September / October

Total Page:16

File Type:pdf, Size:1020Kb

September / October CONCERT & DANCE LISTINGS • CD REVIEWS FREE BI-MONTHLY Volume 6 Number 5 September-October 2006 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Didgeridoos and Don’ts A TALKABOUT WITH DIDGERIDUDE JAY ATWOOD BY JOEL OKIDA inside this issue: he mysterious drones and grunts emanating from the didgeridoo The Secret Museum bring to mind the sound one would get if it were possible to goose a humpback whale. Or A Gander perhaps the snorted mantra of a T yak meditating. In reality, the vari- at Gamelan ety of tones can’t really be described in a metaphor. This speaks to the mystical, native Australian origins of the long, tubular instrument called Joan Baez Gets the didgeridoo. There are references, in some northern Aboriginal lore, to its tone being the cumulative sound the crea- Barefoot Again tures in the animal kingdom would make if all were in chorus. Recently, Jay Atwood, solo artist, and didgeridoo player for Celtic band, The Wicked Tinkers, came up for air, and we asked him about the story behind this unique instrument and to PLUS: find out why being long-winded can be a good thing. JOEL: Do you think there’s a connection between the Ross Altman’s didgeridoo made in Australia and the variety of other instru- ments made elsewhere and out of any number of different kinds How Can I Keep From Talking of material? Is there a connection between the pipe and how you play? Larry Wines’ JAY: Yes, there are didgeridoos made from PVC (PolyVinyl Chloride) drain pipe to beautifully made wooden American pipes. Tied to the Tracks Very popular, now, are the wooden agave pipes and yucca pipes. I play didgeridoos of all different sorts. I have about 15 didgeri- Notes from Possum Pie Inn doos that I play in various different ways. And, personally, I love the sound of the traditional instruments. The termite-hollowed Calendar of Events eucalyptus has a truly unique sound. If I play with the Tinkers, the instrument we use was built to match the bagpipes, so it’s unusu- ally low, but that’s what works for the band so I use it. On-Going Music & Dance JOEL: There seems to be a cottage industry of didgeridoo- DIDGERIDUDE page 12 & much more... Page 2 FolkWorks September-October 2006 EDITORIAL AN ODE TO VOLUNTEERS PUBLISHERS & EDITORS t FolkWorks, we cannot Leda & Steve Shapiro Our volunteers are the core Aexist without our volun- LAYOUT & PRODUCTION of it all…they are at the fore teer Board, Writers, Alan Stone Creative Services front & center - distributing Distributors, Editors, Concert FEATURED WRITERS Committee. Not only do these Brooke Alberts, Lookaround Ross Altman more & more guys (generic) make possible the newspaper and the concert series How Can I Keep From Talking David Bragger, Old-Time Oracle They pick up & deliver but they do it in an impressive, Uncle Ruthie Buell despite the traffic - - over the river responsible, professional manner Halfway Down the Stairs & thru the Valleys that we are all proud of – and they Valerie Cooley, That Reminds Me... know that prepositions sometimes Linda Dewar, Grace Notes Rhyming giving way – end a sentence despite our best Richard Gee, Law Talk to the practical highways efforts. They know that it is SONES PHOTO BY SONYA Roger Goodman BY LEDA & STEVE SHAPIRO & byways important to bring you a calendar Keys to the Highway exposing the Roots of our Fron Heller Notes from Possum Pie Inn Our writers slave over their Community. They know that if • Distributors – Distributors – Dennis Roger Reed typewriters laptops sipping you get out to see live music Distributors –This takes 3-4 Reed’s Ramblings double shot cappucinos (whether Latin, Celtic, Country. hours every two months. There Dave Soyars, Dave’s Corner Cajun, Bluegrass or Balkan…) or are underserved areas that want Larry Wines, Tied to the Tracks staying up late night visit an exhibition about Native FolkWorks available. EDITORS open mike – measuring a full American basketry, it will satisfy • CD Reviewers –Listen to CDs David Ascher • Marie Bruno cup and a half to make deadline. your soul and you will want to and write about the ones that Mary Pat Cooney • Britt Nicole-Peterson Diane Sherman • Chris Stuart make it an integral part of your stand out. Under 500 words. so you read bluegrass or Balkan CONTRIBUTING WRITERS life. It inspires hope for the future • Advertising Sales – we will give Audrey Coleman • Linda Dewar dance Cajun or contra of this crazy world. Traditional / you leads and pay 20% commis- Lisa Forstein • Steve Goldfield sing blues or folk Roots oriented music, dance. sto- sion. Joel Okida • Ron Young rytelling and other related Folk Please email or call today. DISTRIBUTION & swing those guitars Arts bring us together. Brooke Alberts • Ross Altman 818-785-3839 Beverly/Irwin Barr • Anna Byrne & sitars & djembes & fiddles We would love if more of you [email protected]. on a hot summer day Judy CaJacob • Jim Cope join in our efforts. Here are some Linda Dewar • Mary Dolinskis of the things we urgently need: Marge Gajicki • Sharon Gates saz you Cliff Gilpatric • Sue Hunter Holly Kiger • Bill/Mary Anne McCarthy Nan McKinley • Russ/Julie Paris Milt Rosenberg • Doug Moon Daria Simolke • Alaina Smith Sylvia Stachura • Mimi Tanaka Roy Wells • Lynn Worrilow • Ron Young BECOME A MEMBER LOGO DESIGN SEE PAGE 28 Tim Steinmeier Thanks to all those who have supported and inspired us, especially Warren Casey of the Wicked Tinkers. Published bi-monthly by FolkWorks a 501 IN THIS ISSUE (c)(3) non-profit organization an affiliate of Country Dance and Song Society (CDSS). Music at the Skirball EDITORIAL................................................. 2 BOARD OF DIRECTORS THE STAIRWELL SISTERS: OLD-TIME Brooke Alberts • Ric Alviso STRING BAND BREAKS OUT ................ 3 Linda Dewar • Kay Gilpatric MEDIA SPONSOR: KEYS TO THE HIGHWAY ....................... 4 WHEN THE CHIT HITS THE PAN OR WHAT I Roger Goodman • Don Kiger THOUGHT I KNEW ABOUT THE STEEL DRUM Holly Kiger • Teresa Modnick Promoting POSSUM PIE INN ...................................... 5 Gitta Morris • Lisa Richardson Folk/Traditional Arts BAKE ME A MEMORY Steve Shapiro • Mimi Tanaka www.FolkWorks.org TIED TO THE TRACKS ........................... 6 Monika White • Ron Young FOLK AMERICANA RADIO ON THE WEB Leda Shapiro, Executive Director PART TWO DAVE’S CORNER OF THE WORLD ..... 8 ADVISORY BOARD ON-GOING STORYTELLING EVENTS. 8 Richard Gee • Howard & Roz Larman Sabrina Motley • Colin Quigley A HAWAIIAN MUSICAL TREASURE: GENOA KEAWE ..........................................9 Cait Reed • Tom Sauber REED’S RAMBLINGS ............................ 10 Maria Kalaniemi CONTACT INFORMATION LEARNING SONGS FROM RECORDINGS P.O. Box 55051, Sherman Oaks, CA 91413 Thursday, September 28 MARIA KALANIEMI TRIO CD REVIEWS ...................................... 10-11 Phone: 818-785-3839 8:00 p.m. [email protected] • www.FolkWorks.org $25 General Known as Finland’s “Queen of the Accordion,” Maria Kalaniemi is one JOAN BAEZ GETS $20 Skirball Members of the world’s most gifted players and composers of accordion music. BAREFOOT AGAIN ..................................13 ©2006 FolkWorks All Rights Reserved $15 Full-Time Student Be there when Kalaniemi’s acclaimed trio, featuring distinguished A GANDER AT GAMELAN......................14 pianist Timo Alakotila and master guitarist Olli Varis, performs its WHAT IS GAMELAN? AD RATES minimal yet elegant and melodically uplifting compositions. ON-GOING MUSIC HAPPENINGS........15 It seems impossible for [Kalaniemi] to play a single note that isn’t made in heaven.” CALENDAR OF EVENTS ................. 16-17 Size 1 X 3X 6X —Songlines ON-GOING DANCE HAPPENINGS .......18 Full Pg $700 $660 $600 OLD TIME ORICLE ............................... 19 1/2 pg $415 $375 $325 Thursday, October 12 THE SECRET MUSEUM 1/4 pg $265 $245 $200 8:00 p.m. LES YEUX NOIRS $30 General Groove to the energy and emotion of Gypsy-klezmer octet Les Yeux ...THAT REMINDS ME... ........................ 20 1/8 pg $175 $155 $125 $25 Skirball Members Noirs (The Black Eyes). Headed by two virtuoso violinists, brothers THE INEDIBLE NATIVE PLANT CLASS 1/16 pg $95 $85 $75 $20 Full-Time Students Eric and Olivier Slabiak, the Paris-based band innovatively weaves UNCLE RUTHIE ...................................... 21 SPECIFICATIONS the music of the Jews and the Gypsies. CARNEGIE HALL AND CULMINATION Full Pg ................................. 9.5 x 15" “Blending funky gypsy undertones with old-school Eastern European folk, jazz, and LOOKAROUND ....................................... 23 BLUE AND ORANGE 1/2 pg H ......................... 9.5 x 7.375" classical influences, Les Yeux Noirs delivers an eclectic and electric set.” 1/4 pg V...................... 4.625 x 7.375" —San Francisco Bay Times LAWTALK ................................................ 24 GRACENOTES...........................................25 1/8 pg H ..................... 4.625 x 3.625" 1/16 pg V ........................... 2.0 x 3.5" Wednesday, November 1 Save the Date! MEN OF WORTH – 20 YEARS AND 8:00 p.m. COUNTING.................................................26 1/16 pg H .......................... 3.5 x 2.0" $30 General CUARTETANGO STRING QUARTET MUSIC INSTRUCTION .......................... 27 Artwork should be submitted for $25 Skirball Members Featuring guest bandoneonist Hector del Curto printing as B&W or grayscale, 300dpi. $20 Full-Time Students SUPPORT FOLKWORKS ....................... 28 This triumphant ensemble brings together the best musicians and MEMBERSHIP & SUPPORT INFORMATION Ads accepted in the following formats: dancers of Buenos Aires and New York, under the direction of HOW CAN I KEEP FROM TALKING....29 DIGITAL premiere tango violinist, singer, and dancer Leonardo Suarez Paz. PENNIES FROM HEAVEN TIFF or PDF file formats (Digital files can be VENUES.......................................................30 sent via e-mail or on a non-returnable disk SPECIAL EVENTS.....................................32 (floppy, ZIP or CD ROM in PC or Mac for- Advance tickets: (866) 468-3399 or www.ticketweb.com, mat). Include all placed images and fonts.
Recommended publications
  • Proclamation of Domination
    FRIDAY January 4, 2019 BARTOW COUNTY’S ONLY DAILY NEWSPAPER 75 CENTS Better Self 101 to prepare attendees for final arrangements BY MARIE NESMITH insurance, what to [choose], who doesn’t let’s bring it to the community for free to likely happen to all of us. I believe that empowered and equip them with the [email protected] have it, etc.?’ Having buried my mother clear any cobwebs and answer any ques- being educated and prepared will help us knowledge needed to succeed in all facets and brother over the past year and [a] half, tions.” through the difficult times when we may in life,” Whitfield said. “No one really Striving to help others be “educated and I know that worrying about money is that Geared only to adults, Better Self 101 not be thinking clearly or not prepared. I wants to have these talks about death but prepared,” Will2Way Foundation Inc. and last burden that one should endure while will take take place from 10 a.m. to 1 p.m. will be helping to develop some of the it’s inevitable.What better way than to let Cartersville resident Brad Cowart are join- trying to grieve through the process. at the Cartersville-Bartow County Cham- topics and getting speakers to discuss your loved ones know what you want, ing forces Jan. 12 to present Better Self “After I posed the question, I received ber of Commerce, 122 W. Main St. in them. what you have and talk about it now rather 101: Wills, Insurance, Estate Planning.
    [Show full text]
  • 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.
    [Show full text]
  • The Meaning of Yaroomba II
    Revisiting the place name meaning of Yaroomba The Gaiarbau, ‘bunya country’ and ‘thick vine scrub’ connections (by Kerry Jones, Arnold Jones, Sean Fleischfresser, Rodney Jones, Lore?a Algar, Helen Jones & Genevieve Jones) The Sunshine Coast region, fiHy years ago, may have had the greatest use of place names within Queensland derived from Aboriginal language words, according to researcher, E.G. Heap’s 1966 local history arQcle, ‘In the Wake of the Rasmen’. In the early days of colonisaon, local waterways were used to transport logs and Qmber, with the use of Aboriginal labour, therefore the term ‘rasmen’. Windolf (1986, p.2) notes that historically, the term ‘Coolum District’ included all the areas of Coolum Beach, Point Arkwright, Yaroomba, Mount Coolum, Marcoola, Mudjimba, Pacific Paradise and Peregian. In the 1960’s it was near impossible to take transport to and access or communicate with these areas, and made that much more difficult by wet or extreme weather. Around this Qme the Sunshine Coast Airport site (formerly the Maroochy Airport) having Mount Coolum as its backdrop, was sQll a Naonal Park (QPWS 1999, p. 3). Figure 1 - 1925 view of coastline including Mount Coolum, Yaroomba & Mudjimba Island north of the Maroochy Estuary In October 2014 the inaugural Yaroomba Celebrates fesQval, overlooking Yaroomba Beach, saw local Gubbi Gubbi (Kabi Kabi) TradiQonal Owner, Lyndon Davis, performing with the yi’di’ki (didgeridoo), give a very warm welcome. While talking about Yaroomba, Lyndon stated this area too was and is ‘bunya country’. Windolf (1986, p.8) writes about the first Qmber-ge?ers who came to the ‘Coolum District’ in the 1860’s.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
    [Show full text]
  • Anastasia Bauer the Use of Signing Space in a Shared Signing Language of Australia Sign Language Typology 5
    Anastasia Bauer The Use of Signing Space in a Shared Signing Language of Australia Sign Language Typology 5 Editors Marie Coppola Onno Crasborn Ulrike Zeshan Editorial board Sam Lutalo-Kiingi Irit Meir Ronice Müller de Quadros Roland Pfau Adam Schembri Gladys Tang Erin Wilkinson Jun Hui Yang De Gruyter Mouton · Ishara Press The Use of Signing Space in a Shared Sign Language of Australia by Anastasia Bauer De Gruyter Mouton · Ishara Press ISBN 978-1-61451-733-7 e-ISBN 978-1-61451-547-0 ISSN 2192-5186 e-ISSN 2192-5194 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. ” 2014 Walter de Gruyter, Inc., Boston/Berlin and Ishara Press, Lancaster, United Kingdom Printing and binding: CPI books GmbH, Leck Țȍ Printed on acid-free paper Printed in Germany www.degruyter.com Acknowledgements This book is the revised and edited version of my doctoral dissertation that I defended at the Faculty of Arts and Humanities of the University of Cologne, Germany in January 2013. It is the result of many experiences I have encoun- tered from dozens of remarkable individuals who I wish to acknowledge. First of all, this study would have been simply impossible without its partici- pants. The data that form the basis of this book I owe entirely to my Yolngu family who taught me with patience and care about this wonderful Yolngu language.
    [Show full text]
  • 09 1Bkrv.Donaghy.Pdf
    book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona.
    [Show full text]
  • 2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
    2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms.
    [Show full text]
  • Ellis Paul Eighty
    BeanSoup Information & Entertainment Serving TM & Vanilla Bean Café Calendar Northeastern Connecticut #94 Issue 24 Number 1 January - March 2020 Free* Fenton River Grill - Celebrating 2 Years in April his April 3rd, Fenton River Grill officially and comfortable environment with lively bar scene. begins their third year in business. That is an They specialize in shareable plates, creative specials, T important milestone for any business. Open- craft cocktails and craft beer with a 20-line state of ing a new business is not always easy, we have had the art tap system. They feature high quality draft our share of difficulties, but we have entered 2020 as beers drawing primarily from Connecticut and New a stronger restaurant than when we started. England with a few from other parts of the US. Consistency in quality and service have been The daily specials allow our chefs to showcase improved and we have created many happy their talents with seasonally influenced ingredi- customers. ents. In the warmer months you can dine on the There is a saying in the restaurant industry; patio for true al fresco dining. Fenton River ‘The restaurant you open is not the same Grill is committed to excellent service and restaurant you have 5 years later.’ This has held true warm hospitality for all our guests 7 days a week. for all our restaurants. We listen to the customer and From drinks with friends after work to milestone make changes based on their recommendations. We anniversaries, every customer will enjoy a different also have made changes in operations and staff to cre- experience while visiting our establishment.
    [Show full text]
  • Na Makua Mahalo Ia. Mormon Influences on Hawaiian Music and Dance
    2 john kamealoha almeida called the dean of hawaiian composers for of hawaiian compositions although he Is pure portuguese na makua mahalo laia hormonmormon influences on hawaiian music and dance his thousands many of his songs are now classics probably the mostroostmoost popular being 6 sk 11 bt T lesu heme ke kanakakekanakaKe waiwai has been blind since the age of ten but was very helpful in raising money for the church through luaus and hula when the na makua mahalo laia awards were first envisioned it was intended shows throughout the 1930s and 1940s he is presently eightsixeight six years that their scope would remain limited to basically LDSLOS people who had disting- 190s old uished themselves in the performing arts for various reasons it has not been possible to retain this earlier restricted focus of the awards As a alice namakelua aunty is 90 years young and is remarkably spry and result even though recipients tend to be mainly drawn from LDSLOS ranks church active in her days she was a singer dancer translator composer membership is not the prime criterion for selection rather recipients are lecturer genealogist and slackstacksiacksiecksleckslackkeystackkeykey guitar artist she had a best- judged on the depth and quality of the contributions they have made to the selling album when she was eightytwoeighty two years old and still attends hawaiian cultural community an examination of the two sets of recipients church functions as best as she can she studledstudiedstudded hawaiian music for might better illustrate the criteria
    [Show full text]
  • 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.
    [Show full text]
  • Here Composers and Creators of the Music Pieces in the Concert Programme Have Been Invited to Publish an Extended Abstract of Their Work
    music procee dings Music Proceedings of the International Conference on New Interfaces for Musical Expression, NIME’19, June 3-6, 2019, Porto Alegre, Brazil Edited by Federico Visi 0 Table of Contents I. Introduction II. NIME 2019 Concert Program III. List of Program Committee Members 1. Bad Mother / Good Mother - an audiovisual performance 2. Borrowed Voices 3. colligation 4. DIY BIONOISE 5. FlexSynth – Blending Multi-Dimensional Sonic Scenes 6. Gira 7. iCons 8. MusiCursor 9. Pandemonium Trio perform Drone and Drama v2 10. Pythagorean Domino 11. River 12. Self-Built Instrument (sound performance) 13. Tanto Mar 14. Tempo Transversal – Flauta Expandida 15. Trois Machins de la Grâce Aimante (Coretet no. 1) 16. uncertain rhythms 17. Vrengt: A Shared Body-Machine Instrument for Music-Dance Performance 18. We Bass: inter(actions) on a hybrid instrument Music Proceedings of the International Conference on New Interfaces for Musical Expression NIME’19, June 3-6, 2019, Porto Alegre, Brazil I Introduction Porto Alegre, Brazil, 30 May 2019 Since NIME began nearly two decades ago, this is the first event where composers and creators of the music pieces in the concert programme have been invited to publish an extended abstract of their work. These documents, describing the aesthetic and technical characteristics of the music pieces, are collected here, in the Music Proceedings. We believe Music Proceedings are an important step towards a consistent and richer means of documenting the performances taking place at NIME. This will be a useful resource for researchers, and provides an alternative voice for contributors to speak about their artistic practice in NIME research.
    [Show full text]