~~HERLAND ~ June, ICE 1997
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Contemporary Folk Week, July 24-30, 2016
36 24-30 Contemporary Folk Week celebrates our 25th Anniversary with a world-class staff of returning artist/instructors including our first Master Music Maker, folk legend Tom Paxton and the timeless artistry of Janis Ian. We’re honored to also welcome back favorites from last year and previous years including Grammy-winners Kathy Mattea, Jon Vezner, and Don Henry, folk stalwarts Ellis Paul, Cliff Eberhardt and Amy Speace, vocal coaches Siobhan Quinn and Danny Ellis, and music theory guru Ray Chesna. We welcome an exciting new addition to this year’s staff in one of the leading lights in today’s contemporary folk scene, the wonderful Mary Gauthier. Drawing on tradition and innovation, our instructors bring a world of practical and imaginative experience to help you create and perform the music that makes your heart sing. Whether you’re trying out material at a local ‘open mike’, a performer with some experience, a working musician looking for some help in reaching your next goal, or someone who would simply like to feel more confident pulling that guitar out in front of others, we’re here to help, and our foundations are support, fun, and community. Our top-notch staff, knowledgeable in the various aspects of both the art and business of contemporary acoustic music, can help you achieve your goals. In addition, our limited enrollment and small campus encourage community-building at its best – frequent and informal interaction between students and staff, all doing our utmost to ensure that you go home energized and empowered to make the most of your music in hands-on and meaningful ways. -
Traditional Song
3 TraditionalSong l3-9 Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, finally, is a place where you can develop and grow in confidence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For Traditional Song Week’s ninth year and our celebration of The Swannanoa Gathering’s 25th Anniversary, we are proud to present a gathering of highly influential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Tuesday evening will be our big Hoedown for a Traditional Country, Honk-Tonk, Western Swing Song and Dance Night. Imagine singing to a house band of Josh Goforth, Robin and Linda Williams and Ranger Doug or Tim May, Tim O’Brien, and Mark Weems! So, bring your boots and hats, your voices and instruments, and get ready to bring on the fun! Our Community Gathering Time each day just after lunch affords us the opportunity to experience together, as one group, diverse topics concerning our shared love of traditional song. This year’s spotlight will feature folks who have been “on the road” and singing for quite a while. -
W W W . J a S O N S P O O N E R . C
Has shared stages with: The ingredients behind northern New England’s Jason Spooner Trio Brandi Carlile read like a bizarre musical science experiment. Start with a prolific, Peter Rowan singer/songwriter (Jason Spooner) with heavy roots, folk & blues Railroad Earth influences. Then mix in a classicly-trained bassist (Adam Frederick) with Colin Hay 2007 Winner foundations in jazz and a knack for serious pocket grooves. Lastly, shake Mountain Stage NewSong Willy Porter things up with a rock-solid drummer (Reed Chambers) with deep- Contest International Finals John Gorka seeded roots in funk, soul & reggae and you’ve begun to scratch the Tom Rush surface of this unique, energetic band. Ron Sexsmith Josh Ritter In recent news, Jason and the band confirmed bookings for main stage Stephen Kellogg performances at the 2008 Kerrville Folk Festival (TX), the 2008 Carbon Leaf Falcon Ridge Folk Festival (NY), 2008 Musikfest (PA), the 2008 2007 National Finalist The Wailin’ Jennys Boston Folk Festvial (MA), and the 2008 Prescott Park Festival (NH). Starbucks Music Makers Competition Chris Smither Jason also opened a New England show for songwriter Brandi Carlile Crooked Still during the summer of 2008. Jason won the 2007 Mountain Stage Janis Ian NewSong contest international finals at the South Street Sea Port in Eliza Gilkyson New York City. He was also a national finalist in the 2007 Starbucks Music Kelly Joe Phelps Makers Competition. He toured the East Coast in the Spring of 2006 as Peter Tork part of the Emerging Artist Showcase at the 2005 Falcon Ridge Folk 2006 Preview Tour Slaid Cleaves Festival in Hillsdale, NY. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Billy Jonas and the Billy Jonas Band
Billy Jonas and the Billy Jonas Band Throw out the rules when Billy Jonas hits the stage! It’s a musical conversation… a sonic celebration … a splendiferous gathering of old and young, because at a Billy Jonas show, the ensemble is… everyone. “My favorite instrument is the audience. I work to ‘tribalize’ the compositions … to create songs that provide an immediate opportunity, on first hearing, for the listener to join in, as if the song had been a part of their life for a long time.” – Billy Jonas A Billy Jonas concert is a "neo-tribal hootenanny" -- original "voice and percussion" -based songs with a generous dose of audience participation. The music mixes conventional instruments (guitar, bass, marimba) with homemade creations (using buckets and barrels, keys and cans, bells and body percussion). The New York Times has described Jonas’ songwriting as “witty, smart and raw”. Billy tailors both his song selection and its presentation to uniquely suit each audience. Its spirited, straightforward music that is accessible to anyone and everyone, regardless of age or cultural background. Jonas’ concerts are a magical mix of stagecraft and wholesome, open-ended, anything-can- happen spontaneity. Sing Out magazine says, “ …he engages the audience with a wild assortment of rhythm and word play, leaving them entertained and a little more in touch with their spiritual selves.” Jonas is known for his ability to facilitate connection and community while fostering inspiration and FUN! Billy Jonas has shared stages with many renowned artists, including Alison Krauss, Peter Yarrow, Keb' Mo', Mary Chapin Carpenter, Kathy Mattea, Paul Winter, Michele Shocked, Justin Bieber, Ani DiFranco, David Wilcox, Richard Thompson, and Pete Seeger. -
Kathy Mattea
KATHY MATTEA Kathy Mattea has enjoyed the kind of success many artists only dream of: two GRAMMY wins, four CMA Awards, five gold albums, and a platinum collection of her greatest hits. Mattea’s dream almost ended, though, when she entered her 50s and found her voice changing. As much as she wanted to ignore the warning signs, there was no getting around the fact that she simply wasn’t hitting the notes she used to. Taking the stage and giving anything less than her best wasn’t an option, so as far as Mattea was concerned, there were only two choices: re-learn to sing, or walk away forever. “The hardest thing was facing the question of whether or not I could continue,” she reflects. “I had to be willing to come to a ‘no,’ to accept that my singing voice just might not be something I enjoyed anymore. There were days when I believed it was very likely I wouldn’t be able to go on.” Mattea persevered, though, undergoing intensive vocal training and emerging with the most poignant album of her career, ‘Pretty Bird.’ Recorded over the course of a year with roots music wizard Tim O’Brien at the helm, ‘Pretty Bird’ draws its strength not only from Mattea’s touching performances, but also from her uncanny ability to weave seemingly disparate material into a cohesive whole. These are the songs that helped her reclaim her voice, and though they’re drawn from a wide swath of writers, genres, and eras, she inhabits each as fully as if it were her own. -
John Gorka Interview
A Conversation with John Gorka Frank Goodman (Puremusic 3/2001) John Gorka’s career as a singer songwriter appears charmed, filled with good breaks and good luck. It brings to mind what a friend of mine says: “The harder I work, the luckier I get.” Anyone who knows John Gorka will tell you that he’s been after it relentlessly since the mid-80s, and has clearly risen to the top of the field. After cutting his teeth at a great listening room in eastern PA called Godfrey Daniels and becoming a regular in Jack Hardy’s Fast Folk crowd in NYC, he got off to a flying start when Red House Records and Fleming Tamulevitch & Associates booking picked him up simultaneously in 1987. FTA are the agents that veritably control the folk world, and Red House one of the most distinguished and coveted labels. John plays up to 150 shows a year at every venue that books singer songwriters, and has earned a fan base that will probably sustain his career the rest of his natural life, along with the new believers each year brings. After two records with Red House, John made five with Windham Hill’s High Street Records, all to critical acclaim. In search of a more art, less commerce approach to his music, Gorka’s happily back with his original label on the last two records. His latest pearl is called The Company You Keep. The most important company he’s keeping these days are his wife and two kids outside of St. Paul, MN, and I hear them featured in spirit throughout. -
Record Eagle Grandtraverse.Org, Or Call the a Recent Phone Interview and in a Minneapolis John Gorka Plays Inside out Gallery Saturday Senior Center at 922-4911
O R C H ESTRA T R A V E R S E C I T Y R E C O R D - E A G L E S E C T I O N C Going places ARTS&ENTERTAINMENT Friday, February 6, 2015 [email protected] FROM STAFF REPORTS TRAVERSE CITY — The In- ARTS terlochen Arts Academy Or- chestra is hitting the road. The orchestra, already tapped to appear on an all- Interlochen “From the Top” to be broadcast by National TC hailed ‘art hotbed’ Public Radio in April, will perform May 9 with French Expert: The ranking key-based Crooked Tree Arts Cen- northwest lower Michigan where earn the highest available ranking pianist Alexandre Tharaud ter which recently merged with researchers collected data, a in the “arts dollars” category. at The Berman Center for could be higher ArtsCenter Traverse City. “We do reflection of census data about Both Ahrens and the study the Performing Arts in West accomplish quite a bit up here.” the metropolitan area supplied to pointed to Interlochen Center for Bloomfield. BY NATHAN PAYNE Southern Methodist University’s researchers, Giraud Voss said. the Arts as a major contributor to [email protected] In 2016 the orchestra will National Center for Arts Re- The group produced the report the high ranking. play at the NY Phil Biennial, TRAVERSE CITY — Traverse search slotted the Traverse City in hopes of helping local arts “Interlochen is a $30 million (per the New York Philharmonic’s City is the only place in Michi- area in at 20 on its “arts vibrancy organization directors learn more year) organization,” Ahrens said. -
Topical Promos Topical Promos for Year End Show #52 Located at End of Disc Z, Tracks 7-14, Do Not Use After Show #52
WITH BOB KINGSLEY TOPICAL PROMOS TOPICAL PROMOS FOR YEAR END SHOW #52 LOCATED AT END OF DISC Z, TRACKS 7-14, DO NOT USE AFTER SHOW #52 TOPICAL PROMO #1 :48 I'm Bob Kingsley and during the past exciting 12 months in country music, we've seen Garth Brooks become the first artist in history to debut a country album at #1 on the pop charts. Alan Jackson and Travis Tritt came on to claim true star status while the juggernaut careers of George Strait, Reba McEntire and Alabama rolled on. Plus, more talented newcomers exploded on the scene during the year than ever bmore like Trisha Yearwood, Billy Dean and Brooks & Dunn. And that•~ just a small part of the 1991 action as country music's top talents week will be in the thick of it on our special end of the year edition of American Country Countdown as we present the top 100 counlry hits of 1991. I hope you'll join me! (LOCAL TAG) TOPICAL PROMO #2 :25 Hi, this is Bob Kingsley with American Country Countdown. As 1991 comes to a close, we're gettting set to bring you the top songs of the year. In a special countdown of Billboard Magazine's biggest country hits during the past 12 months. They're the 100 hottest country hits for 1991 by the biggest country stars in the world and I hope you will join me as l count 'em down on our special (7 hour) year end edition of American Country Countdown. (LOCAL TAG) TOPICAL PROMO #3 :24 This is Bob Kingsley reminding you about American Country Countdown's special year end presentation of tt,e top 100 country hits of 1991. -
Dar Williams Has Always Followed Her Muse. When She Was up in Somerville, Massachusetts in the Early Nineties, Knowing That
Dar Williams has always followed her muse. When she was up in Somerville, Massachusetts in the early nineties, knowing that she wanted to pursue music or theater, she worked backstage at the Opera Company of Boston and wrote plays on the side. But she was in Boston, and the muse led her into the myriad open mics and tip jar gigs of booming folk revival. She opened a trunk of old songs and started writing new ones. She went to three or four open mics or song circles a week and recorded two cassettes. Yes, cassettes. When she felt like the noise of Boston was getting to be too much, the muse led her to the cornfields and college towns of Western Massachusetts where she sat on her futon and wrote the songs that would become The Honesty Room, her first CD, which she recorded in the basements and back woods studios of Amherst. She hoped the songs she was writing, with titles like When I Was a Boy, You’re Aging Well, and The Great Unknown, would lead her into an idiosyncratic part-time music career. Little did she know that the coffeehouse scene and the beginnings of internet communities were building to a crescendo and eager to receive her warm, witty songs. By the end of 1994, when The Honesty Room came out, she had rock-solid management, the best booking agency in the country for singer-songwriters, and a career-making slot at the Newport Folk Festival. She also signed with Razor & Tie records and penned the material for her next album, Mortal City. -
Visit Robin and Linda on the World Wide
The couple met in 1971. Linda — originally from Robin and Linda Williams are like Robin and Linda Williams — Alabama — was teaching school in South Carolina. dynamic, hilarious and better than ever. your next-door neighbors — assuming your Robin, who grew up in North Carolina, had been neighbors are the salt-of-the- earth and top-flight making the rounds on the national coffeehouse performers to boot. One minute you picture circuit. It wasn’t long before they hit it off Recent releases include: borrowing a cup of sugar from these two; the romantically. And the uncanny blend of their voices Stonewall Country (2011) next, you’re completely stunned by their jaw- was icing on the cake. These days, they make their Buena Vista (2008) dropping talent. Bottom line: You feel right at home in the beautiful Shenandoah Valley of Virginia. Radio Songs (2007) home at a Robin and Linda concert, and their The First Christmas Gift (2005) Their first album came out on a small Minnesota- music stays with you like an old friend. Deeper Waters (2004) based record label in 1975, the same year they Favorites of fans and promoters alike, they have Visions of Love (2002) debuted on A Prairie Home Companion. Their In the Company of Strangers (2000) crisscrossed the continent (and beyond) for more association with the popular public radio program has than three decades, performing the tunes they landed them on major stages from Carnegie Hall to love — a hearty blend of bluegrass, folk, old- the Hollywood Bowl. As half of The Hopeful Appeared with: time and acoustic country. -
June 2014 Calling All FP Musicians and Singers Cultural Exchange Request
June 2014 www.folkproject org Calling All FP Musicians and Singers (Although my friend, Jenny would bridle at considering that singers not be included within the category of musicians.) Be part of the Minstrel's 39th Birthday show! This has been an ongoing tradition at the Minstrel since the early 80's. It's a chance to perform on the Minstrel stage to a crowd of fellow Projectiles. it's a chance to meet and play with new musicians. And it's a chance to celebrate the core value of the Folk Project that it is an organization in large part of and for players and singers. For those of you new to the Project this year, the basic premise is that we form about 20 musical duos and trios comprised of randomly chosen member-musicians. And then, each group does one song in the show. Groups may add additional member musicians to their ensemble. (Which is especially useful when two non-instrumental singers are paired up.) The groups are chosen on July 4 at our Annual Picnic. And the show will take place at the Minstrel on Friday, July 25, which this year is the actual anniversary of our opening night. You don't have to be a professional musician to be part of this show. If you're comfortable playing or singing in front of friends, then that' exactly what you will be doing. The pairings are completely random. You may be matched with someone more experienced or less experienced than you. For the "pros" this can be the opportunity to support a less experienced musician and help them have a memorable experience.