, with regional styles are uninspiredand annoying. Walter Jacobs'sstyle was full from the Georgia SeaIslands, New Orleans, KansasCity, of rich, broad bottom notes and mellow, controlled highs; Memphis, and of courseChicago and the Mississippi Delta, the harmonicahere mostly sits in a single dynamic space, as well as one fine original, "We Don't Talk," which sits distracting from the impact of the songs. alongsidethese chestnuts like it belongsthere. The band, all of them more than competentplayers, The cover and liner notes, however, treat this material soundexactly like a bunch of studio musiciansplaying on like the dry stuff of a classroomlecture serieson the history someone's"project" recording; the groovesare played of blues, listing regions, styles and dateswithout the correctly, without passionor excitementor much feel. passionand writerly savvy of, say, Robert Palmer or Peter Musicianshipwithout passionis a pretty dry exercise. Guralnick, who can convey the information in a few words Occasionallya performer comesalong who is capableof while giving a senseof the social context and life experience blending entertainingperformance with educational of the original artists. discourse;Taj Mahal is perhapsthe most popular example Although GeneTaylor plays great, understatedpiano in the field of roots and blues. But, with the wealth of great throughout, and Colin Linden's slide solo lifts an otherwise blues re-issuesnow out on CD, the notion of a group of pleasantversion of "Wee Baby Blues" into a hotter zone, urban, journeymanblues musiciansleading anyoneon "A the playing for the most part is too cautiousand considered, Journey Through The Blues" just doesn't ring true. when this music cries out for an exuberant,kick-out-the- 11mWilliams jams recklessness.This is a languageof joy in the face of Calgary, Albel1a pain, of good times 'til you sweat, and what comesacross here is (largely) didactic. There are somewelcome [Jim Williams's acoustic blues trio, Triple Threat, was exceptions,however. "Memphis Jug Blues," with the nominated.fora Juno this year.] brothers over-dubbingthemselves into an entire jug band,

Uisce Beatha.The Mystic of Baja. Cassette,UBCTO]. ]0 Lundy Lane, London, Ontario N6C 3G5. The Mahones.Drdggin' the Days. Kinetic Records,CD # KRD 9]8. P.O. Box 2088, Kingston, Ontario, K7L 5J8. Jimmy George. A Month of Sundays. CD, WSCD-OO].6 -]55 O'Connor Street, Ottawa, Ontario, K2P ]T3.

The Pogueshave a lot to answerfor, both good and of tIThe Black Velvet Band"), or they'll just fade away. bad. With their hybrid mix of Celtic and punk, Shane Which is pretty much the way it is for any type of McGowan and crew went on to influence a whole genera- music. Someonehas to start the ball rolling, and if the tion of musicianswith similar sensibilities, from successful Pogueshave gone on to inspire somereally bad or recording groups like The Men They Couldn't Hang and derivative bands,they've also openedthe door for Celtic Spirit of the West to unsignedacts suchas Winnipeg's music to an audiencethat might never have heard it Dusty Rhinos and who knows how many more. otherwise. And while few could match McGowan at the It's my belief that every city has a Pogues-cloneband height of his songwriting abilities, we've certainly seen playing in somelittle pub or bar. Somegreat; somewith somegreat musiciansmove out from under his shadow, more enthusiasmthan talent. Someof them will go on to including the new edition of the Poguessans-McGowan. grow as artists and shedtheir more Poguishleanings as they Here are a few recentCanadian versions to join the ranks. find their own voices the way Spirit of the West did; others Uisce Beathaare a Halifax-basedband that originally will either still be playing in those little. pubs and bars who played out of London, Ontario. Their most recent release, knows how many years from now (the way you can still The Mystic of Baja, is a collection of good-timepub find Clancy Bros. clones still crdnking out one more version rhythms that hide someserious material when you stop to 39 listen to the lyrics. Mostly the mix is successful,but unabashedenthusiasm. The instrumentationis mostly occasionallythe staccatodelivery works againstthe song's acoustic,but we're talking acousticwith a punch. messageand they come off soundingas if they're preaching. My favorite of the three albumscovered here is A The instrumentalback-up is primarily acoustic(banjo, Month of Sundaysby the Ottawa-basedJimmy George.I guitar, whistle, mandolin, fiddle) with electric bassand have to admit, shamefully, that for all the years they've drums. What the band lacks in expertiseon their instru- played at the Duke of Somersetpub-just a couple of mentsis more than madeup for by their enthusiasmand kilometers from where I live-that I've yet to catch the band they're smart enough to not get too challengingin their live. But I've always heard good things about them, so arrangementswhere it would soon becomeapparent that when the new album showedup in one of the local record they're playing out of their depth. When you keep it simple, shops,I had to give it a try. Besides,how can you not like the seamsdon't show. a band who humbly describetheir own album: "Three years The Mahonescome from the Kingston areaand I tell and 34156 pints later, this is what we have to show for you, if I didn't know that ShaneMcGowan was still alive ourselves"?Or the Jimmy GeorgeCredo, prominently (more or less), I'd think that he'd been reincarnatedas the displayedin amidst the liner notes: "If you are not vocalist for this band. The resemblancebetween their voices completely satisfiedwith this product, you should lower and inflections is uncannyat times, and will probably serve your expectations." them well for the time being since their CD will attract all Joking aside, the band presentsa collection of those Poguesfans who miss McGowan so desperately. self-pennedmaterial that while it certainly owes a tip of the But I don't want to dwell endlesslyon that hat to the influencesdiscussed above, is well on its way to resemblance.Draggin' the Days has a lot more going for it finding its own individual voice. The arrangementsare than simple mimicry. The band producesa S()undthat's both simple, the production clean, the songsheartfelt with the tight and loose at the sametime-you'll have to listen to the odd tongue-in-cheekreference to make you sit up and pay album to seewhat I mean-and offers up a nice selectionof closer attention. On the strengthof this recording, I'm traditional and original material. The latter are what makes really going to have to makean effort to seethe band live. the album worth picking up-fine contemporarysongs Of coursethey probably don't play the Duke anymore. written in the tradition and performed with affection and Charlesde Lint Ottawa, Ontario

Linda Miller & Nathan Curry. A Welcome At Your Door. Visibly Shak'n Records, 1993; 46:05 min Cassette;Cat.# VS 001 219A Flora St., Ottawa, Ontario, K1R 5R6.

For about as many years as there has been a Celtic rangeand isn't on quite the samepar as his gift for music scenein the Nation's Capitol, Nathan Curry has been instrumentation.Which makeshis pairing with Linda a part of it, playing in sessionsand at the local clubs and Miller-an expatriateof Ottawa who has recently moved festivals-sometimes solo, sometimesfor various theatre back to the area-such a serendipitouscareer choice. Miller groups, sometimesin bandssuch as Wickentreeand Six has a lovely voice, equally at home on traditional material Mile Bridge, sometimesin various one-off permutations. like the haunting "Fhir a Bhata," or more adventurous Lately, he appearsto be concentratingmuch of his energy offerings suchas "SleepersAwake," written by Mike Heron on his team-upwith vocalist Linda Miller. of ISB-fame. Curry is a superior musician in the best senseof the When you combineMiller's with Curry's word. Equally at home with the fiddle or various plucked songwriting, great instrumentalbackings and a few dance string instruments,he brings a rare verve and senseof tunes, you have the makingsof a fine recording which A spontaneityto his impressivelyprecise musicianship. Welcome At Your Door certainly proves to be. Also Whether taking the lead on a dancetune, or backing up a recommendedis last year's self-titled album by Curry's song, he's that preferredmusician who knows that the notes electric Celtic band, Six Mile Bridge. one leavesout are just as important as those you play. Charles de lint But while he shinesas a musician, his singing lacks ~~~

1111924,my husbandand 1 spm our honeymoonat Bu,* lAke. We were dlimreed at myfolks' home. Ewryone rome on honeba,* or by wagonsand they carried out some of thejilmi/Ure so we could dancl'. No one cauld get a musicianso finally Gilbert Siegel, a young boy who had 0 small mouth organ, ployed, and awoy we danced. Before they left, we had to promisl' to how a danceat the Bu,* lLJkeHall, and thi.' time we had Mr. Samgeplaying the Kolin and Mr. Haggh4ndon the accordion We danced until morning. It was my twentiethbirthday. All in all it cost us wry liale, and Mr. Haggh4ndsealed for a waltz with the bride. We thought it quite incredible. but also wry nice.

Mary Wickham,Packllar.e to Pave_lit (Bu'* [LIke, AUJena) 40

Loretto Reid & Brian Taheny. The Golden Dawn. Reta Ceol, 1993; 24:34 min CD; Cat.# WPCD9301. 1561 Williamsport Dr. Mississauga,Ontario, L4X 1T7 .

One of the big problems with too many of the more went by too fast for me to catch the composeror musicians. recent albumsof Celtic music is the choice of material that That only happenedwhen, after ordering The Golden gets recorded.Too often the tunes and songsare so Dawn, I discoveredin someaccompanying material that familiar, they've grown tiresome. Or the musicianshave Loretto Reid had not only written and performed the terrific trnckeddown deliberntely obscuretunes, or obscureversions album in hand, ably joined by her musical partner Brian of more familiar ones, seeminglyoblivious as to why they Taheny on guitar, dobro, fiddle, banjo and mandolin, but were obscurein the first place (they weren't any bloody she had also been responsiblefor that moving soundtrack. good). Or worse, the musicianstake the familiar tunes and The real telling point with an album of original material do bizarre arrangementsof them, simply for the sakeof such as this is how well it sits next to the tradition from being different, rnther than becauseof any intrinsic artistic which the composergot her inspiration. Reid's music passes statementthey wish to make, which can be plain irritating. the test with flying colours. The tune setson The Golden One solution to the abovecan be writing one's own Dawn, from waltzeslike the opening cut through to the tunes, but let's face it. Virtuosos though someof our various airs, reels and jigs, could all easily be traditional favorite traditional musiciansmight be, not everyonehas the tunes. They feel as though they've beenplayed in sessions gift of penning a good tune. And rnrer still are thosewho for yearsand in fact, unlessyou're familiar with the one set can give us a whole album's worth, insteadof merely one of traditional reels on the album, I doubt you'd be able to or two. But happily there are exceptionsto every rule, and tell the difference. The production of this recording is Sligo flute player Loretto Reid (now basedin Mississauga, pristine and the playing gorgeous,from the tone of Ontario) is definitely one such exception. Taheny's fiddling and his exquisite accompanimentsto the I first fell in love with her music not knowing who I sweetroll and attack of Reid's flute, whistle and concertina was listening to. I was watching a CBC specialcalled playing. The recording may only be EP-Iength, but it makes Gross-isle about the quarnntineisland for Irish immigrnnts up in quality what it lacks in quantity. Besides,you can to Canadafleeing the potato famine and was very taken with always do what I invariably do when I put it on and that's the haunting sound-trnckthat accompaniedthe voice-over set your CD player to "repeat." and imagesthat told the story. The credits, unfortunately, Charles de lint

.c.c.c

I rememberMr. Wilkinson, the Anglican minister, being at a Patriotic Societyconcen at a nearlJycountry school. After the concertand hlnch were o~r, the youngerpeople quite naturolly wanted to dance away what remainedc!fthe night, One ok/er womanamong thosepresent objected ~ry strongly to this. berouse. she said. it wouk/ be disrespec{/i4lto the .cloth, . Mr, Wilkinsonnoted the disturlJanceat the dishwashingarea. where this one lady uphek/ her objections to the dance. and askeda schoolboy what was upsettingthe ladies. "71Ieok/ one, " answeredthe schoolboy. "saysit ain't proper to dance where there's a preacher, " Mr, Wilkinson mo~d to the . sat down on the .'tool. called loudly, "E~rybody waltZ!. and began to play,

Mrs. Robert Mailer, Shortgra3! COUlltry (Foremost. Alberta)

-1-1-1

Rulesposted at CommunityHal/. 1929: 1. No Dancing without coots 2. No SmokingNear Stageor Front of Main Dancing Hall 3. No Drinking Allowed on the Premises 4. No &cessiw Noise or Shoutingin the Hal/.

71teEIIglish COlD,", (Mghtillga/e, Alberta

Stop the Press

Last minute word came on this Festival event: July 4 and 5, 1994 Katarokwi Native Friendship Centre's 2nd Annual Traditional Powwow Annual Lake Ontario Park, Kingston, Ontario Seya Whitefeather (Chairperson) Katarokwi Native Friendship Centre, 26 Garrett St., Kingston, Ontario, K7C IHO, (613)-548-7096 Traditional drums and dancers, cultural f(Klds, natixc crafts. 9-6 with grand entry at 11:00 AM. Family event-come one, come all. No alcohol or drugs permitted. Not responsible for loss or dama/(e or injury.