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BI-MONTHLY Volume 6 Number 5 September-October 2006

THESOURCE FOR FOLK/TRADITIONAL , DANCE, & OTHER RELATED IN THE GREATER AREA

“Don’t you know that is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers and Don’ts A TALKABOUT WITH DIDGERIDUDE JAY ATWOOD

BY JOEL OKIDA inside this issue:

he mysterious drones and grunts emanating from the 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 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 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 , 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 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 -hollowed Calendar of Events has a truly unique sound. If I play with the Tinkers, the instrument we use was built to match the , so it’s unusu- ally low, but that’s what works for 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 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 or folk Roots oriented music, dance. sto- sion. Joel Okida • Ron Young rytelling and other related Folk Please email or call today. DISTRIBUTION & those Arts bring us together. Brooke Alberts • Ross Altman 818-785-3839 Beverly/Irwin Barr • Anna Byrne & & & 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 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 and Society (CDSS). Music at the Skirball EDITORIAL...... 2 BOARD OF DIRECTORS THE STAIRWELL SISTERS: OLD-TIME Brooke Alberts • Ric Alviso 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 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: ...... 9 Cait Reed • Tom Sauber REED’S RAMBLINGS ...... 10 Maria Kalaniemi CONTACT INFORMATION LEARNING 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 ’s “Queen of the ,” 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 — 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, , and LOOKAROUND ...... 23 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" — 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 , under the direction of HOW CAN I KEEP FROM TALKING....29 DIGITAL premiere 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. CAMERA READY or on site at the Skirball Admissions Desk B&W line art with photos (must be suitable for scanning to grayscale) 2701 N. Sepulveda Blvd., Los Angeles DESIGN SERVICES 405 Freeway; exit Skirball Center Drive Making www.FolkWorks.org Design & layout services are available for a (310) 440-4500 • www.skirball.org Connections nominal fee. Contact us for details at: Free parking The opinions expressed herein are not e-mail: [email protected] necessarily those of FolkWorks September-October 2006 FolkWorks Page 3 The Stairwell Sisters: Old-Time String Band Breaks Out

BY STEVE GOLDFIELD

he Stairwell Sisters, from they go. The San Francisco Tthe , Chronicle described them as “a have been honing their tradi- powerhouse ensemble whose vocal tional sound through six years and and stomping rhythms two widely acclaimed CDs, with a are abetted by Evie Ladin’s dexter- third on the way soon. Since their ous .” The Old-Time appearance at the International Herald wrote, “Combine this Association, they band’s vocal prowess with skilled have been touring nationally on the multi-instrumental chops and a festival circuit. The Stairwells will hellbent-for-leather attitude, and make their Los Angeles debut on you have a wild, funky recording.... Saturday, September 9, at the Brittle, hard-edged, exciting Coffee Gallery Backstage and at the ensemble singing ... in which the Peter Strauss Ranch on Sunday, Sisters rocket into the high lone- September 10. They are also play- some stratosphere.” Bluegrass ing the Red Barn farther north in Unlimited reviewed their second Los Osos on September 8. Before CD: “The Stairwell Sisters’ latest that comes their first East Coast release is reflective of their ever- tour in August, including an appear- expanding artistry and reputa- ance at . They have tion....Feet All Over the Floor is toured in the Midwest and were old-time music at its finest and named “band to watch” at establishes the Stairwell Sisters as ’s North Fork Valley significant interpreters of - Bluegrass. In the fall the Stairwells will be in . Other important gigs al American music.” The San Jose Mercury News enthused, “Blazing a bril- coming are opening for the at the Berkeley Old- liant trail through a genre usually dominated by men [with] an energy that Time Music Convention in September and playing at the mammoth Hardly flows as much from the audience to the bandstand as among the players Strictly Bluegrass Festival in San Francisco’s in October. themselves.... the new captures the band’s close vocal harmonies, The band’s popularity is rooted in their old-time repertoire and their tight haunting and lock-step grooves with passion and pre- and personable stage presence. They have a very dynamic show which cision.” allows the personality of each band member to emerge and shine. The band The band’s two CDs, The Stairwell Sisters (2003) and Feet All Over the was formed in San Francisco in 2000 after Lisa Berman and Sue Sandlin Floor (2005) are both on Yodel-Ay-Hee. Evie Ladin’s instructional DVD and started singing together in a stairwell in the building where both worked as video, The Basics of Southern Appalachian Flatfoot Clogging (2002) is on graphic designers. Lisa had played with Stephanie Prausnitz and Martha Crosspulse Records. The first CD has just one original, Down to the Door by Hawthorne in the Crooked Jades. When Martha found clogging teacher Evie, but the second has six originals by Lisa, Evie, Sue, and Martha. The Evie Ladin, the band was complete and the personnel has not changed since. band’s original material is written seamlessly within the same tradition as the In their six years together, their music has deepened and grown, and audi- rest of their music. The Stairwell Sisters are truly bringing old-time and tra- ences are responding enthusiastically everywhere they go. ditional entertainment to new places and audiences, and they are doing it Stephanie plays and grew up in the Bay Area, though she was liv- with characteristic panache. More information about the band and samples ing in when she took up fiddling. Stephanie brings lots of great tunes from their recordings can be heard at www.stairwellsisters.com. to the band and claims to have the biggest mouth on stage. She is even a closet player. Evie plays banjo and also clogs on stage. SATURDAY - September 9, 2006 She was raised on southern music and dance in New Jersey, where her par- COFFEE GALLERY BACKSTAGE ents’ house welcomed many traditional musicians and where Evie and her TWO SHOWS 7pm & 9:30pm sister danced and sang from an early age. Martha, who plays bass, grew up 2029 North Lake, Altadena in Orange County but made her way to San Francisco at the age of 18. Sue, Reservations: 626-398-7917 on and (ed. a small chordophone in the guitar family), is from SUNDAY - September 10, 2006 Fremont. Lisa plays dobro/, banjo, and guitar and started out in PETER STRAUSS RANCH . FREE 2pm – 4pm All five sing and blend voices in heavenly harmonies. Their sound has Sponsored by the Topanga Banjo Fiddle Contest & The . solidified and become richer and turned into their own unique music. Outdoor ampitheatre under the shade of giant old oaks They have thrived on the growing Bay Area old-time community. Band Steve Goldfield is an old-time banjo player and fiddler who writes for Fiddler, members have been active in organizing both the annual San Francisco Bluegrass Unlimited, and Old-Time Herald. As one of FolkWorks first writers, Bluegrass and Old-Time Festival, held in February, and the annual Berkeley he penned American Music: Rooted in Cultural Fusion. He also started the Old-Time Music Convention, held in September. old-time newsgroup rec.music.country.old-time. The Stairwell Sisters have been receiving tremendous acclaim wherever Page 4 FolkWorks September-October 2006 When the Chit Hits the Pan OR WHAT I THOUGHT I KNEW ABOUT THE STEEL DRUM

he sound of steel has always fascinated me but, in preparing for manufacture and tune one drum, Tthis article, I found that my assumptions about the music and the which is why people apprentice instrument were completely wrong. My impression was that of light for years before they acquire the hearted island music using cheap instruments easily made from found goods. knowledge and skill to make one. The music conjures up images of a relaxed island culture making music to the However, if you have made up your easy rhythm of the trade winds. Supposedly, steel drums came into being mind, you can find a step-by-step process BY when islanders discovered that the empty 55-gallon oil drums left behind by in Ulf Kronman’s book (look below in Web ROGER World War II GIs could be used to make music. The actual story, however, is Sites You Can Visit). Keep in mind that this GOODMAN one of a world in turmoil, of nations battling for colonies, of slavery and of complex process of sinking the bottom of the suppression. pan, marking notes, grooving, leveling, shaping notes, smoothing, cutting, It begins in 1498 when Spain laid claim to the island of Trinidad. Toward tempering and so forth, is for making just one pan! the end of the 1780s French planters brought a significant slave population to Pans come in ten or eleven different flavors from the highest “ping-pong” the island. Then, in 1797, the British defeated the French in Trinidad and put to the lowest “boom.” The higher the note, the smaller the surface area an end to slavery by 1837. The islanders still used drums for their and required, so the high Tenor Pan has enough room for 29 notes. The lower celebrations including Carnival that had begun as a procession of torch bear- notes require more surface area; thus, the Bass Pans may have as few as three notes to a pan and therefore can require up to nine or twelve big pans to create a full Instrument Name Range Musical Function Skirt Length No. of Drums No. of Notes for the one instrument. The High Tenor (High Lead) Soprano (D4 - F#6) Melody 5" 1 29 sides of the instruments, called skirts, are Low Tenor (Low Lead) Soprano (C4 - E6) Melody 5 1/2" 1 29 cut so the higher instruments have shorter Double Tenor (Double Lead) Soprano/Alto (F3 - B5) Melody/Counter Melody 6" 2 31 skirts and the lower ones have longer skirts Double Second Alto (F#3 - C#6) Melody/Counter Melody/ 9" 2 32 with the bass instrument keeping the entire Double Guitar Tenor (C#3 - G#4) Harmony 17" 2 20 skirt length from the original 55-gallon oil Triple Tenor (C3 - B4) Low Harmony/Melody 17" 3 24 drum (see Figure 2). This is to properly Four Cello Tenor (Bb2 - C#5) Low Harmony/Melody 17" 4 28 delay the sound as it travels around the skirt Quadrophonics Tenor/Alto (B2 - D6) Melody/Counter Melody/Harmony 10" 4 40 and back to the sounding surface to avoid a Tenor Bass Tenor/Bass (F2 - E4) Reinforce Bass/Bass Lines 17" 4 24 phase differential that could cause sound cancellation due to destructive interference Bass Bass (Bb1 - Eb3) Bass Lines 34" 6 18 (see Table 1). Figure 3 shows that the notes Table 1 – The Range of Instruments in the Steel Band on the Tenor Pan are laid out as adjacent fifths with the higher octaves farther toward the center. This centering makes sense when ing Islanders reenacting plantation fire drills with drum accompaniment. In you realize that the surface has been stretched thinnest at the center. the mid 1880s the British banned the drums on the grounds that they were As you can see, steel pans are not the simple found goods that they may being used for secret communications and could lead to a revolt. The drums appear. They are high quality, labor-intensive instruments and can sell for were then replaced by collections of tuned sticks that were pounded three or four thousand dollars each. To outfit a full steel band can cost tens of on the ground. These stick-bands came to be known as “bamboo tamboo” thousands of dollars. from the French word tambour, meaning drum. Various island groups devel- The steel drum is the only globally adopted acoustic instrument to be oped their own unique identifying rhythms that announced their presence invented in the twentieth century. The interaction of the notes produces over- much like gang-graffiti does today. These stick-fighting dances were seen as tones not found on other instruments. It’s what gives the steel pan not only its violent by the British colonial rule and, consequently, bamboo tamboo was characteristic sound, but is the reason that it is complicated to make and tune. also banned. This process of finding new replacement instruments continued So please keep reading this column and, of course, stay tuned. as each subsequent one was criminalized. WEB SITES YOU CAN VISIT: By the 1930s bamboo tamboo bands had begun using empty biscuit pans The most complete treatise I could find on steel pan construction and tuning and accidentally discovered that a dented pan produced two distinct notes or is Ulf Kronman’s 1992 book which is available as a free download off the web “ping-pong” as it was called. The birth of the “steel pan” (as it is known at www.hotpans.se/pan/tuning/pdf/pantuning.pdf. If you want to experience everywhere in the world except in where it is called the “steel the adjacent fifth arrangement and hear the steel pan as you try it, you can find drum”) is considered to be 1938 when bamboo tamboo bands began to switch a virtual pan at www.mathsyear2000.org/museum/gallery1/steeldrum. over to steel. In 1939, Winston “Spree” Simon invented and played the first Elliot “Ellie” Mannette, mentioned above, now lives in but has tuned pan. After the WWII Carnival ban was lifted, Simon caused a sensation continued the tradition. You can get an idea of current prices from his web site when he played his 14-note pan at the Trinidad Carnival. Elliot “Ellie” at www.mannettesteeldrums.com/MSDpricelist.htm Mannette, one of Simon’s friends, was the one who began using 55-gallon oil drums and by 1947 had an instrument that covered a two octave diatonic Roger Goodman is a musician, mathematician, punster, reader of esoteric books range. Chromatic scales were the next logical step. In 1951 the Trinidad All and sometime writer, none of which pays the mortgage. For that, he is a com- Percussion Steel Orchestra (TAPSO) made up of the top ten pan players puter network guy for a law firm. He has been part of the Los Angeles old-time including Simon and Mannette was sent to the Festival of Britain in & contra- community for over thirty years. While not a dancer, he to represent Trinidad. This appearance began the worldwide appreciation of does play fiddle, guitar, , , banjo & spoons. Roger has a pen- steel pan music, and the group went on to tour and and played chant for trivia and obscura and sometimes tries to explain how the clock works for BBC radio and television audiences. when asked only for the time. He lives with his wife, Monika White, in Santa If you think you want to get an old 55-gallon oil drum and make a steel Monica. drum take warning—this is a non-trivial task. It takes more than 20 steps to

Figure 1 – Comparative Note Ranges Figure 2 – Some Pans Figure 3 – Tenor Pan Note Layout September-October 2006 FolkWorks Page 5 Bake Me a Memory

hen yunz come to visit, we’ll redd up the haus and get jumbo On the North Side of town the German immigrants have been busy brew- “Wsammiches and Arn City Beer. Just cross the Mon dahntahn. ing beer since the area was first settled. Before refrigeration, they actually We have sputzies and grinnies in the yard. Watch out for the dug caves into the sides of hills to keep the beer cool. Breweries flourished jaggers and nebby neighbors. The kids may shoot yunz with gumbands.” If in the 1800s, but few survived Prohibition. The Pittsburgh Brewing you understand this, then you’re fluent in Pittsburghese. Translation: “When Company, founded in 1899, was innovative enough to produce near-beer and you come to visit, we’ll clean up the house and get some bologna sandwich- ice cream. It’s still in operation and makes the college crowd’s Iron City es and Iron City Beer. Just cross the Monongahela River downtown. We have Beer, as well as other brews. A newcomer to the city stands just catty-corner sparrows and chipmunks in the yard. Watch out for the thorns and nosey to it. The Church Brew Works was opened in 1996 in the former St. John the neighbors. The kids may shoot you with rubber bands.” Baptist Church. The massive Romanesque arches dwarf the tables and I have a special interest in Pittsburgh since booths below. The focal point is the former this is my husband Bill’s hometown, and alter which holds the brew tanks, and the he speaks a bit of Pittsburghese himself. I high wall in back is painted a heavenly blue. still don’t know for sure if he’s They couldn’t resist calling the beers such “towel” or “tile” when he says “tawl.” This NOTES FROM names as “Pious Monk Dunkel” and “Pipe spring we revisited Pittsburgh. Driving in Organ Pale Ale.” at night, we knew we had arrived when we Until the Bill’s Aunt Flo and some saw the giant neon ketchup bottle blinking POSSUM of her daughters ran Mason’s Market in a and pouring out a red puddle to form the barn beside a country road. Aunt Flo was a word “Heinz.” The old factory with the phenomenal cook, and when Bill came to sign still stands beside the Allegheny PIE INN visit a few years ago, she asked him what River. By Fron Heller he’d like for dessert. Bill said, “Bake me a Pittsburgh is a city defined by its rivers memory.” So she made an old family and hills. There are ninety six neighbor- favorite, a lazy daisy cake. Chopped pecans hoods here, and some are composed of dis- are mixed into a gooey caramel topping, and tinct ethnic groups to this day. Many immi- the whole thing is thickly slathered onto a grants from , particularly Eastern Europe, arrived here during the sponge cake. nineteenth century and each group settled into its own district. Asian and Aunt Flo isn’t cooking any more, but her daughter Flora is carrying on the Hispanic people are still virtually nonexistent. Polish Hill has descendents of tradition and has her own catering business. We visited them for lunch and, Eastern European, while the North Side is German and Swiss. Gertrude Stein as usual, the table was beautifully set with a lace cloth, candles, and flowers. was born here. The South Side is Ukrainian and Slavic. During the 1840s Flora had made a German potato salad, fruit salad, Waldorf chicken salad, potato famine, the Irish came and settled on the East Side in Oakland and and a new , a hot chicken salad with bread and melted cheese. She did- . Italians moved nearby to Bloomfield and Lawrenceville. Later, in n’t disappoint us for dessert. The lazy daisy cake made its appearance along the 1920s, many Jews came to the Squirrel Hill area. Further east is the with a fruit flan layered with fresh fruit, white chocolate, and a rich butter African American neighborhood called the Hill District where the late play- crust. wright August Wilson lived, and where his plays are set. Another famous Somehow our conversation turned to food and Flora described how she Pittsburgher born just south of here was named Andrew Warhola. He started made a “cookie waterfall” that’s specific to Western Pennsylvania and very his art career at the Carnegie Art Institute, and later dropped the “a” at the popular at weddings. Forty different kinds of cookies are used to cascade end of his name. His artwork can now be seen at the Andy Warhol Museum down in streams from the top of a tiered structure. This is a fairly new phe- not far from where he was born. Pittsburgh was also Mr. Roger’s real neigh- nomenon, but Pittsburghers have always had a penchant for cookies at wed- borhood, not to mention Stephen Foster and Mary Cassatt. dings. The varieties may include apricot filled cookies, little cheesecakes, Ethnic European dishes have found their way into the mainstream here. crescent-shaped Hungarian nuthorns, snickerdoodles, brownies, pizzelles, Even the Inn offers Italian wedding soup made with tiny meatballs (pronounced pitZELLS), puff pastries, and clothespin cookies. We used to and spinach in a broth. They also make pasta fazool, an Italian soup cooked look forward to anise flavored pizzelles from Bill’s sister Ro for Christmas with a base, white and mouth-watering seasonings. each year. These Italian wafers are pressed in a hot pizzelle iron to make a A Pittsburgh specialty is chip chopped ham, or simply “chipped ham.” crisp cookie with a lacy design. Clothespin cookies are baked, wrapped The meat has been sliced so thin that you can almost see through it. Hot and around wooden clothespins to form a tube, and then filled with a butter cold “sammiches” are made with it. Sometimes it’s served on buttered toast, cream. Please don’t forget to remove the clothespins before filling the cook- or fried and eaten with eggs for breakfast. ies. People gobble up all these cookies in addition to the dinner and tradi- Many taverns with home cooking still exist in Pittsburgh, and all the tional wedding cake. As a rather disgusting local saying goes from a town places where we ate were very good, each with its own specialties. At one just north of here, after eating all this food you’d be “full as a tick.” place I had potato salad lovingly mixed with chopped egg, celery, and Pittsburgh is a unique place where the old neighborhoods haven’t onions, just like homemade. They also cooked their own pickled beets and changed much in many years. It can’t be called the “rust belt” any more, applesauce. Some taverns have a side entrance for families so they don’t since the factories are long gone and it’s been cleaned up over the last few have to pass through the bar. One of our favorite places is Max’s Allegheny decades. If nostalgia is a longing for the past, then Pittsburgh brings it right Tavern, which first opened as a hotel and bar in 1903. At Max’s the dining home. The row houses and cobblestone streets, the rivers and many hills, the area has been expanded to several rooms. The growth of the place has not old taverns and traditional foods all still have a prominent place here. diminished the quality of German style food that’s served here with every- Visiting means gathering around the table to reminisce and eat food from the thing from Bavarian soft pretzels to sausages, sweet and sour cabbage, pota- “Old World.” Whether we meet at a tavern or a private home, someone is to pancakes and, of course, many kinds of beer. always there to bake us a memory. While still living in Pittsburgh, Bill gleaned some Polish from his fellow workers. A major ingredient is kielbasa or Polish sausage, which Bill I regret to say that due to time pressures and obligations this will be my pronounces in correct Pittsburghese as “kulBASSI.” While there are varia- last regular article. Many thanks to FolkWorks for the opportunity to write tions of kielbasa, it’s usually a U shaped smoked garlic sausage made of about ethnic foods and , which was actually the concept of editor pork. Max’s Allegheny Tavern has an unusual one which is a combination of Leda Shapiro. Also, a special thanks to my husband, Bill Mason, for all of his pork and beef. Here in Los Angeles, I buy turkey kielbasa, which isn’t quite technical and personal support. as tasty, but much less fatty and still quite good. Cabbage and potatoes also play a big part in these dishes. Kielbasa with sauerkraut is a standard at our In 2002, Fron Heller retired as a social worker. Now she is attempting to find house. Rounds of sausage, chopped onions and apple are browned in a pan, time for her many interests: writing, attending festivals, playing old-time music and then drained sauerkraut and some caraway seeds are added. The whole and studying art. She also enjoys traveling and sharing life in general with her thing is simmered for thirty to forty five minutes with a little water. Panduki husband Bill Mason. is another variation, with kielbasa, green cabbage, onions and potatoes, also sautéed and then simmered until done. Holubki is stuffed cabbage which can be made with meat and rice, or as a vegetarian dish with mushrooms and rice. “He who has a thing to sell On the way home from work on Fridays, Bill would bring his own con- tainer to a Russian Orthodox Church to buy pierogi. These little Polish and goes and whispers in a well, dumplings have a variety of fillings such as potato and cheese, onion and is not as apt to get the dollars cabbage, or prunes. Today we buy the potato and cheese filled ones from the as he who climbs a tree and hollers.” freezer section of the market. Besides being very good, they take about three minutes to cook. Try them with a little butter and parmesan cheese on top. Or fry them, and add butter and garlic at the end, or serve them in a tomato sauce. No wonder there’s a Polish saying, “Eat, drink, and loosen your belt.” Pierogi are not to be confused with piroshki from the Ukraine, a baked crescent-shape pie with fillings similar to pierogi. Pelmeni is not to be con- Swing High from Our Branches! fused with pierogi and piroshki. This dumpling from Siberia is filled with Contact us today for advertising info: meat and served in a broth. All three can be found in some of the old [email protected] • 818-785-3839 Pittsburgh neighborhoods. Page 6 FolkWorks September-October 2006 Folk Americana Radio on the Web, Part Two ast time, we surveyed the internet’s offer- September 2003, and a favorite of many FolkWorks Check their schedule. Lings of folk / Americana and alt-country readers. Based at in Ohio. www.kcuvradio.com – Colorado-based roots / radio shows on varied-format broadcast / www.folkalley.com – see above listing. . internet stations. That included our Southern www.wumb.org – this is the wonderful full-time www.kgsr.com – Austin, Texas “outlaw coun- and LA-based shows, since we are “Folk Radio” station from . If you become a try”; and rock; Americana. Lots presently bereft of a full-time Americana or folk sta- member of their station, you can access all their of Texas bands and artists. tion. Nonetheless, those shows remain the best interviews with famous folkies. www.khyi.com – from Plano, Texas, mixes place to hear artists who are performing locally or www.bluegrasscountry.org – noncommercial Texas , progressive and Americana headed here on tour, so remember to support your 24/7 music and related programming, with news music; internet stream through Warp Radio. local shows. We did miss those on two stations, so from and about festivals, live performances, regu- www.radiopig.com – Memphis-based outlaw let’s correct that, first. larly scheduled shows, CD tracks and more. A serv- and alt-country. www.kuci.org, from UC Irvine, offers a wildly ice of WAMU American University Radio from www.925theoutlaw.com – San Antonio, Texas- collegiate mix that includes some shows you’ll like. Washington, DC and a dream fulfilled for BG fans. based outlaw country radio station. Mondays, 10am-1pm, Jeff Scott’s Blues Disease www..com – public radio from Knoxville, www.texasradio947.com – good Texas outlaw calls itself, “The Best in World Class Blues.” TN that’s good anytime. It’s Americana, bluegrass, country station. Wednesdays, 1-3pm, Jake Bacon hosts Buffalo blues, gospel, singer-, roots, alt-country. www.texasrebelradio.com – Texas Outlaw and Bayou, with Southern Cal’s only weekly hour-long Check their weekday “Blue Plate Special” live per- alt-country radio from the Lone Star State. Carl dose of , complemented with an hour of formances and Saturday night’s 7-9pm show, The says, “One of the most listened-to nternet radio sta- blues, country and folk; often features interviews Fringe, hosted by Mary Lou Cameron. That one tions.” with bayou country musicians. Thursdays, 3-4pm, offers some of the ’net’s finest alt-country. Carl SHOWS ON DEDICATED WEB SITES The Swings is feel-good folk and says, “It’s a gold mine of new and unheard music.” www.prairiehome.com or www.phc.mpr.org – sassy swing with Toe-Tappin’ Tani, whose recent www.kfolk.org – a fine volunteer-run station home site for offers interview with Martha Scanlin of the Reeltime owned by American River Folk Society in the podcasts, streams of the most recent show and some Travelers is representative. Saturdays, 6-9am, Sierra foothills. archives. Michael Payne’s Darkling Eclectica mixes jazz, www.kbcs.fm – wonderful folk Americana and www.woodsongs.com – home site for the folk, and stories, in one of the most programming from Bellevue Woodsongs Old Time Radio Hour. Michael unusual formats to include folk. Sunday, 8-10am is Community College in Washington State. One of Jonathan’s justifiably popular weekly show is all The Gospel Soul Train, with Dr. Roland Esq. FolkWorks Ten Best Finds of 2004. Check out live performances. It’s internationally syndicated on Holmes. Sunday evening, 8-10pm brings over 400 radio stations. Though still not aired in Howdylicious! with “things that go twang,” where LA, it’s available on the web at various times. DJ Wanda features , , alt- www.mountainstage.org – home of the West country, and old time western music. Virginia-based, nationally syndicated Mountain www.kcbx.org – this Central Coast station spon- TIED Stage, weekly 2-hour live performance show with sors the annual Live Oak Music Festival. It’s most- 4-5 performing guests. On 103 stations, popular ly classical, jazz, and NPR, but offers a few good TO THE everywhere, but unavailable on LA broadcast radio. folk shows. Tuesdays, 8-10pm, Pickin’ Up the Site has options for listening. Tempo brings “Little Robbie” Kimball with coun- www.readthewest.com/cowboyshow.html – try, alternative folk, and eclectic. Thursdays, 8- TRACKS American Western Magazine has exclusive web 10pm, Glenn ’s Basically Bluegrass offers syndication to Ken Overcast’s The Cowboy Show. BG standards, new progressive BG and related Hear the weekly show while reading the on-line . Saturdays bring four shows: 7:30- BY LARRY WINES magazine. Ken is a rancher and recording cowboy 8am, Katz Pajamas with Michael Katz offers sto- singer who lives on Lodge Creek in northern rytelling, some musical, from around the world; 1- . 3pm is Sonnie Brown’s Minstrel Song Show with www.wvxu.com/html/riders.html – Riders in music of modern-day folk troubadours, some Lunch with Folks, noon-3pm weekdays (with the Sky’s long-running Riders Radio Theatre is no famous, some not, emphasizing them as storytellers interspersed features 1:30-3pm). Tuesday evening longer available on LA broadcast radio, but you can with nods to historical counterparts, and themes 7-9pm is Folksounds followed by Roadsongs mix get it here. include politics, social issues, war and peace (the of folk, classic and alt-country, then Eh Toi! Cajun- www.classicheartland.com – is the site for two show is something LA doesn’t have – a local lead- Zydeco- 11pm -am. For night owls, 3- shows. Classic Heartland, George Fair’s weekly in to the station’s presentation of A Prairie Home 5am Wednesday is R Town mixing roots country show, and Then and Now, week- Companion carried at 3pm); 6-7pm is Thistle and and blues. Friday evening is Nightshift 7-9pm with ly with Skeeter Mann and Angie Evans. Check the Shamrock, wherein Fiona Ritchie brings radio’s blues and early R&B, then 9-11pm is the Night site for schedules. finest hour, which isn’t aired in LA; 7- Train ride of rootsy blues. Our Saturday 10pm brings Evening Blues, with Miranda Tradition 9am -noon is great, as is Sunday Folks INTERNET RADIO NETWORKS WITH Leonard and Neal Losey serving up acoustic and (same hours) preceded by Walkin’ the Floor MULTIPLE STATION LINKS , always beginning with pre-WWII Sunday 6-9am; then, noon-3pm Sunday is www.live365.com – site has free access to hun- blues. Sundays offer three shows: 6-8am is Old Bluegrass Ramble, and 3-5pm is Sunday’s dreds of exclusive internet radio stations. Don’t Ship of Zion, with John Anderson; . With lots of other rootsy music, jazz and bother with a paid VIP subscription; you don’t need 11am-noon is This , a folky maga- global music, you’ll wish LA had this station. it to access a lot of free Americana and alt-country zine show with Ira Glass; 1-2pm is La Guitarra, www.hay98.com –nternet Americana radio sta- radio stations. You do need to register (free) the first Hadley Osran’s show of ’s many tion. time you go to the site to establish your player set- forms. www.americanahomeplace.com – web-only tings. Once that’s done, click the genre link to find Folk / Americana Stations Americana radio station. the desired sections. There, you can download We complete our survey with recommendations www.wholewheatradio.com – singer-song- dozens of radio stations. Give a listen to both Moxie of full-time Folk / Americana radio stations. writer, folk, blues, jazz and more, recommended by Radio and Freight Train (it’s not the live Following that, we list shows on dedicated websites North Carolina’s comedic performing songwriter, Thursday show of the same name, found else- (where they’re often available on-demand), internet Jamie Anderson. where). radio networks with links to multiple stations, www.kbon.com – a full-time Cajun-Zydeco www.shoutcast.com – This network includes places to find old-time radio (OTR) content, and dance music station, based in . some Americana stations; access them with the eclectic music shows that include folk / Americana www.islandmusicfest.com – Vancouver Island, Americana link, using the genre button. artists. We conclude with folk / Americana music , has one of the best roots music scenes any- www.warpradio.com – same note as shout- info sites, and locator sites where you can hunt where. This site brings you the locals and roots cast.com (above). You’ll like some of the 300 sta- more stations not listed here. musicians from just about everywhere, and live tions here. As before, a special acknowledgement to Carl broadcasts of the annual Vancouver Island Music www.radioio.com – subscriber-based internet Dubliclay. Merging his list enables us to offer many Festival, every July. All year, programming station, but you can listen for free at downgraded more options. All times shown are Pacific, regard- includes past and upcoming festival artists. Info: AM radio quality. Monthly fee for FM/CD quality, less of the program’s time zone of origin. [email protected]. and musician Trinity Demask (of the band, Third Once again, happy exploring! www.ktep.org – El Paso’s NPR station, with Road Home) says, “it’s well worth it. The acoustic music from and for the Southwest. channel played our CD and it was great exposure, BROADCAST/INTERNET RADIO too. They have lots of channels and play great STATIONS WITH FULL-TIME FOLK / www.krcl.org – from Utah; check schedule for roots and Americana oriented shows. music.” $5.99 a month, when we checked. Has con- AMERICANA FORMATS tact info for artists / labels, and you can e-mail show www.wksu.org – home site for Folk Alley, an www.ksut.org – Utah’s Ute Indian tribal radio station with many Americana-oriented shows. ultimate 24/7 folk music web radio presence since TRACKS page 27 September-October 2006 FolkWorks Page 7

CONCERT SERIES ROOTS & WORLD MUSIC IN AN INTIMATE ART SPACE

SEPTEMBER 9th – SATURDAY – 8pm The Lone Hill Ramblers bring alive traditional music of the Southern Appalachians - from an exuberant dance tune by the full band to a mournful fiddle solo. Drawing on more than a half century of combined old-time experience, the Ramblers present a variety of regional tunes and songs with fiddle, guitar, and various forms of banjo. It’s music as vibrant and engaging now as it was a hundred years ago. Step back in time for an evening with the Lone Hill Ramblers. Paul Jarrell (fiddle); Steve Lewis (); Joe Wack (guitar, fiddle, banjo).

Tickets: $15 General Admission - $12 Folks/CAFAM Members

OCTOBER 14th – SATURDAY – 8pm Li’l Rev Purveyor of old-time, blues, and original songs and stories for young and old... Li’l Rev will amaze you with his skill on mandolin, uke, banjo, guitar and harmonica. He tours nationally giving workshops on uke and harmonica and was inducted into the old-time Country Music Hall of Fame in 2003. “Li’l Rev is a Jewish : a voice that just pulls you in, a racon- teur, a folksinger in the classic tradition of songs of justice, dignity, and Jewish heritage.” - Rabbi Larry Midler

Tickets: $15 General Admission - $12 FolkWorks/CAFAM Members Concerts at the CRAFT AND MUSEUM 5814 Wilshire Boulevard • Los Angeles, CA 90036 Tickets online www.FolkWorks.org SASE to FolkWorks • PO Box 55051 • Sherman Oaks, CA 91413 [email protected] • 818-785-3839 Page 8 FolkWorks September-October 2006

n a recent conversation, a friend of mine and I discussed how we hear Imusic, whether our love for music is an instinctive or an intellectual one. As a music writer, of course I have to admit that I can get very “heady” about the music I like. And yet, though it makes up only a small part of my ancestral heritage, I never had to think about whether or not I liked . It’s always had immediacy and sounded, as fruity as this sounds, like the music of my soul. And I know I’m not alone. DAVE’S CORNER There’s something about Irish music at its best that’s instantly likeable, that defies too much intellectualizing. I can say it’s breathtakingly beautiful at slow speed and incredibly joyous at high speed, but ultimately when asked what I like about it I always fall back on “I just do!” So forgive me if I don’t OF THE WORLD do a perfect job of explaining what’s so great about these recordings. They just are. If you feel at all like I do about Irish music, you’ll like them. Dave Soyars is a guitarist, electric bass Shanachie’s Masters of the Irish Guitar (!) is a good example. The gui- player, a singer/songwriter, and a print tar has only been used in traditional Irish music for the last half century or journalist with over fifteen years expe- so, but the all-star lineup uses a variety of approaches, proving that it has rience. His column features happenings definitely found a place as both an accompaniment and lead instrument. on the folk and traditional music scene Dervish’s Seamie O’Dowd, uses resonator guitar on his two tracks for a both locally and internationally, with full, electric sound. Arty McGlynn plays both and a slow air, Randal commentary on recordings, as well as Bays and Daithi Sproule, among others, include their own compositions, live shows, and occasionally films and and of course the omnipresent John Doyle shows up too, flatpicking two books. Please feel free to e-mail him at sets with bassist Steven Heller. From delicate to complex, from slow [email protected] or write him c/o FolkWorks.

to frenzied reel, it’s all here, played with talent and joy. PHOTO BY MARIAN KATZ Also on Shanachie are a couple of older CDs that I have just caught up with, by two of the world’s finest traditional bands. Solas’s Waiting For An Echo (!!) is Solas as we’ve come to know them, a mix between traditional great, of course, featuring guests such as and Phil and contemporary jigs and reels, and songs in Irish and English. Many of Cunningham, but the extras are a lot more extensive than is usually the case the instrumental tunes are self-written, and the only remaining original with live videos. All band members are interviewed extensively about their members, fiddler and multi-instrumentalist Seamus musical history and inspiration, and plenty of off-the-cuff material is includ- Egan, have led the band in an ever-more cosmopolitan direction, with hints ed. Thrill as bodhrán player/piper Donnchadh Gough wrestles playfully of Italian, American, and other ethnic . Those wanting the old Solas with various band members! Delight as talks about watching style can have plenty of that as well, between the opening reel set, a few the band members grow up into the unique individuals and master musi- frenzied , and a lovely bunch of songs, sung beautifully by Deidre cians that they are today! Very much like spending the day with them, real- Scanlan. ly. Since this release, in fact, Solas have switched labels from Shanachie to It’s been a pleasure to do an all-Irish edition again, especially catching Compass, celebrating by releasing Reunion: A Decade of Solas (!) which is up with some 2005 releases I’m just now hearing. Next time will be mostly a CD/DVD combo live album featuring every current and former member American music; unless another Celtic release comes along that I have to of Solas plus a few guests. While the songs are good, starting with Woody tell you about right away. See you then. Guthrie’s Pastures of Plenty, the best thing about it is how the instrumental RATING SCALE: tunes don’t sound at all messy. Three guitar players playing at once don’t [!!!]—Classic, sure to be looked back on as such for generations to step on each other’s lines, and it all works as a nice whole. They seem to come. accomplish a lot of what’s great about them in a mere 78 minutes (plus [!!]—Great, one of the year’s finest. If you have even a vague interest in there’s a nice selection of bonus tracks on the DVD side) featuring songs the artist, consider this my whole-hearted recommendation that you go out and tunes from their entire history along with some brand new ones. There’s and purchase it immediately. still nothing happening in Irish music today to match the awesome power of [!]—Very good, with considerable appeal for a fan of the artist(s). If you John Doyle and Seamus Egan playing together again. It’s a joyful sound, purchase it, you likely won’t be disappointed. and one we haven’t heard for a while. [—]—Good/solid, what you would expect. Danú on the other hand, gets a bit more contemporary with their ver- [X]—Avoid. Either ill-conceived, or artistically inept in some way. sions of ’s Farewell Angelina and ’s Follow On on their When All is Said and Done [Shanachie] (!!). Singer Muireann Nic Amhlaoibh is well-integrated into the band at this point, with track alter- nating songs with tunes before ending with an air/ set. Of the five songs, two are in Irish and three in English. Nonetheless the instrumental tunes have the same fire as Danú of old, starting with a rousing reel set, and including a jig set with guest Gerry O’Connor on banjo. All in all, it’s a rather pleasant 50 minutes. Danú also has a full-length live video, One Night Stand (!!), on Shanachie, and it features a lot of bonus material. The live performance is

KPFK [North Hollywood] (90.7FM) SUNDAY [Santa Barbara] (98.7FM) www.kpfk.org On-going Storytelling Events 6:00-8:00am Gospel Classics (KPFK) KCSN [Northridge] (88.5FM) www.kcsn.org KUCR [Riverside] (88.3FM) www.kucr.org Edna Tatum 6:00-10:00am Bluegrass, Etc. (KCSN) SUNLAND-TUJUNGA STORYSWAP KPCC [Pasadena] (89.3FM) www.kpcc.org KKGO [Los Angeles] (1260AM & 540AM) Frank Hoppe (Bluegrass, Old-time, many CORNUCOPIA $8 2nd Saturdays • 8:00 pm historical recordings) Sunland-Tujunga Library Storytelling Group KXMX [Los Angeles] (1190AM) 2nd Sundays KSBR [Orange County] (88.5FM) Noon-1:00pm The Irish Radio Hour (KXMX) 4735 Lankershim Blvd., North Hollywood 7771 Foothill Blvd. • 818-541-9449 Tom McConville (some Irish music) 818-506-3903 STORY MASTERS THURSDAY 11:00am-1:00pm Prairie Home Companion® (KPCC) Last Saturday- 9am – noon (Rebroadcast - variety LOS ANGELES COMMUNITY 7:00-9:00pm Down Home (KCSN) show) STORYTELLERS 5909 Blairstone Drive, Culver City Chuck Taggart (variety including Celtic, 6:00-8:00pm Folkroots (KSBR) 2nd Thursdays • 7:30 pm 310-943-4242 Cajun, Old-time, New Orleans, Quebecois) Marshall Andrews Culver-Palms United Methodist Church STORYTELLING & PERFOMING ARTS 11:00pm-1:00am Blues Power (KPFK) 7:00-9:00am FolkScene (KPFK) Bobbee Zeno (blues) 4464 Sepulveda Boulevard TOASTMASTERS Roz and Howard Larman (all folk includ- Culver City, CA 90230 A Toastmasters Storytelling Group FRIDAY ing live interviews, singer- and Audrey Kopp • 310-823 7482 • [email protected] 2nd Mondays, 7:00pm Celtic music) 9:00-11:00am Midnight Special (KUCR) 9:00-Midnight Sunday Night Folk (KKGO) FAMILY STORYTELLING CoCo’s Restaurant 7:00-9:00pm Tex-Mex (KUCR) El Guapo Lapo Jimmy K. (Classic folk music) 15701 Roscoe Blvd., North Hills Saturdays/Sundays SATURDAY 11:00 am, noon, 1:00 am • Free 818-541-0950 • [email protected] MONDAY-FRIDAY 6:00-8:00am Wildwood Flower (KPFK) 10:00am-noon The Global Village (KPFK) Storytelling in Spanish on alternating Saturdays. ORANGE COUNTY Ben Elder (mostly Bluegrass) Getty Center Family Room “Music from around the world and around COSTA MESA SOUTH COAST 6:00-10:00am Tied to the Tracks (KCSN) the block” 1200 Getty Center Drive, L.A. STORYTELLERS GUILD Larry Wines (Americana) 310-440-7300 3rd Thursdays • 7:00 pm 8:00-9:00am Halfway Down the Stairs (KPFK) ON THE INTERNET LEIMERT PARK Piecemakers Village Uncle Ruthie Buell (Children’s show with Thistle & Shamrock GRIOT WORKSHOP 2845 Mesa Verde E. • 909-496-1960 folk music) Fiona Ritchie (Celtic Music) 3rd Wednesdays • 7:00 pm SOUTH COAST STORYTELLERS 10:00am-2:00pm TWANG (KCSN) www.npr.org/programs/thistle 3335 43rd Place, across from Leimert Park Cowboy Nick( music Driven Bow / Fiddlin’ Zone Saturdays & Sundays • 2:00-3:00 pm Gus Garelick (Fiddle Music) 310-677-8099 Bowers Kidseum 3:00-5:00pm Prairie Home Companion® (KPCC) Garrison Keillor (Live - variety show) www.krcb.org/radio/ 1802 North Main St., Santa Ana STORYTELLERS 4:00-7:00pm Tangled Roots (KCSN) Riders Radio Theatre 3rd Tuesdays • 7:30 pm 714-480-1520 • www.bowers.org/link3c.htm Riders in the Sky 6:00-8:00pm Prairie Home Companion® (KPCC) (Cowboy variety show) Hill Ave. Branch Library MISSION VIEJO STORYTELLING Garrison Keillor (Rebroadcast - variety 55 S. Hill Ave., Pasadena www.wvxu.com/html/riders.html Wednesdays • 7:00 to 8:00pm show) Folk Alley www.wksu.org 626-792-8512 Borders Books and Music 7:00-8:00pm Canto Sin Frontera (KPFK) LONG BEACH STORYTELLERS 25222 El Paseo • 949-496-1960 Tanya Torres (partly acoustic, Latin politi- UKE SHOW 1st Wednesdays • 7:00 pm COSTA MESA STORYTELLING cal) Los Altos United Methodist Church BY LAURA BEASLEY 8:00-10:00pm Canto Tropical (KPFK) Hector Resendez (partly acoustic, bilingual 5950 East Willow, Long Beach Wednesdays • 10:00 am Latin / Carribbean) 562-961-9366 • 949-496-1960 9:00pm-midnight Noche de Ronda (KCSN) Betto Arcos (Latin and Latin roots music) September-October 2006 FolkWorks Page 9 A Hawaiian Musical Treasure: Genoa Keawe

BY AUDREY COLEMAN It was a few minutes before six on a attracted her were in English. In fact, tropical December evening in 2001 when although her parents spoke Hawaiian, their Michael and I strolled on to the Moana children were forbidden to speak it in the Terrace of the Marriott Waikiki. We man- schools. The songs she loved were light, aged to claim one of the few remaining romantic and often witty compositions that tables clustered near the performance plat- emerged as a form in the early decades of form. As we ordered our Mai Tai’s, I the 20th century, following the 1893 noticed a white-haired lady dressed in a American annexation of . Because floor-length pink and white flowered of this foreign influence, they were termed mumu, moving gracefully among the tables, hapa haole songs, literally “half-foreign.” greeting people. Two flower leis bedecked When I asked Auntie which song she had her shoulders and another floral cluster particularly liked as a girl, the familiar adorned her hair on one side, setting off a soprano voice launched into a well known beaming smile and bright eyes. Michael hapa haole number, Little Brown Gal: grinned. “That’s her.” It’s not the islands fair that are calling On business trips to , my hus- to me band had discovered Auntie Genoa’s It’s not the balmy air nor the tropical Thursday night show. I was about to be ini- sea tiated to a Waikiki institution. It’s a little brown gal in a little grass The musicians were in place now: one skirt man at the upright bass, another seated with In a little grass shack in Hawai`i… a Hawaiian steel guitar on his knees, and a She also remembers being fascinated as dark-haired woman readying her acoustic a child by recordings of European- guitar. Genoa Keawe joined them and American yodeling and wanting to sing picked up the from her chair. A that way herself. As a young girl, she strong, sweet soprano poured forth over her prayed constantly to be able to sing with a rhythmic strum, filling the terrace like a beautiful voice. refreshing, fragrant breeze. Some songs she BYPHOTO GINO LANCETTE Then there was her passion for hitting sang in Hawaiian, some in English, some in high notes, which got her into trouble at a a combination of the two. At times her voice broke into a kind of yodel Christmas party talent contest she entered at age seven or eight. Auntie effect that intensified the enchantment. During one number she held a high recalled, “They said anybody who wants to come up and sing, just come up note for what seemed like a minute or more, and then moved up to the next and join us. I stood up in front of the audience and I started singing… note and held it almost as long, to joyful applause. Down the chimney white and black comes dear old Santa Claus In the course of the show, individual women would rise up from their Leading with his big moustache… tables and approach the platform to dance to Auntie Genoa’s singing. “Then I’d start the next verse another notch higher, and then another Sometimes Auntie would gently encourage them, “Come on, dear, come notch higher until I couldn’t sing because it was too high for me. So I had right up…” I particularly remember a lithe Japanese woman with short- to sit down and I cried right in front of the audience. My sister came in front cropped hair, moving in flowing curves, her chin was upturned to the sun- of me and said, ‘Why are you crying? You’re not supposed to cry!’ and I set. Her expression was serene as she danced to a voice that seemed to float said, ‘I cannot sing the song. It’s too high for me.’ The audience was laugh- up to the sky. ing at me.” Since that first encounter with the magic of Auntie Genoa, I have had Luckily for her future audiences, young Genoa recovered from that only one other opportunity to attend her legendary show at the Marriott embarrassing incident, and at age 12 joined the choir of the local Mormon Waikiki. That second time, when she came to our table, I told her how we Church. She loved singing the hymns. At the same time she was a devoted had scheduled our five day trip around seeing her Thursday night show. She fan of radio personality Johnny K. Almeida, a blind singer-composer who leaned over with a smile and I kissed her on the cheek. I will never forget broadcast a Hawaiian music show from Honolulu. She taught herself the the softness and sweet fragrance of her cheek. The picture Michael took of ukulele as a child even though her brothers would try to hide their instru- us together is a cherished souvenir. ments from her. To this day she learns all songs and ukulele accompaniment This fall we have an by ear. opportunity to see her here in Shortly after graduating from eighth grade at 16, she met and married . On Edward Keawe, who played upright bass. Her bell-like soprano continued Saturday, October 28, Genoa to develop along with her growing family of what was be 12 children. When Keawe, age 87 and in fine she heard performer Rahab Kekauoha sing, she fell in love with the singer’s vocal form, will headline the soprano vocal ability. Meanwhile, her mother-in-law taught her the Whittier College Aloha , opening up a new repertoire. Series concert. It’s a show Another important influence was singer , a composer of that Auntie – a name of affec- Hawaiian songs.” She had a high voice, an old style soprano,” said Keawe. tion Hawaiians bestow on “She liked my singing and she helped me with the Hawaiian words and esteemed elders – has taken phrasing. That’s the only way I learned to sing Hawaiian songs is from Alice to the mainland and around and my mother-in-law.” the world. “At Carnegie Hall However, it was composer/performer/broadcaster John K. Almeida who (in 1998) they were doing led Genoa to embrace the Hawaiian music she is so well known for today. hula in the aisles,” she told She had been singing pop material with local bands since in the early 1940s me in a recent phone inter- when one day Almeida, who was on KULA radio, asked for view. She remembers Russia “anyone who could sing” to come to the station and perform. Genoa Keawe fondly: “The children at the happened to be hanging out with some girlfriends, who dared her to take the high school in Siberia were radio host up on his offer. She did just that, singing a hapa haole song titled so enthusiastic!” In Japan, a “For You ,” which she dedicated to her niece Momi Bee, then celebrat-

PHOTOGRAPHER UNKNOWN PHOTOGRAPHER frequent destination, “people ing her tenth birthday. (Momi now performs with Auntie Genoa at the are so happy to be coming up Waikiki Marriott every Thursday night and will be with her for the Whittier and dancing on the stage.” College show.) As other luminaries of Hawaiian music pass on, Genoa Keawe remains Johnny Almeida was so taken with Genoa’s voice that he asked her back a vibrant representative of a musical tradition that in her youth was consid- to perform on his show numerous times. “Oh, he was a wonderful enter- ered quite modern. That style of social Hawaiian music is sometimes called tainer,” she recalled. “He played the banjo, the mandolin. He composed chalangalang, a Hawaiian pidgin term that suggests the ukulele strumming songs.” He influenced her to focus on a Hawaiian language and hapa haole that accompanies the voice. The yodel effect — that break between the repertoire and helped her polish her musical phrasing. lower vocal register or “chest voice” and the upper register or “head voice” It was a composition of Johnny Almeida that Genoa Keawe chose for her is called ha’i, which is Hawaian for “break.” Some call it “female falsetto,” first recording in 1946. Maile Swing was an immediate hit on the “49th but the term falsetto is usually used to describe the male “head voice” State” label. Maile is a vine with long, shiny fragrant green leaves, often sound. used in the making of leis made for important occasions and hula dancing. Born in 1918, the youngest of 12 children, Genoa Keawe grew up in the Honolulu area and in Laie, on ’s north shore. The earliest songs that KEAWE page 22 Page 10 FolkWorks September-October 2006 LEARNING SONGS FROM RECORDINGS

his is a very special column aimed at a resulting in that standard progression in the key Tsmall, elite group of individuals: the few of G moving to G# (Gsharp). First, make sure that know less about music than I do. your instrument is in good tune. Then noodle All of us that play musical instruments or REED’S RAMBLINGS around in the keys that you are familiar with and sing have, at one time or another, been drawn to BY DENNIS ROGER REED see if you can locate the key. If you’re playing a recorded song, and tried to learn how to play it. guitar and you start at the first on the bass E Are you one of those folks with a great ear that string and move up to the 12th fret without locat- can figure out songs just by hearing them? No, ing any notes that seem in tune, then either your me neither. Early in my musical life, I often sat instrument or the ones on the recording are not in wonder while listening to a recording, wishing tuned to standard A 440 tuning. I then usually I could play just like the record. (Records were play around with the bass E string on my guitar. like CDs, only they had grooves in the vinyl and I flatten it a taste and then move up that neck. No you laid a needle in the grooves and the sound dice? Then I sharpen my E string slightly and came out of speakers. Really.) I still have those take that trip again. Nine times out of 10, one of same wishes, but with time, effort and a lot of these methods will do. So once I found out that help from others, I learned how to unlock some the basic key (or 1 chord) is in the key of C, for of those “secrets” to learning a song from a example, then I can make a good guess that recording. somewhere in the song I should have a F and G As usual, it all starts with the “folk process.” chord, since they are tied to that “root” chord of This is what describes the method of how songs C. I can guess that if I sense there is a minor are passed from hand to hand, with each adding Dennis Roger Reed is a singer-songwriter, chord, it will probably be either an Am or per- their own element to the original composition. musician and writer based in San haps an Em since they are the related minors in Before the advent of radio and records, folk Clemente, CA. He’s released two solo CDs, the key of C or something like that. I thought I songs were almost always passed down through and appeared on two CDs with the new- knew what I was talking about for a minute. the . But once the phonograph grassy Andy Rau Band and two CDs with A word about keys: if it’s in Eb or Bb or other record was popularized, a whole new world of the roots rockers Blue Mama. His prose has “non-guitar friendly” keys, chances are that it’s music was opened up. appeared in a variety of publications such being played with a , in a “standard” key Now, you may be saying that today the inter- as the OC Weekly and MOJO magazine. like G or C. Try that out, because Bob Dylan did- net is full of sites that offer lyrics, tablature or Writing about his music has appeared in an n’t really record your favorite song on his first notation of popular songs. And you are correct. eclectic group of publications such as Bass record smacking an Eb barre chord. I promise. But a little detective work will show that if you Player, Acoustic Musician, , This takes a pretty good ear. An Em chord lust after something that is obscure, or a non-hit, Blue Suede News and Sing Out! His oddest can sound a lot like a G chord, especially if it’s not as many doors will open. And if you do find folk resume entry would be the period of played in passing. My wife has a better ear, so the song you wish to learn, you’ll find that quite several months in 2002 when he danced I’ll ask her. But usually the best bet is to just play often that not only will the tablature and lyrics be onstage as part of both ’s and it a couple of hundred times. Hopefully you’ll flawed, but that another 987 sites have the same ’s revues. He was actually asked confirm you’re playing the right notes. Once you incorrect tab and lyrics, because one guy figured to do the former and condoned by the latter. have the basic chords and/or melody, you can it out wrong, but posted it anyway. Then another He apparently knows no shame. invest some time embellishing the chords, possi- site “borrowed” it, often without checking it or bly adding transition chords or altering the time crediting the guy who messed it up originally. I signature of the song. Make it your own: you would suggest that you use internet tab and lyric owe it to the folk process, after all. services as a starting point, but to move beyond it to learning songs on your If you’re attempting to learn a song with lyrics, then you can go to your own. You’ll be glad you did. reliable internet lyric site, and possibly learn the wrong ones. I find I have a In today’s world, there are a lot of different recording/instructional devices much stronger ability to really learn and remember lyrics if I transcribe them that allow you to slow the speed of a recording without altering the key, in from the recording in longhand, then use my word processor to “clean them order to assist you in learning songs from recordings. These are great if you up.” Computers are helpful here. When you’re listening to a CD, most plan to learn a lot of songs from recordings. Musicians that play in a pop cover music reproduction software allows you to drag the status bar back as many bands probably love these types of machines. But there still is some musical times as you need to hear that one line you can’t quite make out. muscle that can be built by doing it the “old fashioned” hard way. All of these concepts take some time and effort, and are easier for some Using the guitar, as an example, one has to figure out the key of the folks than others. Practice may not make perfect, but it helps. Your ear can recorded song. In this day of electronic tuning devices, it may be hard to be trained, and soon you’ll be standing in line at the supermarket listening believe that sometimes records are out of tune. This may have been due to to the latest acoustic pop hit on the piped in music, thinking “Pretty standard the lack of sophistication of the artist, or it may have been a record compa- G to Em to D changes” just like a pro. ny decision to speed up the recording slightly to make it more exciting,

CD REVIEW Artist: FIDDLERS BID CD from Fiddlers Bid? Everything. Naked & Title: NAKED & BARE Bare is a great CD to listen to, but it’s also a great Label: GREENTRAX www.greentrax.com example of the past and the evolving future of BY LINDA DEWAR Shetland fiddling. This band has been together for fourteen years now, and somewhere along the hetland is a part of , but it’s just way they moved on from “up and coming” and different. Like its neighbor island, , S “amazing kids” to take their rightful place along it was part of Norway until some time in Shetland tradition-bearers like and the mid-1400s, and its language and place names Catriona Macdonald. are as much Scandinavian as they are Scottish. It’s Their playing is true to the music’s tradition, also relatively isolated from mainland influences, but not mired in the past. Their style is definitely or at least it was until the advent of television, the Shetland, but with the addition of and internet, and other useful electronic interlopers. it’s also modern. The selection of traditional The Shetland style of fiddling is a thing unto tunes is excellent, and includes many that are itself, too. Long before the modern fiddle reached rarely heard. Some of the best tunes on this the islands, folks there were playing tunes on the album, though, are those written by band mem- Hardanger, a type of fiddle with five res- bers Andrew Gifford, Chris Stout, and Catriona onating strings underneath the regular ones. McKay, who have managed to move the tradition forward without losing its Although Shetland music has been played on the modern version since the roots. Naked & Bare is also a winner for its wide variety of tunes. From 1700s, the influence of the Hardanger remains in the nature of the tunes, and waltzes to reels, polkas to jigs, this album is a showcase for the remarkable even sometimes the tuning of the instrument. Once you’ve heard a few talents of these seven gifted musicians. Shetland tunes, you can usually spot them—fiddles played in octave unison, As always, a word about the packaging. I love good liner notes, and these syncopated rhythms, unexpected key changed and modal tunings are all are great, with plenty of detail about the origin and story of each tune. And hallmarks. extra points for “earth friendly” materials, too. OK, so what’s all this geography and history have to do with the latest September-October 2006 FolkWorks Page 11

CD REVIEWS

Artist: CHARLIE MUSSELWHITE drama that played out fol- Title: DELTA HARDWARE lowing that disaster. Label: REAL WORLD RECORDS www.realworldrecords.com Musselwhite is backed Release Date: MAY 2006 by his road band and the BY DENNIS ROGER REED recording snaps and crackles with the band’s harlie Musselwhite brings to mind the blues. Blues harmon- energy and chops. Chris ica. Weary, lonesome blues. But Musslewhite’s long career C “Kid” Andersen plays has traveled well beyond those blues borders, with forays into guitar, Randy Bermudes genres such as Cuban music. His most recent Delta Hardware, is a is on bass, and June Core step back into those deep blues of his early career, with themes based is on drums. Musslewhite on recent national tragedies like Katrina’s wrath on the American penned all but two of the South, and Musselwhite’s move into more topical, politically based ten songs on the CD. music. It’s his second record on ’s Real World label. Church is Out kicks off Musslewhite is a consummate harmonica player. With the possible the CD, and Musselwhite exception of the late , Musslewhite is probably the sings over an infectious best known white American blues harmonica player. Like Butterfield, distorted guitar riff. It’s Musslewhite traveled to Chicago in the . However, Musselwhite blues, but with a kicking had a Southern background, born and raised in Mississippi. pop/rock edge. Billy Boy Musslewhite left Chicago for in the late 1960s, Arnold’s One of These and still makes that area his home. He’s had a long and successful Mornings follows, and career, playing with artists as disparate as Tom Waits, Ben Harper, Bonnie Musslewhite wraps his vocals with tasty harp work, and Andersen plays sin- Raitt and The Blind Boys of Alabama. He has garnered 19 W.C. Handy gle note slide guitar with a nice taste of Muddy Waters. Blues for Yesterday awards, and 6 Grammy nominations. recasts the “Elmore James” format, and Andersen channels ’s Delta Hardware harkens back to Musselwhite’s earliest recordings. The Henry Vestine with his raw solo. band is small, tight and raw. Although the recording primarily features All in all, Musslewhite and his hot touring band have created a solid Musselwhite’s originals, the flavor is very 1960s rocking blues. And for the blues recording. The “live” sound of the CD portends well for first time, Musselwhite moves into political commentary in the lyrics to Musslewhite’s live act. If you like this CD, catch them the next time they hit some of his work, including Black Water and The Invisible Ones. Both tunes town. were inspired by the devastation created by Hurricane Katrina, and the

Artist: THE KAHUNA COWBOYS Artist GARY INNES Title: CACTUS ISLAND STOMP Title HOW’S THE CRAIC? Label: KAHUNA COWBOYS RECORDS Label SKIPINNISH RECORDS Release Date MARCH 2006 BY RON YOUNG BY DENNIS ROGER REED he term “craic” usic can be Thas entered the Mfun. In fact, lexicon in the last for most of few years, and as a us, it’s supposed to be. founding member of a Modern popular music local organization of the occasionally forgets same name, the mean- that fact, and it’s up to ing is not entirely lost good time outfits like on me. To the uninitiat- The Kahuna ed, craic is an Irish term Cowboys Jug Band which usually refers to (KCJB) to remind us conversation, but it is that tapping toes, shak- also frequently applied ing shoulders and to a fun time involving goofy grins are per- music. It has also been fectly acceptable known to be associated responses to music. It with the consumption of helps that KCJB are an certain beverages, often adept musical congre- of the alcoholic variety. gation that actually Scottish accor- enjoys what they do, dion player Gary Innes hails from Spean near Fort William, in the and do it well. western Highlands. His CD How’s the Craic? will stimulate much in the KCJB is a , California area based group that draws from way of craic, and is well worth a listen. I met Gary recently at a Scottish blues, , Hawaiian island music, jug band music, string band Festival in Northern California, where he was also being utilized as an music, jazz, , cowboy country AND western music. Although they expert on the Scottish game of Shinty, (best described as a version of Field are heavily tied to the music of the 1930s, they also bring a refreshing spin Hockey, in much of the same way that that American Football could be from gathering these sources into one mix. described as a version of Rugby, if you get my drift). His live performanc- The band is a trio, and along with big hats, alpaca chaps, and superior es were nothing short of brilliant, and I could hardly wait to hear his CD. amounts of facial hair, they use colorful pseudonyms. “Double D” is Dana Best of all was the chance to see and hear him perform in an informal Duplan, the CKJB’s lap steel and lead guitar player. Dana is also the band’s Ceilidh session, where he had to adapt very quickly to the styles of various historian and musicologist. “Rustlin’ Russ” is Russ Lewark, on washtub musicians that he has never even seen or played with before. bass. He shares the vocals and is not only an excellent guitar fingerpicker, Gary can play with great sensitivity, but he also takes no prisoners, and but also owns an impressive collection of Hawaiian koa wood guitars, this is a fun album to listen to. He plays the “box” in an open and aggres- recently featured in Acoustic Guitar Magazine. And finally, “Doctor B” is sive manner that’s reminiscent of Phil Cunningham’s halcyon days with Lester Broersma, who plays , ukulele, jug and harmonica in Silly Wizard. In fact, the liner notes for How’s The Craic? include a bit of the band, as well as the musical saw and horns. It’s not uncommon for as high praise from Cunningham himself. Innes has put together a fine blend many as twenty instruments to be trucked on stage during a CKJB per- of traditional Scottish musicians and singers that make this album much formance. more than just an accordion CD. He utilizes his thirteen great guest musi- While comparisons could be made to the Even Dozen Jug Band, the cians ranging from Capercaillie’s Donald Shaw to ex-Tannahill Weavers Jim Kweskin Jug Band, or the Lovin’ Spoonful, CKJB have their own piper Duncan Nicholson, to great effect, and the result is highly satisfacto- identity. They have a stronger Western swing/cowboy/Hawaiian influence ry. than most jug bands. The primary adhesion in their repertoire is humor. The Among my favorites of the twelve tracks is The Wee Purple Fella, a tune band writes a good portion of their material, and it sits well among the that Innes composed in honor of his new accordion, which is indeed vivid- cover tunes. Not too many bands write songs like I’m Gonna Paddle to ly PURPLE. The Scots Gaelic song Filioro is wonderfully sung by Haw-y-yah or You Gotta Shave Those Legs. I think I laughed the hardest at winner Darren Maclean, and there’s a brilliant jig set that includes one of their arrangements of a traditional number, Lonesome in the Saddle: Mishie’s Jig, Porto the Rat and Roaring Bar Maid, all wonderful tunes that It’s lonesome in the saddle since my horse died… are sadly not elaborated upon in the liner notes. If you’re terrified of the word corny, or you don’t like to laugh when Gary’s web site can be found at www.garyinnes.com, and the CD can be music is on, perhaps you need to look elsewhere. But if you enjoy a good ordered from Skipinnish Records at www.skipinnish.com. This is fine laugh, love the various musics of the 1930s and appreciate hot pickin’, the Scottish foot stompin’ music and is a CD that is well worth the purchase CKJB is for you. price. Page 12 FolkWorks September-October 2006

DIDGERIDUDE continued from page 1 like instruments and modified ones that are available. Do you think that this interest in it? is a good trend or does it take away from the origins or the intent? JAY: I find that more and more people are becoming aware of the instru- JAY: There’s two parts to it. If you are not saying “this is a traditional ment. There’s an interest in it which is mainly due to the fact that it is so Aboriginal instrument,” then make whatever you want and play whatever you unusual at a Scottish festival. At the Highland Games where everything is want. There’s actually a problem in parts of Australia where people are doing Scottish, Scottish, Scottish, there’s the weird guy on stage playing the giant the equivalent of strip mining eucalyptus trees and making didgeridoos for log! So I think there’s a circus factor to it. I also think that there’s an aware- tourists and for export. There’s this whole about, “if you’re going to ness going around just because there are good players out there. I think the have a didgeridoo, it has to be an Australian termite-hollowed eucalyptus very first Survivor (television show) in Australia had a really big impact. I one.” So people just go out and cut down trees. believe it was David Hudson who played the didgeridoo for that show. The The term didgeridoo is not an Australian Aboriginal word. It’s an English, Crocodile soundtrack used one and Outback Steak House commer- or possibly Gaelic, word for an Aboriginal instrument that has lots of names cials. I think it’s more of an “Australia-philia” thing going on; it was a sound in the different tribes. Calling something a didgeridoo that’s made out of PVC, that you suddenly heard in commercials. I don’t think offends anyone. If it allows people to learn a new “instrument” JOEL: There is a local didgeridoo festival here in California. What does and express themselves in new and fun ways, I am all for it. If you want to that have to offer? start on plastic—great. Eventually, you’re probably going to want to get a JAY: Starting in 2000, there was a festival called well-crafted traditional Australian one or one made by an American artisan. Didgeridoo Festival. Peter Spoeker and Graham Doe (of www.didgeridoost- A player named Marco Johnson makes didge-boxes. They’re great. I’ve ore.com) were a part of it and the guys at LA Outback, in Studio City. They played them made out of clay and glass. got together and decided it was time that all didgeridoo players met up. So JOEL: Didgeridoo was originally a part of the Australian Aboriginal peo- they got some of the well-known US didgeridoo players to agree to come to ples’ . How does this aspect affect you and your playing of the instru- this campground in Joshua Tree, outside the national park. They had people ment? from France, the Netherlands, and Australia. It was an eye-opening JAY: I play with tremendous respect for the indigenous people of experience to hear people who played in a traditional way versus people who Australia. The instrument, to me, has a spiritual vibration; that is the only way never had any traditional training at all. In didgeridoo playing, there’s no that I can describe it. But I don’t try in any way to emulate their spiritual prac- method. In Western culture anyway, there is no way of training on the didgeri- tices or their rituals or their beliefs. That is theirs. I try and take some of the doo other than people getting together and asking, “How did you do that? techniques from traditional playing and incorporate them into my own musi- How did you make that sound?” So we listened to each other and compared cal and spiritual world view. There are a lot of challenging issues around cul- notes. I went to that festival the first 3 years. That first festival was where I tural misappropriation among didgeridoo players. I try and balance those actually met the Wicked Tinkers. It is now in northern California and known things by doing it my own way with respect for the old traditions. as the Jammin’ Tree Festival (www.jtdidgefest.com). JOEL: Why did you pick the didgeridoo over the piano or some other con- JOEL: Do you see the didgeridoo creeping into other kinds of music such ventional Western instrument? as Native American, taiko, Afro-Cuban, etc.? JAY: I’ve been a piano player my whole life. I went to Berklee College of JAY: I think it could be used in any one of those things, although not so Music in Boston as a pianist and an arranger. I spent most of my professional much in jazz or classical Western music which is written out already. It’s a life as a conductor in show pits in Boston and New York and around the coun- fairly inflexible for Western styles of music. It’s also fairly quiet, so as soon try. In 1994, I was at this festival in upstate New York, which was like Burning as you get 5 or 6 other instruments playing, unless you’re heavily miked, Man out here except smaller, about 2,000 people, called Starwood. I remem- you’re going to lose it. I think that it will remain something of a curiosity in ber the evening of the big final bonfire. In the morning the bonfire was this the Western musical traditions. Today, I hear it more and more in rave or blazing brutally hot pile of embers and everyone had been up dancing and house music, which are heavily drone and rhythm based anyway and in a lot drumming all night long. I heard this sound across the field and went to find of the psy-trance, Goa or club music. out what it was. I was just amazed to find this guy sitting there and playing an JOEL: So who do you look to as far as good didgeridoo players today? instrument that I had never heard before and the sounds were blowing my JAY: My favorite is Steven Kent, a Northern California classically-trained mind. Then I realized that he had never stopped to take a breath and I was try- musician and a musical director. I believe he played first. There ing to figure that out. I watched him for over an hour and he never stopped the are very few players that are as profoundly expressive percussive and medi- whole time. I just fell in love with the instrument and became fascinated by the tative styles. He is an amazing player and he has a band called Trance- and the way the rhythms are used. It became an obsession Mission. I like some of what they do, but I love him as a solo player. for me. At first I just wanted to figure it out technically. I liked the sounds and JOEL: Can you recommend any specific recordings for those interested in that was enough to get me interested in it as a musician. And then once some- listening to the different kinds of didgeridoo music? body told me how circular breathing worked, I became really fascinated. That JAY: Among the traditional players, David Hudson is a great Aboriginal is what is started my interest in Aboriginal culture. musician. It’s interesting because what I really love in very traditional didgeri- JOEL: How much of your own musical background is part of the didgeri- doo style is NOT really what I would like mixed in with a rock band. They doo playing and how much is just your gut or soul response to the instrument? really don’t jibe together. There are bands that have done it, Brother does it, Of the other players that you know, how many of them have your classical and a well-known Australian band called Yotha Yindi has done that. music background and how many of them just picked it up and started to JOEL: What is the best way for someone interested in playing to get play? started? JAY: The vast majority of didgeridoo players have no traditional Western JAY: Contact someone who knows how to play. If you don’t know any- music experience. If you look in the musicians’ union book, generally, if there one, for people in the Los Angeles area, contact someone at LA Outback are didgeridoo players at all, they’re or players. (www.laoutback.com). They are a tremendous resource. If they can’t do it How much does my background play into it? You know, because music is themselves, they can recommend someone to you. so much of who I am, I can’t say any percentage of it is, but I know how to BOOKS ON THE DIDGERIDOO listen to other musicians, how to collaborate, how to improvise, and I under- The Didjeridu: From to Internet, Edited by Karl Neuenfeldt. stand form and structure. But when I’m working with, say, the Tinkers, I’m John Libbey & Company Pty Ltd, 1997 ISBN: 1 86462 004 8 really listening intently to Aaron’s (Aaron Shaw) bagpipe, trying to be a good Didgeridoo - Origins and Playing Techniques by Dirk Schellberg accompaniment to his playing. Binkey Kok Publications ISBN 90 -74597-13-0 JOEL: Aside from the more unique Tinkers’ drums and bagpipe, are there Interesting books on Aboriginal culture: other instruments that get played along with the didgeridoo? The Songlines by Brucke Chatwin JAY: The traditional Aboriginese play (two short wooden Penguin Books ISBN: 0-14-009429-6 sticks), which are sort of like claves, and known in most countries as bilma. Voices of the First Day – Awakening in the Aboriginal Dreamtime by Robert There’s also the bull-roarer (a big piece of wood on a string that gets whirled Lawlor around and around) which is sometimes used ritually and sometimes used Inner Traditions International ISBN: 0-89281-355-5 before or after a song, but generally not during a song. They also do a lot of body percussion and clapping. It’s all very planned out. I can’t really speak INFORMATION ON GOOD INSTRUMENTS AND RESOURCES FOR with authority about Aboriginal music. But I can say that if you listen to tra- THE DIDGERIDOO ENTHUSIAST ditional didgeridoo players, they can sing you the pattern that they are going Ed Drury’s site www.rdrop.com/~mulara/ to play on the instrument before they do it. It’s like the way the Indian drum, LA Outback: www.laoutback.com the , is taught. A tabla player can sing the part as well as play it. The Didgeridoo Store: www.didgeridoostore.com Didgeridoo players do the same thing. They reach it through this kind of sung Marko Johnson’s Didjbox: www.didjbox.com thing. In Western white guy drum circles, it’s all improvisational. Chad Butler makes American hardwood instruments in Oregon. (www.bhum- JOEL: What are the limitations and what are the unique features of the siva.com). didgeridoo and where do you think it can it be taken? The two CDs that currently live in Jay Atwood’s player are: Organic JAY: The only limitation of the didgeridoo is that it is primarily based on Dance Didgeridoo by Resonance, Didgeridoo Solo by Ondrej Smeykal (who one note, although, you can overblow notes—-style. You can get 2 or is from the Czech Republic and one of the more interesting, innovative con- 3 other pitches to come out of it. The way you vocalize into it, you can get a temporary didge players around and not at all traditional. whole range of other sounds. I view it primarily as a rhythm instrument and you can do any rhythm you can think of. There’s also the issue of finding a Joel Okida is a struggling artist, struggling writer, and struggling musician. It didgeridoo in the right key. It’s one thing that beginning players, if they don’t occurs to him that life is all about the struggle. Fortunately, he did not take up have any other musical experience, just don’t get. acting. However, he’s not half-bad as a zydeco dancer and the ability to make a JOEL: Currently, there seems to be an interest in the music as well as the mean gumbo and lovely walnut tortes has gotten him by. playing of the didgeridoo. Do people come up to you at concerts and show an September-October 2006 FolkWorks Page 13 Joan Baez Gets Barefoot Again

BY ROSS ALTMAN

’ve got to go to the bathroom,” were Joan Baez’s first words to me. ers. I noticed Joan Baez “IThat’s when I knew we’d hit it off, because with my enlarged take off her shoes, set prostate I always have to go to the bathroom. She walked down a them aside and rub her dirt road toward me as I was entering the , a fourteen-acre feet into the ground. It oasis of green in the middle of a concrete jungle along the Alameda corridor reminded me of one in downtown Los Angeles. especially touching I had seen her picture on the front page of the LA Times the day before moment from her early and could not pass up my chance to meet the most gifted folk singer of our concert album when generation. In the photograph she was sitting in the walnut tree that became she told the audience the spiritual center of the struggle to keep the farm open to three hundred and she was having such a fifty poor Latino families, who had been invited onto the land by the City of good time would it be Los Angeles in the wake of the 1992 riots, to create something positive out all right if she removed of the ashes of despair that were left when the city stopped burning. The fact her shoes. So I knew that the land was now owned by its previous owner—real estate developer this augured well—she Ralph Horowitz—and that he wanted 16.3 million dollars for it after having now felt at home. For paid only 5 million to reclaim it, was hardly on my mind as I started my three some reason, it also week odyssey to become a part of this new campesino brigade of non-violent signified to me that, BYPHOTO SABIR MAJEED warriors who had Joan Baez on their side, and all the forces of city hall, the like someone else sheriff’s department, the law and the media arrayed against them. rolling up their sleeves, she was now ready to go to work and that she was On Bob Dylan’s sixty-fifth birthday, May 24, they had been served with fully committed to this struggle to save the farm. Like in the days when she an eviction notice to vacate the premises. They had no intention of leaving, was our , Joan Baez was barefoot again. and were being led by two elected representatives, local Latino political Finally, only three people away from your intrepid reporter, there was activists Rufina Juarez and Tezozomac. Along with them was a Nigerian Herself, singing with the gentle beauty and purity that had lived through hun- journalist in exile, Dele Aileman, who recognized me from a mutual friend’s dreds of struggles, that had sung for the in Berkeley gathering and invited me to sing during their nightly vigils. with Mario Savio, had marched to Montgomery with Martin Luther King, But the real leader—the spiritual soul mother of the whole struggle was had supported her former husband when he went to prison as a not on the ground at all, but sitting up in the walnut tree, where she had been draft resistor during the , had introduced Bob Dylan to her audi- fasting for seven days when I walked into the encampment. Her name was ences on her concert tours in 1963, and had sung in jails and for human rights , who had lived for two years in the branches of a favorite from Berkeley to . I was on Cloud Nine, just hanging on to who- old growth redwood tree, to keep it from being cut down by a Northern ever was next to me so I didn’t float away. California lumber company. A documentary had been made about her now When it came my turn to sing I introduced by saying legendary campaign to save the redwoods, and she had also written a book that this was the song that Joan Baez had sung at the March on Washington about it. And there she was, looking like a visiting angel, smiling down from on August 28, 1963, that it had traveled around the world and inspired count- the walnut tree, a combination of Gandhi, and Mother Jones, less people seeking social change, and that it was a great honor to sing it for who once said, “I ain’t no lady, I’m a hell-raiser.” Not Julia Butterfly Hill; Joan Baez. Then I started to strum my twelve-string and play the tune on my she is both a lady and a hell-raiser. harmonica, just to calm my nerves. Somewhere in the middle of the second She was joined by John Quigley, a public school teacher and tree sitter verse I realized that Joan was singing along with me. The day was improv- who saved a majestic oak tree in Santa Clarita from being destroyed to make ing. way for another row of tract houses by a local developer who finally saw the After the service, I kept to myself, not wanting to impose anymore on light and did the right thing, going to extraordinary lengths to replant the oak Joan. But when she left the tree she walked up to me and shook my hand, tree where it could continue to flourish as it had for four hundred years. With saying I had done a good job on We Shall Overcome. I had rebounded from these victories behind them, both John and Julia had a contagious optimism my gauche attempt to corner her into an interview an hour before. about our chances of saving the South Central Farm. Then the unexpected, the unplanned, the strange and preordained hap- Even these veterans of the timber wars, however, were not enough to pened right in front of my eyes. She suddenly announced to John Quigley stand up to the forces of private property, political officials and the police, so that she wanted to climb the walnut tree again. While the cameras crowded these passionate activists reached out to the most visible members of the around and the people nearby started to help her into her harness and she local liberal elite—Hollywood celebrities whose hearts were in the right reached upward to grab onto the rope, I looked up and found my hands soft- place, but who in the end raised far more expectations than cash. One celebri- ly strumming my twelve-string, trying to think of an appropriate song to help ty, though, put her money and her fame where her mouth was and joined the her up the tree. Before I knew what I was doing I was singing Jacob’s Ladder activists both on the ground and in the tree—Daryl Hannah—’ to Joan Baez: We are climbing Jacob’s ladder/We are climbing Jacob’s lad- mermaid in Splash with many roles since then, including her self-created role der/We are climbing Jacob’s ladder… As the song’s powerful melody kept as an eco-activist. building Joan started singing along with me: Every rung goes higher and But it was Joan Baez I came to see. She was walking toward me as I higher/Every rung goes higher and higher… even as she was going higher entered the farm, on her way to the port-a-potties near the front gate. I told and higher. She was smiling, climbing and singing all at the same time. I felt her I’d waited forty years to meet her—a few more minutes wouldn’t matter. like I was climbing with her. She smiled and the radiance of it buoyed me up with the knowledge I had Later, after the cameras had left, and she had returned to terra firma she come to the right place. I continued walking toward the walnut tree inside walked up to me again and this time gave me a heart-felt hug and thanked me and found a bench to sit on and anticipate the arrival of folk music’s still for “serenading me up the tree.” reigning queen. Oh, did I mention, I also got her autograph in one of my most precious I was not prepared to meet royalty, and did not have all my social graces books—it’s called New Folks and is the first time that her music appeared in in place when I finally approached her. After a few minutes of fawning over a book. her like a puppy, I asked if I could interview her for FolkWorks and she Well, the farmers have since been evicted, the bulldozers are beginning to immediately recoiled as if doused with cold water. She said she was having level the property, and by the time this appears in print there may be nothing trouble breathing (the air was fine—the clear implication was that I was left of the South Central Farm. But I’m still out there on their vigils, with fel- invading her space) and could I let her alone for a few minutes. I backed off low troubadour “Banjo” Fred Starner, and Dele and Rufina and Tezo, who and thought, well, that was it—I’d blown it with Joan Baez. are awaiting one more court date to see if there may still be a way to save the In the meantime, I started thinking about what I could sing myself at the farm. upcoming interfaith service around the tree, since Dele had invited me to par- Joan Baez planted a seed while she was here, as she has been doing all ticipate. I went to the stage manager and asked if Ms. Baez had indicated to across the country for forty-five years. She gave us the hope to continue an him what she planned to sing. He showed me the three titles: Gracias a la uphill struggle and to believe that one day the poorest of the poor will be able Vida, a Nuevo Cancion by Chilean Violetta Para and the title song of Joan to enjoy the fruits of their own labor as well as those higher up on the ladder Baez’s all-Spanish album, No Nos Moveran, the United Farmworkers ver- of opportunity. sion of We Shall Not Be Moved (also on that album), and Swing Low Sweet She gave us the hope that we could all climb Jacob’s ladder. Chariot. I thanked him and without missing a beat told him that I would be And for one magical day I got to sing with her. singing We Shall Overcome. “Thank you, Joan,” I said to myself as I walked We shall overcome. away—“you left your best song to me.” I had already made up some new verses to it as I was driving down there, We shall save the farm/We shall save Ross Altman has a Ph.D. in English. Before becoming a full-time folk singer he the farm/We shall save the farm today… (I figured it was now or never), and taught college English and Speech. He now sings around California for We shall make it grow/We shall make it grow/We shall make it grow today… libraries, unions, schools, political groups and folk festivals. You can reach Ross When the service started we heard from a rabbi, a priest and a at [email protected]. (no—I am not going to tell you a ), and then from some of the local lead- Page 14 FolkWorks September-October 2006 A Gander at Gamelan WHAT IS GAMELAN? BY LISA FORSTEIN amelan is the name for various musical ensembles in and tions came in the early 20th century as Western travelers brought recordings Gis most reminiscent of an orchestra. “Gamelan” comes from of Western music and jazz to Bali. The Balinese assimilated these new musi- “Gambel” in Balinese, which means, “to play, musically.” Gamelan cal influences and created the Gong Kebyar style of gamelan which is one specifically refers to the instruments that make up the ensemble, including of the most popular forms of gamelan today (Randall). Balinese Gamelan is sets of tuned bronze gongs, gong-chimes, metallophones (-like also cyclical, but is often faster than Javanese music. It is intricately com- instruments elaborately decorated with metal bars), two-sided drums, , posed with less room for improvisation. Many renowned musical families bowed and plucked string instruments, and sometimes singers (Yee-Seer lead ensembles today, composing new works continuously and often. The See). Gamelan music is often written to accompany colorful drama dances Balinese are extremely religious, and therefore do not separate music and or shadow puppetry. It originates from the diverse regions and villages of religion; it is intensely intertwined. Java and Bali, and is now played, appreciated and integrated into music WHAT DOES GAMELAN SOUND LIKE? scenes all over the world. Most of Gamelan is percussive and is played on metallophones with mal- Like music from many cultures, Gamelan is rich with spirituality and rit- lets that are shaped like hammers and on gongs. Some Balinese pieces are ual. The Indonesians believe that spirits guide each Gamelan instrument. played on instruments with wooden or bamboo bars. Those who play must show respect by first removing their shoes, and avoid Both Balinese and Javanese Gamelan use two tuning systems, or scales, stepping over the instruments to keep peace with the spirits. Before playing known in Javanese as “laras.” These two scales are Pélog and Sléndro. Gamelan, a musician or dancer may sprinkle flower petals or holy water “Pélog” has seven notes, but most pieces use a subset of five (it is a pen- around the instruments and wave incense as an offering to the Gamelan to tatonic – five tone – scale involving semi-tonal intervals). “The basic seven create and keep peaceful relationships with the spirits. intervals, where 1 equals an approximately half step, 2 equals an approx. Because of these spiritual components and connections, watching and whole step, and 3 equals an approx. minor third, are 1 2 3 1 1 2 2. There are experiencing Gamelan can be magical, often meditative, and always inter- wide variations of Pélog. Some may be closer to the intervals 2 1 3 1 1 2 2.” esting. “There are only two things comparable to Gamelan: moonlight and (Bali & Beyond) flowing water. It is pure and mysterious like moonlight, and always chang- “Sléndro” is also a evenly spaced throughout the octave, ing like flowing water.” Leonhard Huizinga, quoted in Music in Java, by “…a five tone scale consisting of, approximately, whole step and minor Jaap Kunst. third intervals. The basic order of intervals from low to high, where 2 equals WHO WATCHES GAMELAN? an approx. whole step and 3 equals an approx. minor third, is 2 3 2 2 3.” Gamelan was originally played for the temples, at ritual ceremonies and (Bali & Beyond) To Westerners, it sounds like the scale as played on the in the high courts. Through many decades and historical events, Gamelan black keys of a piano, but out of tune. has evolved from music strictly for royalty into music of the people for the HOW DOES ONE LEARN TO PLAY GAMELAN? people. When the Balinese court lost its power to the Dutch in the early Traditionally, Gamelan musicians rarely use notated music, and 1900s, the instruments were sold to the villagers. Because of this transition, Gamelan is taught by rote, from teacher (guru) to student. The students learn the villagers started to play and internalize the music, modify the instru- the melodies phrase by phrase; melody first, then percussion parts and final- mental structures and compose new music that was reminiscent of their ly punctuating instruments (especially the gong). Each phrase is played lives and surroundings. repeatedly until it is deeply instilled in the musicians’ minds, hearts and When tourism expanded in the 1920s, Gamelan was brought to hotels souls. After one phrase is learned, the teacher moves onto the next. The and tourist spots to enlighten visitors about the country’s musical artistry teacher must be highly skilled and patient. Many modern groups in Western (Semara Ratih). Today, Gamelan is a major component of university music society do not make Gamelan their livelihood, but instead one of their “proj- and programs. Graduates of these programs – of all eth- ects” or extra-curricular activities. “This lack of practice means that, unless nicities – have introduced both traditional and avant-garde Gamelan ensem- it is notated or recorded, a large amount of traditional repertoire will fast dis- bles to most major cities. These ensembles have planted roots in popular appear.” (Wayan Pon Semara) culture by performing and composing new music for Gamelan. In addition, Gamelan has influenced musicians and composers as diverse as Philip Glass GAMELAN ENSEMBLES IN CALIFORNIA: and Bjork, as they have integrated scales and sounds from Gamelan into To best understand the sound and experience of Gamelan, one must their music. attend a performance. Gamelan ensembles are abundant throughout Ethnomusicology pioneer Mantle Hood established the United State’s California, and their musicians want to educate, enlighten and entrance you. first ethnomusicology program, including the first Gamelan instruction at “We both lose ourselves and find another in the luxuriant sound of UCLA in the 1950s and 1960s. His initial intrigue with Gamelan and eth- Gamelan.” Ethnomusicologist Judith Becker. nomusicology in general inspired many people within and outside of the Bali & Beyond - a Los Angeles based performing arts Company inspired range of academia, and is one of the reasons Gamelan is widely attuned to by the cultures of Indonesia, tours nationwide, featuring a variety of tra- Western society today. ditional and contemporary Gamelan music, Shadow Theater, and educa- tional presentations. - WHAT IS THE DIFFERENCE BETWEEN JAVANESE AND www.balibeyond.com BALINESE GAMELAN? Maria Boddman ([email protected]) - 818-837-9485 Javanese: Gamalen at UCLA - www.ethnomusic.ucla.edu/ensembles/worldmusic. “Gamelan had its primary origins in the royal courts of Java. Since the Gamelan Sinar Surya (“Rays of the Sun”) - a Santa Barbara arts organi- arrival of Islam in Indonesia in the 14th century, Javanese gamelan has been zation dedicated to preserving, teaching and performing traditional essentially Islamic music, but still retains much of its pre-Islamic roots...” Gamelan music of Indonesia and , and specializing in music and (Randall) Javanese pieces are not composed all the way through, as are dance from the ancient Javanese kingdom of Cirebon. many in Balinese music. The performers have large amounts of space for www.gamelansb.com / improvisation within the structured music. Unlike the western improvisa- Richard North, director ([email protected]) tion embraced in jazz, the performers do not express their new and inven- Harvey Mudd College American Gamelan - unlike other gamelan in tive musical ideas, but rather their interpretations of the set music to help it Southern California, is dedicated to the performance of newly composed evolve and move forward. Instead of learning from scores, Javanese musi- (non-traditional) works played on traditional (but specially tuned) cians need to know five patterns of melodic and rhythmic improvisation that Javanese instruments. apply to all Javanese Gamelan, which is polyphonic (layered melodies and www2.hmc.edu/~alves/gamelan.html. rhythms). When these patterns in numerous modes are internalized, they can Bill Alves 909-607-4170 learn the structure of a piece and perform it without much practice MonkeyC - an American fusion gamelan with original music drawn from (Deschênes). many inspirations, using pelog gamelan and a variety of additional The five patterns in the polyphonic stratification are: instruments such as guitar and African percussion. 1. Nuclear Theme www.monkeyc.org 2. Elaboration [email protected], Ed Dorsey, 115 1/2 West Mission, Santa 3. Punctuation Barbara, CA 93101 4. Counter-Melody Gamelan Anak Swarasanti - an award-winning Balinese gamelan orches- 5. Rhythm tra performing traditional and new gamelan music throughout the San These patterns are cyclical, meaning once a phrase is created it is repeat- Francisco Bay Area and beyond in a wide variety of settings, from for- ed in rounds or cycles. Players know when to stop and start by “breaks” dic- mal concerts of Balinese music to music festivals and raves. tated by the definitive sounding, powerful drums. Martin Randall ([email protected]) 831-423-6189 Balinese: Balinese Gamelan originated when the Islamic Mataram Empire took Lisa Forstein is a writer, vocalist, composer and world percussionist based in over Java. “Hindus fled Java after the 14th-century collapse of the Javanese Santa Monica. She is the Managing Editor of the Iranian Jewish Chronicle. Majapaht dynasty to establish in Bali, bringing along their music and musi- She participated in an intensive 1-month Balinese Gamelan workshop at The cal instruments.” (Deschênes) The uniquely Balinese version of Hindiusm Ohio State University School of Music in 2002, and after writing this article, (Hindu-Bali) continues to provide the essential cultural context for Balinese is inspired to do more with Gamelan in her music. gamelan. Balinese music continued to evolve over the centuries, and today there are many styles of Balinese gamelan. One of the more recent innova- September-October 2006 FolkWorks Page 15

on-going music happenings MUSIC, MUSIC and more MUSIC

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NOTE: NOT ALL SESSIONS ARE OPEN, PLEASE REMO RECREATIONAL MUSIC CENTER FINN McCOOL WORKSHOPS ASK SESSION LEADER IF IT’S OK TO JOIN IN! Community Drum Circle Sundays 4:00-7:00pm Tuesdays 7:00-8:00pm • Drums provided • Free Tuesdays 8:00pm- LA SONGWRITERS CO-OP SONG WORKSHOP BLUEGRASS 7308 Coldwater Canyon Ave., North Hollywood 2702 Main St., Santa Monica • 310-452-1734 3rd Thursdays 7:30pm Dr. Music BLUEGRASS ASSOC. OF SOUTHERN CALIFORNIA 818-982-0461 • www.remo.com GROUP SINGING Concerts 1812 W. Colorado Blvd, Eagle Rock VILLAGE MANDALA 3rd Tuesdays 8:00pm - Free (Dinner offering by Braemar) ANTELOPE VALLEY FOLK MUSIC CLUB 818-203-4939 [email protected] Braemar Country Club, Grille Room Wednesdays 7:00pm-10:30pm Second Saturdays 5:00pm • Potluck and jam session www.SongwritersCoop.com 4001 Reseda Blvd. Tarzana 111 So. College Ave,. Claremont Chris Hingley 661-718-2827 [email protected] Joy Felt 818-705-8870 909-626-3066 909-980-5663. Blue Ridge Pickin’ Parlor 818-282-9001 groups.yahoo.com/group/villagemandala BEACH CITIES FOLK MUSIC CLUB villagemandala.tribe.net 3rd Thursdays 7:00pm-10:00pm $5 BLUE RIDGE PICKIN’ PARLOR Bluegrass Jam Catalina Coffee Company 7828 Chatsworth St., Granada Hills WHITTIER COMMUNITY DRUM CIRCLE 126 North Catalina Ave., Redondo Beach www.pickinparlor.com • 818-282-9001 call for schedule First Sundays 3:30 to 5:30pm Free www.beachcitiesfolkclub.org CONGRATULATIONS! Parnell Park Lambert Road and Scott Ave., Whittier COFFEE CARTEL JUST PLAIN FOLKS ORANGE COUNTY RUSS & JULIE’S 1st & 3rd Thursdays 8:00-10:00pm 626-961-5453 • www.djembejoy.com Third Saturdays 7:00pm–9:00pm Windy Ridge Bluegrass Band OPEN MIKES HOUSE CONCERTS 1820 So. Catalina Ave., Redondo Beach Linda Kraemer [email protected] www.JPFolks.org Frank Bayuk 310-567-6321 [email protected] BOULEVARD MUSIC SANTA MONICA TRADITIONAL FOLK MUSIC CLUB CELEBRATES 3rd Sundays - Variety Night TH COFFEE GALLERY BACKSTAGE Bluegrass Jam 1st Saturdays 7:30-11:30pm IT’S 100 4316 Sepulveda Blvd., Culver City Sha'Arei Am (Santa Monica Synagogue) 2nd Sundays 12:30-3:30pm 310-398-2583 [email protected] 1448 18th St., Santa Monica • [email protected] 2029 N. Lake, Altadena • www.coffeegallery.com TH David Naiditch 626-797-1827 [email protected] FESTIVAL OF THE EGG Santa Monica Folk Music Club ON NOVEMBER 4 3rd Wednesdays 6:30pm - 1:30am www.santamonicafolkmusicclub.org COFFEE PLANTATION Bluegrass Jam 30 min mostly-acoustic sets, all fem. 2nd Thursdays Slow Jam - 6:00pm- Moonshadows TRADITIONAL FOLK MUSIC CIRCLE 4th Thursdays Open Jam - 6:00pm- 10437 Burbank Blvd., N. Hollywood • 818-508-7008 4th Sundays 3:00-8:00pm 18122 Brookhurst S., Unit E , Fountain Valley Debby and Terry Koken’s house 714-962-2232 [email protected] FOLK MUSIC CENTER 4th Sundays signup 7:00pm, 7:30pm $1 1778 Kenwood Pl., Costa Mesa CORONA BLUEGRASS JAM 220 Yale Ave., Claremont • 909-624-2928 [email protected] 949-574-0333 Mondays 7:00pm - 10:00pm THE FRET HOUSE Crossroads Christian Church 1st Saturdays - signup 7:30pm 2331 Kellogg Ave. Corona 309 N. Citrus, Covina • 626-339-7020 E-MAIL Todd Holtkamp 951-347-2597 [email protected] www.covina.com/frethouse CURLEYS CAFÉ Bluegrass Jam GRAND VISTA HOTEL (HORIZONS LOUNGE) Mondays 7:00-9:00pm Fridays 9:00pm - 1999 E. Willow (at Cherry), Signal Hill • 562-424-0018 999 Enchanted Way, Simi Valley EL CAMINO COLLEGE 805-583-2000 • www.spankycheese.com UPDATES Bluegrass Jam HALLENBECKS 1st Sundays 1:00-5:00pm (12:00-4:00pm DST) Tuesdays - signup 7:30pm - Free 16007 Crenshaw Blvd., Torrance 5510 Cahuenga Blvd., North Hollywood Bill Elliott 909-678-1180 • Ron Walters 310-534-1439 818-985-5916 • www.hallenbecks.com DUME Bluegrass Jam HIGHLAND GROUNDS 1st Wednesdays 8:00-10:15pm Wednesdays 8:00-11:00pm 5653 Kanan Rd., Agoura Hills 742 N. Highland Ave., Hollywood 818-865-8602 • • www.kavadume.com 323-466-1507 • ww.highlandgrounds.com wants to keep you ME-N-ED’S PIZZA PARLOR Bluegrass Concerts KAVA DUME up-to-date. Saturdays 6:30-10:30pm 2nd, 3rd &4th Wednesdays 7:00-10:0pm 4115 Paramount Blvd. (at Carson), Lakewood 5653 Kanan Rd., Agoura Hills 562-421-8908 818-865-8602 • www.kavadume.com Please let us know NORTH COUNTY BLUEGRASS NIGHT KULAK'S WOODSHED 1st Tuesdays 7:00pm- Mondays 7:30pm • Free when you change your email! Round Table Pizza • Ash and Washington St., Escondido 5230 1/2 Laurel Canyon Blvd., North Hollywood Sandy Beesley [email protected] 818-766-9913 • www.kulakswoodshed.com SDBS BLUEGRASS JAM McCABE’S GUITAR SHOP Email us at 2nd Tuesdays 7:00-10:00pm Last Sundays 5:45pm Fuddruckers 5500 Grossmont Center Dr., La Mesa 3101 Pico Boulevard, Santa Monica [email protected] 3rd Tuesdays 7:00-10:00pm 310-828-4497 • www.mccabesguitar.com Fuddruckers 340 3rd Ave., Chula Vista THE TALKING STICK 4th Tuesdays 6:00 - 9:00pm Wednesdays 8:00pm Boll Weevil Restaurant, 7080 Miramar Rd., San Diego 1630 Ocean Park Blvd., Santa Monica San Diego Bluegrass Society • [email protected] www.thetalkingstick.net TORRANCE ELKS LOUNGE Bluegrass Jam OLD TIME JAM SESSIONS 4th Sundays 1:00-5:00pm SONGWRITER SHOWCASE 1820 Abalone Ave., Torrance FRANK & JOE'S SOUTHERN SMOKEHOUSE CAFÉ BELLISSIMO Bill Elliott 909-678-1180 • Bob/Lynn Cater 310-678-1180 Wednesdays 7:00pm Main Street Songwriters Showcase 110 E. Colorado Blvd., Monrovia • 626-574-0292 THE UGLY MUG CAFE Bluegrass Jam Tuesdays 7:30pm 3rd Sundays 7:00-9:00pm CTMS CENTER FOR FOLK MUSIC 22458 Ventura Blvd., Woodland Hills 261 N. Glassell, Orange • 714-997-5610 or 714-524-0597 1st Sundays 1:00 - 4:00pm 818-25-0026 www.garretswayne.com/msss.html 16953 Ventura Blvd., Encino • 818-817-7756 VIVA CANTINA L.A. SONGWRITER’S SHOWCASE 1st, 3rd and occasional 5th Wednesdays 3rd Wednesdays 7:30pm The Brombies and guests • 8:00pm - 4th Saturdays 5:00-6:30pm Coffee Gallery Backstage 900 Riverside Dr., Burbank Downtown Community Center 2029 N. Lake Ave., Altadena • [email protected] 818-845-2425 • www.vivacantina.com 250 E. Center St., Anaheim 714-870-8763 • [email protected] SHAPE NOTE/SACRED HARP VINCENZO’S PIZZA Bluegrass Concerts Saturdays 7:30-10:30pm IRISH MUSIC SESSIONS 1st Sundays 3:30-6:00pm Grateful Dudes Eagle Rock 24500 Lyons Ave., Newhall • 661-259-6733 CELTIC ARTS CENTER Mary Rose Ogren O’Leary 323-354-7707 • Mondays 9:00pm (1st Mondays @ 8:00pm) www.fasola.org ZOEY'S CAFE Bluegrass Jam Beginners Session: Sundays 4:00-6:00pm 3rd Sundays 3:00-5:30pm 2nd and 4th Thursdays 6:00pm - 9:30pm 4843 Laurel Canyon Blvd, Valley Village West L.A. Pat Keating • 310-557-1927 451 E. Main St., Ventura • www.zoeyscafe.com 818-760-8322 • www.celticartscenter.com 2nd Saturdays 4:00-6:00pm Gene Rubin [email protected] THE HARP INN Santa Monica The Learners Group DRUMMING 2nd Sundays 3:00–7:00pm Laura • 310-450-3516 130 E. 17th St., Costa Mesa BANG A DRUM 949-646-8855 • www.harpinn.com SIGNAL HILL HOUSE JAM Drum Circle & Potluck 1st & 3rd Tuesday 6:00pm 2nd Saturdays 7:30-9:30pm • Drums provided • Free LARRY BANE SEISUN 240 Industry Dr., Signal Hill 323-936-3274 • www.bangadrum.com 1st Sundays 4:00-6:00pm Don Rowan • 562- 961-0277 Set Dance workshop 2:00-3:00pm with Michael Breen of The Los Angeles Irish Set Dancers SONGMAKERS The Moose Lodge Wednesdays Simi Valley Hoot 1901 W. Burbank Blvd., Burbank Simi Valley 7:30-11:30pm • 805-583-5777 818-506-8303 • [email protected] 1st Mondays Musical 1st Monday Simi Valley 1:00-4:00pm • 805-520-1098 1st Fridays North Country Hoot BEFORE ATTENDING Northridge 8:00pm-Midnight • 818-993-8492 1st Saturdays Orange County Hoot ANY EVENT Anaheim Hills 8:00pm-Midnight • 714-282-8112 South Pasadena Music Center 2nd Saturdays Camarillo Hoot Contact the event producer to verify infor- Camarillo 8:00pm-Midnight • 805-484-7596 mation before attending any event. (Things 3rd Thursdays Camarillo “Lite” Hoot change!!!) We specialize in: Camarillo 7:00-11:00pm • 805-482-0029 3rd Saturdays South Bay Hoot CORRECTIONS Acoustic Guitars • Folk Instruments Redondo Beach 8:00pm-Midnight • 310-376-0222 FolkWorks attempts to provide current and 3rd Sundays East Valley Hoot accurate information on all events but this is Strings and Winds • Hand and Frame Drums Van Nuys 1:00-5:00pm • 818-780-5979 not always possible. 4th Saturdays West Valley Hoot Ethnic and World Instruments • Books and accessories Woodland Hills 8:00pm-Midnight • 818-887-0446 Please send corrections to: 4th Sundays West L.A. Hoot & Potluck [email protected] or 818-785-3839 ...much more! West L.A. 5:00-9:00pm • 310-203-0162 5th Saturdays Take The Fifth Hoot LIST YOUR EVENT! To have your on-going dance or music We also offer lessons, repairs and rentals. Sherman Oaks 8:00pm-Midnight • 818-761-2766 WELSH CHOIR event listed in FolkWorks provide the fol- lowing information: Sundays 1:30pm • Rutthy • 818-507-0337 • Indicate if it’s an on-going or one-time YIDDISH SINGING (HULYANKE) event 1st Thursdays Sherman Oaks • Category/Type (i.e., Cajun, Folk) Sholem Community Org. • Lenny Potash • 323-665-2908 • Location Name  WESTERN MUSIC • Event Day(s) and Time South Pasadena Music Center • Cost • Event Sponsor or Organization  3rd Sundays 1:00–3:00pm 1017 Fair Oaks Avenue, South Pasadena 4700 Western Heritage Way, Griffith Park • Location Address and City • Contact Name, Phone and/or e-mail (next to the historic Rialto Theater) 818-971-5002 [email protected] Western Music Assoc., So. Cal Chapter Send to: 626-403-2300 • www.southpasadenamusic.com hometown.aol.com/wmascc Museum of the American West(formerly Autry Museum) [email protected] or 818-785-3839 www.museumoftheamericanwest.org Page 16 FolkWorks September-October 2006 FOLK HAPPENINGS AT A GLANCE SEPTEMBER 2006

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STRAWBERRY MUSIC FESTIVAL (SE) STRAWBERRY MUSIC FESTIVAL (SE) FOLK HAPPENINGS AT A GLANCE VALLEY OF THE MOON SCOTTISH VALLEY OF THE MOON SCOTTISH FIDDLE SCHOOL (SE) FIDDLE SCHOOL (SE) KENNY SARA AND THE SOUNDS DOWN HOME BLUES FESTIVAL (SE) Check out details by OF NEW ORLEANS (SE) ORANGE INTERNATIONAL IGOR & THE JAZZ COWBOYS (SE) STREET FAIR With RAGS (SE) following the page references: STEVE POLTZ (SE) ANDY RAU BAND (SE) EVE SELIS (SE) 117 WEST (SE) STEVE POLTZ (SE) (SE) & HERB PEDERSEN OGM: On-going Music - pg. 15 STEFANI VALADEZ AND FRIENDS (SE) With BILL BRYSON (SE) Contra (OGD) JOHN FOGERTY & (SE) OGD: On-going Dance - pg. 18 Greek (OGD) BLUE13 DANCE COMPANY KARISHMA (SE) International (OGD) ANUPAMA BHAGWAT, and others (SE) Israeli (OGD) LISA FINNIE & FRIENDS (SE) SE: Special Events - pg. 30-32 Scottish (OGD) Contra (OGD) Flamenco (OGD) Group Singing (OGM) International (OGD) Israeli (OGD) Open Mike (OGM) Bluegrass (OGM) Group Singing (OGM) Open Mike (OGM) 3 4 5 6 7 8 9

STRAWBERRY MUSIC FESTIVAL (SE) RIDERS OF THE PURPLE SAGE (SE) WESTERN ARTS ALLIANCE WESTERN ARTS ALLIANCE WESTERN ARTS ALLIANCE WESTERN ARTS ALLIANCE WESTERN ARTS ALLIANCE CONFERENCE (SE) CONFERENCE (SE) CONFERENCE (SE) CONFERENCE (SE) CONFERENCE (SE) TALL SHIPS FESTIVAL (SE) LONG BEACH BLUES FESTIVAL (SE) Balkan (OGD) CELEBRATION OF ASIAN-AMERICAN FIESTA DE LOS ARTES (SE) International (OGD) DENNIS ROGER REED (SE) MARIACHI DIVAS (SE) PRIMAL TWANG With DAN CRARY MASANGA MARIMBA ENSEMBLE (SE) CULTURE AND TRADITION (SE) (SE) DAN HICKS & THE HOT LICKS with and DOC & RICHARD WATSON, (SE) L.A. GREEK FESTIVAL (SE) EXTREME KLEZMER MAKEOVER (SE) MOLLY HOGAN AND WILDWORKS (SE) Irish (OGD) L.A. GREEK FESTIVAL (SE) MICHELLE SHOCKED BOB WEBB (SE) DOWN HOME BLUES FESTIVAL (SE) Israeli (OGD) Flamenco (OGD) , IVAN NEVILLE’S DUMP- HUAYUVALTIA (SE) BEARFOOT (SE) & MARY LEE’S CORVETTE (SE) JOE & VICKIE PRICE (SE) STAPHUNK (SE) JOHN FOGERTY Morris (OGD) International (OGD) THE STAIRWELL SISTERS (SE) SLIGO RAGS (SE) JANET KLEIN & HER PARLOR BOYS (SE) PRIMAL TWANG (SE) TOM KURAI & YUKIKO MATSUYAMA (SE) & LUCINDA WILLIAMS (SE) Scandinavian (OGD) Persian (OGD) / KEB’ MO’ (SE) Balkan (OGD) DWIGHT YOAKAM (SE) VASHTI BUNYAN (SE) DEL CASHER (SE) Scottish (OGD) Scottish (OGD) LONE HILL RAMBLERS (SE) Cajun/Zydeco (OGD) HOT CLUB QUARTET (SE) RICK SHEA & I SEE HAWKS IN L. A. (SE) BAND Contra (OGD) Bluegrass Jam (OGM) Open Mike (OGM) & ETIENNE DE ROCHER (SE) International (OGD) Cajun/Zydeco (OGD) PACIFICO DANCE COMPANY with International (OGD) Irish Session (OGM) Irish Session (OGM) MARK HUMPHREYS (SE) Irish (OGD) Israeli (OGD) English (OGD) PERLA BATALLA (SE) PACIFICO DANCE COMPANY (SE) Israeli (OGD) Polish (OGD) Open Mike (OGM) Songwriter Showcase (OGM) Scandinavian (OGD) Flamenco (OGD) CHRIS HILLMAN & HERB PEDERSEN (SE) JOHN BATDORF (SE) DWIGHT YOAKAM (SE) Scottish (OGD) Group Singing (OGM) Shape Note (OGM) Scottish (OGD) Bluegrass (OGM) with , PETER OSTROUSHKO Bluegrass Jam (OGM) International (OGD) and ARKADIY YUSHIN (SE) Bluegrass Jam (OGM) NEKO CASE (SE) JENNY YATES plus DEBORAH HOLLAND (SE) Irish Session (OGM) Irish (OGD) Israeli (OGD) Group Singing (OGM) Contra (OGD) Greek (OGD) WILLIE NELSON (SE) PRIMAL TWANG (SE) Old Time Jam (OGM) Scottish (OGD) Bluegrass (OGM) Contra (OGD) English (OGD) Flamenco (OGD) Open Mike (OGM) Hungarian (OGD) International (OGD) Shape Note (OGM) Open Mike (OGM) International (OGD) Israeli (OGD) Scottish (OGD) Open Mike (OGM) Old Time Jam (OGM) Yiddish (OGM) Bluegrass (OGM) Drum Circle (OGM) Welsh Music (OGM) Shape Note (OGM) 10 11 12 13 14 15 16

TALL SHIPS FESTIVAL (SE) Armenian (OGD) Flamenco (OGD) WESTERN BEAT (SE) SONS OF THE NEVER WRONG (SE) FRESNO SCOTTISH GAMES (SE) FIDDLIN’ DOWN THE TRACKS CONTEST (SE) (SE) PETER ALSOP (SE) Balkan (OGD) International (OGD) BONNIE RAITT / KEB’ MO’ (SE) JOHN MUELLER (SE) FIDDLIN’ DOWN THE TRACKS HARVEST FESTIVAL OF DULCIMERS (AND L.A. GREEK FESTIVAL (SE) International (OGD) Israeli (OGD) AL STEWART (SE) DWIGHT YOAKUM (SE) CONTEST (SE) MORE) (SE) JULIAN BLUEGRASS FESTIVAL (SE) BONNE MUSIQUE ZYDECO (SE) Irish (OGD) Persian (OGD) SLIGO RAGS (SE) THE BERKELEY OLD-TIME PLYMOUTH BLUEGRASS FESTIVAL (SE) SAMITE OF UGANDA (SE) PLYMOUTH BLUEGRASS FESTIVAL (SE) Israeli (OGD) Scottish (OGD) Balkan (OGD) MUSIC CONVENTION (SE) MILLPOND MUSIC FESTIVAL (SE) IRVINE GLOBAL VILLAGE FESTIVAL (SE) CATHY FINK & MARCY MARXER (SE) Morris (OGD) Open Mike (OGM) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) SLIGO RAGS (SE) CHUCK PYLE (SE) MILLPOND MUSIC FESTIVAL (SE) THE STAIRWELL SISTERS (SE) Scandinavian (OGD) Irish Session (OGM) International (OGD) Flamenco (OGD) AL STEWART (SE) MARTIN GUITAR CLINIC (SE) PETER OSTROUSHKO International (OGD) GÜLAY AND THE ENSEMBLE ARAS (SE) THE WOODHEAD MEETS NEON MAN (SE) with ARKADIY YUSHIN (SE) Scottish (OGD) Songwriter Showcase (OGM) Irish (OGD) CHRIS STUART & BACKCOUNTRY / MIKKI Irish (OGD) AMERICANA MUSIC CIRCLE (SE) BRISK (SE) CORNUCOPIA (SE) PRIMAL TWANG (SE) Bluegrass (OGM) Israeli (OGD) Israeli (OGD) & The RIGHT HANDS (SE) WILLIAM PINT & FELICIA DALE (SE) BONNIE RAITT / KEB’ MO’ (SE) Irish Session (OGM) Scandinavian (OGD) Scottish (OGD) THE BILGEWATER BROTHERS (SE) SUZANNE TENG (SE) BEARFOOT (SE) Open Mike (OGM) Scottish (OGD) THE RHYTHM BROTHERS (SE) WILLIE NELSON With RYAN ADAMS, Bluegrass (OGM) Bluegrass Jam (OGM) TRIO VORONEZH (SE) GRANDEZA MEXICANA FOLK BALLET (SE) NEKO CASE (SE) Group Singing (OGM) Open Mike (OGM) Contra (OGD) PETER CASE (SE) ASHLEY MAHER (SE) Cajun/Zydeco (OGD) Contra (OGD) Greek (OGD) DESERT SAGE (SE) ANDY RAU BAND (SE) Open Mike (OGM) AL STEWART (SE) CHUCK PYLE (SE) International (OGD) Israeli (OGD) Old Time Jam (OGM) International (OGD) Contra (OGD) Flamenco (OGD) Polish (OGD) Scottish (OGD) Scottish (OGD) Open Mike (OGM) International (OGD) Israeli (OGD) Irish Session (OGM) Welsh Music (OGM) Bluegrass (OGM) Group Singing (OGM) 17 18 19 20 21 22 23

FIDDLIN’ DOWN THE TRACKS Armenian (OGD) ZHENA FOLK CHORUS (SE) PLANET DRUM (SE) BRASIL BRAZIL (SE) TAIKO CAMP (SE) JUAN L. SANCHEZ (SE) CONTEST (SE) Balkan (OGD) SHERI LEE AND BLUE HEART (SE) SLIGO RAGS (SE) PLANET DRUM (SE) VERY BE CAREFUL (SE) ADAMS AVE. STREET FAIR (SE) JULIAN BLUEGRASS FESTIVAL (SE) International (OGD) LARRY MAURICE (SE) Balkan (OGD) DR. JOHN / (SE) THOROGOOD FESTIVAL DEL MAR (SE) PARACHUTE EXPRESS (SE) Irish (OGD) Flamenco (OGD) Cajun/Zydeco (OGD) THE BILGEWATER BROTHERS (SE) & THE DESTROYERS (SE) CONCIERTO PARA LOS NIÑOS (SE) PLYMOUTH BLUEGRASS FESTIVAL (SE) Israeli (OGD) International (OGD) International (OGD) DIRTY DOZEN BRASS BAND (SE) DR. JOHN, BUDDY GUY, DIRTY HIGH HILLS BLUEGRASS BAND (SE) SEA SHANTEY FESTIVAL (SE) DOZEN BRASS BAND (SE) Morris (OGD) Israeli (OGD) Irish (OGD) Cajun/Zydeco (OGD) IN THE KITCHEN (SE) MILLPOND MUSIC FESTIVAL (SE) ANI DIFRANCO (SE) Scandinavian (OGD) Persian (OGD) Israeli (OGD) English (OGD) (SE) MICHAEL LILLE (SE) KELLY JOE PHELPS (SE) BRIAN JOSEPH (SE) Scottish (OGD) Scottish (OGD) Scandinavian (OGD) Flamenco (OGD) ANI DIFRANCO (SE) DUO ERATO (SE) JOHN McCORMICK (SE) NATHAN McEUEN (SE) Irish Session (OGM) Bluegrass (OGM) Scottish (OGD) International (OGD) ANNE HILLS (SE) PINT & DALE (SE) SEVERIN BROWNE And JAMES COBERLY Greek (OGD) With MICHAEL SCHWARTZ (SE) Open Mike (OGM) Open Mike (OGM) Bluegrass (OGM) Irish (OGD) “SYNERGY” With Moira Smiley & VOCO Hungarian (OGD) KELLY JOE PHELPS (SE) Bluegrass (OGM) Irish Session (OGM) Group Singing (OGM) Israeli (OGD) with TRIPDANCE Theatre & RKDT (SE) International (OGD) AND THE ROOTS BAND (SE) Shape Note (OGM) Open Mike (OGM) Scottish (OGD) OMAYRA AMAYA FLAMENCO DANCE COM- Scottish (OGD) PANY (SE) International (OGD) Israeli (OGD) Songwriter Showcase (OGM) Old Time Jam (OGM) Bluegrass (OGM) Open Mike (OGM) Contra (OGD) English (OGD) Polish (OGD) Scottish (OGD) Songwriter Showcase (OGM) Group Singing (OGM) Group Singing (OGM) Open Mike (OGM) Flamenco (OGD) International (OGD) Open Mike (OGM) Shape Note (OGM) Songwriter Showcase (OGM) Israeli (OGD) Bluegrass (OGM) Welsh Music (OGM) Western Music (OGM) Group Singing (OGM) Old Time Jam (OGM) 24 25 26 27 28 29 30

ADAMS AVE. STREET FAIR (SE) Armenian (OGD) JIM CURRY (SE) SEBASTOPOL CELTIC FESTIVAL (SE) VENICE (SE) HARVEST MOON DANCE FESTIVAL (SE) HARVEST MOON DANCE FESTIVAL (SE) LU‘AU IN THE PARK (SE) JUMBO SHRIMP CIRCUS (SE) Balkan (OGD) ROSIE FLORES (SE) BAYANIHAN PHILIPPINE NATIONAL RICK SHEA & KVMR CELTIC FESTIVAL (SE) Flamenco (OGD) DANCE COMPANY (SE) I SEE HAWKS IN L. A. (SE) With (SE) SEVERIN BROWNE & FRIENDS (SE) International (OGD) EARL BROTHERS (SE) STEVE POLTZ (SE) MARIA KALANIEMI TRIO (SE) SOUAD MASSI (SE) JACKI BREGER FAMILY SING-A-LONG (SE) Irish (OGD) International (OGD) TAJ MAHAL (SE) JUAN L. SANCHEZ \ RAZZLE BAM BOOM (SE) HARRY MANX (SE) Israeli (OGD) Israeli (OGD) Balkan (OGD) LOWEN & NAVARRO (SE) TAJ MAHAL (SE) AVILA BEACH MUSIC FESTIVAL (SE) BETH PATTERSON (SE) Morris (OGD) Persian (OGD) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) (SE) DANIEL HO, KEOKI KAHUMOKU & HERB OHTA JR (SE) Scottish (OGD) International (OGD) Flamenco (OGD) DENNIS ROGER REED (SE) CAREN ARMSTRONG (SE) Scandinavian (OGD) MARIACHI NUEVO CUICATLAN, HERMANOS International (OGD) Scottish (OGD) Open Mike (OGM) Irish (OGD) International (OGD) LOWEN & NAVARRO (SE) HERRERA, AND BALLET OLLIN (SE) Israeli (OGD) Bluegrass Jam (OGM) Irish Session (OGM) Israeli (OGD) Irish (OGD) TOMMY EMMANUEL (SE) CONJUNTO JARDIN (SE) MARLEY’S GHOST (SE) Scandinavian (OGD) Israeli (OGD) MASANGA MARIMBA ENSEMBLE (SE) BAYANIHAN PHILIPPINE NATIONAL Polish (OGD) Irish Session (OGM) Songwriter Showcase (OGM) DANCE COMPANY (SE) Greek (OGD) Scottish (OGD) Open Mike (OGM) Scottish (OGD) Scottish (OGD) CAROLYN HESTER & ROSS ALTMAN (SE) Bluegrass Jam (OGM) Bluegrass (OGM) Bluegrass Jam (OGM) International (OGD) ELLIS PAUL With ANTJE DUVEKOT (SE) Group Singing (OGM) Group Singing (OGM) Open Mike (OGM) Scottish (OGD) ASHLEY MAHER (SE) SMALL POTATOES (SE) Irish Session (OGM) Open Mike (OGM) Open Mike (OGM) ISRAEL and PASTORA GALVAN (SE) DENNIS ROGER REED (SE) Old Time Jam (OGM) Open Mike (OGM) Contra (OGD) Flamenco (OGD) Welsh Music (OGM) International (OGD) Israeli (OGD) Bluegrass (OGM) Group Singing (OGM) September-October 2006 FolkWorks Page 17 FOLK HAPPENINGS AT A GLANCE OCTOBER 2006

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HARVEST MOON DANCE RIDERS OF THE PURPLE SAGE (SE) (SE) Balkan (OGD) JANET KLEIN RHYTHM & BLUES CRUISE PACIFIC (SE) RHYTHM & BLUES CRUISE PACIFIC (SE) FESTIVAL and OPEN DANCE (SE) Balkan (OGD) Flamenco (OGD) Cajun/Zydeco (OGD) & HER PARLOR BOYS (SE) CALICO DAYS (SE) CALICO DAYS (SE) KARL ANTHONY (SE) International (OGD) International (OGD) International (OGD) BRIGITTE DeMEYER (SE) WOLF MOUNTAIN TRAIN SONG FESTIVAL (SE) BAYANIHAN PHILIPPINE NATIONAL Irish (OGD) Persian (OGD) Irish (OGD) Cajun/Zydeco (OGD) BLUEGRASS FESTIVAL (SE) WOLF MOUNTAIN BLUEGRASS FESTIVAL (SE) DANCE COMPANY (SE) Israeli (OGD) Scottish (OGD) Israeli (OGD) English (OGD) HARDLY STRICTLY COWBOY FESTIVAL (SE) JEANNIE WILLETS (SE) BLUEGRASS FESTIVAL (SE) Morris (OGD) Open Mike (OGM) Scandinavian (OGD) Flamenco (OGD) GRAND AVENUE FESTIVAL (SE) BRUCE MOLSKY JAMES LEE STANLEY Scandinavian (OGD) Irish Session (OGM) Scottish (OGD) International (OGD) DANIEL HO, KEOKI KAHUMOKU, & HERB and MARLEY’S GHOST (SE) and PETER TORK (SE) OHTA JR (SE) Scottish (OGD) Songwriter Showcase (OGM) Bluegrass (OGM) Irish (OGD) TAJ MAHAL (SE) SOURDOUGH SLIM (SE) ANDY RAU BAND (SE) Bluegrass Jam (OGM) Israeli (OGD) Contra (OGD) International (OGD) Shape Note (OGM) Bluegrass Jam (OGM) ESTAMPAS PORTEÑAS (SE) THE BILGEWATER BROTHERS (SE) Irish Session (OGM) Scottish (OGD) Israeli (OGD) Polish (OGD) Group Singing (OGM) SEVERIN BROWNE And JAMES COBERLY KATIA MORAES & SAMBAGURU (SE) Open Mike (OGM) Bluegrass (OGM) Scottish (OGD) Open Mike (OGM) SMITH With PAUL ZOLLO (SE) BERNIE PEARL (SE) INTI-ILLIMANI (SE) Group Singing (OGM) Open Mike (OGM) Shape Note (OGM) Old Time Jam (OGM) Contra (OGD) Greek (OGD) LAURENCE JUBER (SE) Yiddish (OGM) Bluegrass Jam (OGM) International (OGD) BRIGITTE DeMEYER (SE) Irish Session (OGM) Israeli (OGD) Scottish (OGD) Contra (OGD) Flamenco (OGD) Old Time Jam (OGM) Group Singing (OGM) International (OGD) Israeli (OGD) Bluegrass (OGM) Group Singing (OGM) Welsh Music (OGM) Open Mike (OGM) Open Mike (OGM) 8 9 10 11 12 13 14

COWBOY FESTIVAL (SE) DANIEL HO, KEOKI KAHUMOKU, & ALOHA WITH STYLE II With RAMBLIN’ MARCIA BALL (SE) SEASIDE HIGHLAND GAMES (SE) FAMILY FOLKTALES(SE) CALICO DAYS (SE) HERB OHTA JR (SE) With DANIEL HO, HERB OHTA, JR, & JACK ELLIOTT (SE) LES YEUX NOIRS (SE) STORYTELLING FESTIVAL (SE) SEASIDE HIGHLAND GAMES (SE) KEOKI KAHUMOKU (SE) OLD-TIME FIDDLER’S CONVENTION DRUHA TRAVA (SE) MARCIA BALL (SE) Cajun/Zydeco (OGD) JOYCE ANDERSEN (SE) STORYTELLING FESTIVAL (SE) Flamenco (OGD) AND FESTIVAL (SE) Armenian (OGD) Balkan (OGD) Flamenco (OGD) KIM EUNG HWA (SE) BLUESAPALOOZA (SE) International (OGD) A TASTE OF FOLK MUSIC (SE) Balkan (OGD) Cajun/Zydeco (OGD) International (OGD) MARCIA BALL / CONNIE RAE (SE) BERKLEY HART (SE) LIL’ REV (SE) Israeli (OGD) WOLF MOUNTAIN International (OGD) International (OGD) Irish (OGD) TANGO AND FIRE (SE) DAVE STAMEY plus TRAILS & RAILS (SE) BLUEGRASS FESTIVAL (SE) Persian (OGD) FOUR SHILLINGS SHORT (SE) Irish (OGD) Irish (OGD) Israeli (OGD) Contra (OGD) HOOTENANNY & Scottish (OGD) JOYCE WOODSON (SE) Israeli (OGD) Israeli (OGD) Scottish (OGD) Greek (OGD) THE SHOW (SE) Open Mike (OGM) JOHN SCOFIELD with (SE) Morris (OGD) Scandinavian (OGD) Bluegrass Jam (OGM) Hungarian (OGD) CORNUCOPIA (SE) Irish Session (OGM) CLAIRE MANN And AARON JONES (SE) Scandinavian (OGD) Scottish (OGD) Open Mike (OGM) International (OGD) JAMES LEE STANLEY & PETER TORK (SE) Songwriter Showcase (OGM) TANIA LIBERTAD (SE) Scottish (OGD) Bluegrass (OGM) Scottish (OGD) Cajun/Zydeco (OGD) MARIACHI DIVAS AND FRIENDS (SE) Bluegrass (OGM) Group Singing (OGM) Open Mike (OGM) Contra (OGD) MARCIA BALL (SE) Irish Session (OGM) Open Mike (OGM) International (OGD) Contra (OGD) English (OGD) Open Mike (OGM) Old Time Jam (OGM) Israeli (OGD) Polish (OGD) Flamenco (OGD) International (OGD) Scottish (OGD) Irish Session (OGM) Israeli (OGD) Bluegrass (OGM) Welsh Music (OGM) Drum Circle (OGM) Shape Note (OGM) 15 16 17 18 19 20 21

SEASIDE HIGHLAND GAMES (SE) Armenian (OGD) LOST HIGHWAY (SE) JOAN BAEZ (SE) THE BILGEWATER BROTHERS (SE) MARTA TOPFEROVA (SE) RAMBLIN’ JACK ELLIOTT (SE) DOUG MacLEOD (SE) Balkan (OGD) JOAN BAEZ (SE) Balkan (OGD) Cajun/Zydeco (OGD) Contra (OGD) HOT CLUB QUARTET (SE) JOYCE ANDERSEN (SE) International (OGD) Flamenco (OGD) Cajun/Zydeco (OGD) English (OGD) Greek (OGD) JANET KLEIN and Her Parlor Boys (SE) LOS TUCANES DE TIJUANA (SE) Irish (OGD) International (OGD) International (OGD) Flamenco (OGD) International (OGD) SLIGO RAGS (SE) BERKLEY HART (SE) Israeli (OGD) Israeli (OGD) Irish (OGD) International (OGD) Scottish (OGD) WENDY WALDMAN / JENNY YATES / BON- AARON JONES and CLAIRE MANN (SE) Morris (OGD) Persian (OGD) Israeli (OGD) Irish (OGD) Open Mike (OGM) NIE HAYES / DEBORAH HOLLAND (SE) International (OGD) Scandinavian (OGD) Scottish (OGD) Scandinavian (OGD) Israeli (OGD) LATIN HARP NIGHT (SE) Israeli (OGD) Polish (OGD) Scottish (OGD) Bluegrass (OGM) Scottish (OGD) Scottish (OGD) CHRIS SMITHER (SE) KAEDMON (SE) Scottish (OGD) Irish Session (OGM) Open Mike (OGM) Bluegrass (OGM) Bluegrass (OGM) MICHAEL PAUL SMITH (SE) Group Singing (OGM) Open Mike (OGM) Irish Session (OGM) Group Singing (OGM) Group Singing (OGM) (SE) Irish Session (OGM) Bluegrass (OGM) Shape Note (OGM) Open Mike (OGM) Open Mike (OGM) TOM RUSH With A.J. CROCE (SE) Bluegrass Jam (OGM) Songwriter Showcase (OGM) Old Time Jam (OGM) Songwriter Showcase (OGM) MARK HUMPHREYS (SE) Open Mike (OGM) Songwriter Showcase (OGM) CONJUNTO JARDIN (SE) Shape Note (OGM) Contra (OGD) Flamenco (OGD) Welsh Music (OGM) International (OGD) Western Music (OGM) Israeli (OGD) Bluegrass (OGM) Group Singing (OGM) 22 23 24 25 26 27 28

SUZANNE TENG (SE) HABIB KOITE,VUSI MAHLASELA & Flamenco (OGD) ADAAWE (SE) FÉS FESTIVAL OF JAY LEONHART (SE) STEFANI VALADEZ BOB LIND with DAFNI (SE) DOBET GNAHORE (SE) International (OGD) JAY LEONHART (SE) WORLD SACRED MUSIC (SE) DERVISH (SE) AND FRIENDS (SE) JAMES MCVAY (SE) LORIN HART (SE) Israeli (OGD) Balkan (OGD) (SE) APRIL VERCH (SE) AUNTIE HENOA KEAWE (SE) International (OGD) Armenian (OGD) Persian (OGD) Cajun/Zydeco (OGD) Cajun/Zydeco (OGD) DENNIS ROGER REED (SE) SLIGO RAGS (SE) HIGH HILLS (SE) Israeli (OGD) Balkan (OGD) Scottish (OGD) International (OGD) Flamenco (OGD) SUSAN WERNER (SE) RICK SHEA / I HAWKS IN L.A. (SE) Polish (OGD) International (OGD) Open Mike (OGM) Irish (OGD) International (OGD) Greek (OGD) RONNY COX (SE) APRIL VERCH (SE) Scottish (OGD) Irish (OGD) Irish Session (OGM) Israeli (OGD) Irish (OGD) Hungarian (OGD) SUSIE GLAZE (SE) TOM KIMMEL (SE) Bluegrass Jam (OGM) Israeli (OGD) Songwriter Showcase (OGM) Scandinavian (OGD) Israeli (OGD) International (OGD) CLARK BRANSON AND FRED STARNER (SE) Group Singing (OGM) Morris (OGD) Scottish (OGD) Scottish (OGD) Scottish (OGD) RANI ARBO & DAISY MAYHEM With Irish Session (OGM) Scandinavian (OGD) Bluegrass (OGM) Bluegrass Jam (OGM) Open Mike (OGM) ASLEEP AT THE WHEEL (SE) Open Mike (OGM) Scottish (OGD) Group Singing (OGM) Open Mike (OGM) JOHN STEWART (SE) Welsh Music (OGM) Bluegrass Jam (OGM) Open Mike (OGM) Contra (OGD) English (OGD) Irish Session (OGM) Old Time Jam (OGM) Flamenco (OGD) International (OGD) Open Mike (OGM) Israeli (OGD) Bluegrass (OGM) Group Singing (OGM) Old Time Jam (OGM) 29 30 31

MASANGA MARIMBA ENSEMBLE (SE) Armenian (OGD) Flamenco (OGD) APRIL VERCH (SE) Balkan (OGD) International (OGD) FOLK HAPPENINGS AT A GLANCE International (OGD) International (OGD) Israeli (OGD) Israeli (OGD) Irish (OGD) Persian (OGD) Polish (OGD) Israeli (OGD) Scottish (OGD) Check out details by Scottish (OGD) Morris (OGD) Open Mike (OGM) Irish Session (OGM) Scandinavian (OGD) Irish Session (OGM) following the page references: Welsh Music (OGM) Scottish (OGD) Songwriter Showcase (OGM) Irish Session (OGM) OGM: On-going Music - pg. 15 Open Mike (OGM) Bluegrass Jam (OGM) OGD: On-going Dance - pg. 18 SE: Special Events - pg. 32 Page 18 FolkWorks September-October 2006

ON-GOING DANCE HAPPENINGS DANCING, DANCING and more DANCING

AFRICAN DANCING THE LIVING TRADITION SIERRA MADRE CLASS PERSIAN DANCING www.thelivingtradition.org Mondays 8:00-9:30pm YORUBA HOUSE SHIDA PEGAHI 2nd Fridays - Lesson 7:30 Dance 8:00-11:00pm Sierra Madre Recreation Building 310-475-4440 611 E. Sierra Madre Blvd., Sierra Madre Tuesdays 6:00pm • 310-287-1017 [email protected] • yorubahouse.net Rebekah Hall, 406 East Grand Ave., El Segundo Peter Bergonzi 323-788-4883 [email protected] Ann Armstrong 626-358-5942 TRADITIONAL DANCE CLASS SOUTH BAY FOLK DANCERS FROM CAMEROON, CENTRALAFRICA 4th Saturdays - Lesson 7:30 Dance 8:00-11:00pm Downtown Community Center 2nd Fridays 7:45-9:45pm with Noah Andzongo Torrance Cultural Center Sundays 3:00 - 4:30pm 250 E. Center St.@, Anaheim Rich DiMarco 714-894-4113 [email protected] 3330 Civic Center Dr., Torrance POLISH DANCING Lula Washington Dance Theatre Beth Steckler 310-372-8040 3773 South Crenshaw Blvd., Los Angeles ENGLISH COUNTRY DANCING GORALE POLISH FOLK DANCERS 909-728-8724 [email protected] TUESDAY GYPSIES Sundays 6:00-8:00pm 818- 548-8014 [email protected] CALIFORNIA DANCE CO-OPERATIVE Tuesdays 7:30-10:30pm $7.50 Pope John Paul Polish Center www.CalDanceCoop.org Culver City Masonic Lodge 3999 Rose Dr., Yorba Linda AFROCUBAN DANCE CLASS 1st & 3rd Thursdays 8:00-10:00pm 9635 Venice Blvd., Culver City Rick Kobzi 714-774-3569 • [email protected] with Teresita Dome Perez Gerda Ben-Zeev 310-474-1232 • [email protected] Saturdays noon-1:30pm (begins Saturday, August 27) First United Methodist Church SCANDINAVIAN DANCING 1551 El Prado, Torrance Millicent Stein 310-390-1069 Dancers’ Studio, 5772 Pico Blvd., L.A. SKANDIA DANCE CLUB 323 721-1749 • www.curuye.com Giovanni 310-793-7499 • [email protected] TROUPE MOSAIC Tuesdays 6:30-8:30pm Wednesdays 7:30-10:00pm $5 BRAZILIAN RHYTHMS & DRUMS 2nd & 4th Saturdays - Lesson 1:00pm Dance 1:30-4:00pm Lindberg Park • 5401 Rhoda Way, Culver City Lindberg Park 5401 Rhoda Way, Culver City Gottlieb Dance Studio • 9743 Noble Ave., North Hills with Carlinhos Pandeiro de Ouro Mara Johnson 818-831-1854 Sparky 310-827-3618 • Ted Martin [email protected] Mondays 7:30pm - 9:00pm Annie 310-837-3427 • [email protected] led by Cameron Flanders & John Chittum VESELO SELO FOLK DANCERS 18th Street Art Center, 1639 18th Street, Santa Monica FLAMENCO DANCING SKANDIA SOUTH 310-315-9383 [email protected] Thursdays, Fridays 7:30-10:30pm (intermediate class) POINT BY POINT DANCE STUDIO Saturdays 8:00-11:00pm Mondays 7:30-10:30pm WEST AFRICAN DANCE Saturdays & Thursdays Hillcrest Park Recreation Center Downtown Community Center • 250 E. Center, Anaheim with Nzingha Camara 1315 Fair Oaks, Suite #104, South Pasadena 1155 North Lemon & Valley View, Fullerton Ted Martin 714-533-8667 • [email protected] Wednesdays 6:30pm - 8:00pm $12 Katerina Tomás 626-403-7489 Lorraine Rothman 714-680-4356 WEST COAST GAMMELDANS CLUB The Dance Collective 4327 S. Degnan Blvd. L.A. [email protected] Wednedsdays 7:30 - 9:30pm [email protected] WESTCHESTER LARIATS (Youth Group) LE STUDIO Mondays 3:30-9:30pm $30 or $40/10-wk session 5361 Vallecito Ave, Westminster NIGERIAN DANCE 100 W. Villa, Pasadena Westchester United Methodist Church Allan 714-875-8870 [email protected] with Fraces Awe Tuesdays 6:30pm 8065 Emerson Ave., Los Angeles Shirley 714-932-2513 [email protected] Wednesdays 7:30pm-9:00pm Marcellina de Luna 626-524-6363 [email protected] Diane Winthrop 310-376-8756 • [email protected] VASA JUNIOR FOLK DANCE CLUB Lula Washington 3773 S. Crenshaw, L.A. First, third and fifth Wednesdays from 7:30-9:00pm 323-294-7445 • www.nitade.com GREEK DANCING WEST HOLLYWOOD FOLK DANCERS Wednesday 10:15-11:45am Skandia Hall, 2031 E. Villa St., Pasadena -Armand and ARMENIAN DANCING KYPSELI GREEK DANCE CENTER West Hollywood Park, San Vicente & Melrose Sharron Deny 626-798-8726 [email protected] Fridays 8:00-11:30pm $5.00 West Hollywood • Tikva Mason 310-652-8706 Carol Goller 714-892-2579 [email protected] OUNJIAN’S ARMENIAN DANCE CLASS Skandia Hall 2031 E. Villa St., Pasadena Tuesdays 7:45-10:00pm Dalia Miller 818-990-5542 • [email protected] WEST L.A. FOLK DANCERS SCOTTISH DANCING 17231 Sherman Way, Van Nuys [email protected] Mondays Lesson 7:45-10:45pm AGOURA HILLS Susan Ounjian 818-845-7555 Joyce Helfand 626-446-1346 Louise Bilman 323-660-1030 Fridays 7:45-10:45pm Sundays 1:00-3:00pm Beginner TOM BOZIGIAN Brockton School • 1309 Armacost Ave., West L.A Agoura Hills Performing Arts Center, 5015 Cornell Rd. CAFÉ DANSSA Beverly Barr 310-202-6166 • [email protected] 562-941-0845 • www.bozigian.com Thursdays 7:30-10:30pm $6.00 Frank Ibbot 805-373-9905 [email protected] WESTWOOD CO-OP FOLK DANCERS BALKAN DANCING 11533 W. Pico Blvd., Los Angeles ANAHEIM Dennis Gura [email protected] 310-503-8839 Thursdays 7:30-10:45pm $4 Mondays 7:00-9:30pm CAFÉ AMAN www.lifefestival.com • 310-478-7866 Felicia Mahood Senior Club Betsy Ross School, 535 S. Walnut St. 2nd Saturdays 7:30pm-10:30 pm 11338 Santa Monica Blvd. (at Corinth), L.A. Bob Harmon 714-774-8535 at Café Danssa HUNGARIAN DANCING Tom Trilling 310-391-4062 11533, Pico Blvd., West Los Angeles HUNGARIAN CLASS (BEGINNING) CHATSWORTH WEST VALLEY FOLK DANCERS Wednesdays 8:00-9:30pm Social Class Mady 310-820-3527 [email protected] 2nd & 4th Fridays 8:30-10:30pm $7.00 Fridays 7:15-10:00pm $3 Ian 818-753-0740 [email protected] Gypsy Camp 3265 Motor Ave., Los Angeles Great American Dance Factory, 21750 Devonshire Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga Park Leone & Rober Burger 818-576-1015 [email protected] CAFÉ DANSSA Jon Rand 310-202-9024 • [email protected] Jay Michtom 818-368-1957 • [email protected] CULVER CITY Wednesdays 7:30-10:30pm INTERNATIONAL FOLK DANCING 11533 W. Pico Blvd., Los Angeles IRISH DANCING Tuesdays 7:30-10:00pm (All levels, beginners call) Sherrie Cochran [email protected] • 626-293-8523 ALTADENA FOLK DANCERS CLEARY SCHOOL OF Lindberg Park, 5401 Rhoda Way www.lifefestival.com • 310-478-7866 Wednesdays 10:30-11:30am www.irish-dance.net • 818-503-4577 Marsden MacRae 310-391-3052 [email protected] Thursdays 3:00-4:00pm SAN PEDRO BALKAN FOLK DANCERS CELTIC ARTS CENTER EAGLE ROCK Altadena Senior Center • 560 E Mariposa St., Altadena Thursdays 7:30-10:00pm (All levels) Mondays 7:30-9:30pm Karila 818-957-3383 Irish Ceili Dalmatian American Club Mondays 8:00-9:00pm (ex. 1st Mondays) St. Barbanabas Episcopal Church, 2109 Chickasaw Ave. 17th & Palos Verdes, San Pedro ANAHEIM INTERNATIONAL Wednesdays - 7:30-9:00pm Becky Green 626-351-5189 [email protected] Zaga Grgas 310-832-4317 • Pauline Klak 310-832-1074 FOLKDANCERS 4843 Laurel Canyon Blvd., Valley Village LANCASTER Wednesdays 7:30-9:30pm • 511 S. Harbor, Anaheim 818-752-3488 • www.celticartscenter.com BELLY DANCING 1st & 3rd Fridays Beginner/Intermediate 7:00-9:00pm CALTECH FOLK DANCERS MAIRE CLERKIN Lutheran Church of the Master,725 East Ave. J Call for schedule/locations Tuesdays 8:00-11:55pm 310-801-5520 • [email protected] Aase Hansen 818-845-5726 Mésmera, 323-669-0333 • www.mesmera.com Throop Memorial Church 300 S. Los Robles, Pasadena LOMITA Nancy Milligan 626-797-5157 • [email protected] LOS ANGELES IRISH SET DANCERS CAJUN / ZYDECO DANCING Mondays 7:30 - 9:30pm Mondays Intermeidate 8:00-10:00pm Academy of Dance 24705 Narbonne (at 247th St.) Thursdays- Lesson: 7:00-8:00pm ($5). Dance to CD's: CONEJO VALLEY FOLK DANCERS The Burbank Moose Lodge Jack Rennie 310-377-1675 • [email protected] 8:00-10:00pm Wednesdays 7:30-9:30pm $1-2 1901 W. Burbank Blvd., Burbank PCH Club Hillcrest Center (Small Rehearsal Room) Thursdays 7:30 - 9:30pm BEACH Best Western Golden Sails Hotel 403 West Hillcrest Drive, Thousand Oaks The Columbian Fathers Tuesdays Beginner - 7:00pm • Intermediate - 8:15pm 6285 East Pacific Coast Highway, Long Beach Jill Lundgren 805-497-1957 • [email protected] 2600 North Vermont Ave., Los Angeles Knights of Columbus Hall 224-1/2 S. Sepulveda Blvd. 562-708-8946 [email protected] DUNAJ INT’L DANCE ENSEMBLE O’CONNOR-KENNEDY SCHOOL Wilma Fee 310-546-2005 [email protected] Rosemary Abend 310-373-1985 [email protected] 2nd Sundays - Live Band 5:30-9:00pm $15 Wednesdays 7:30-10:00pm OF IRISH DANCE Elks Lodge Wiseplace 1411 N. , Santa Ana 818-773-3633 • [email protected] NORTHRIDGE [email protected] 1735 West 162nd St., Gardena • 562 427-8834 THOMPSON SCHOOL OF IRISH DANCE Thursdays - Intermediate - 8:00-10:00pm Richard Duree 714-641-7450 Sonia’s Dance Center, 8664 Lindley Ave., Northridge Wednesdays - Lessons 7:00pm Dancing 8:00-9:00pm $5 Cecily Thompson 562-867-5166 • [email protected] FOLK DANCE FUN Deanna St. Amand 818-761-4750 • [email protected] Joe’s Crab Shack ISRAELI DANCING 6550 Marina Dr., Long Beach 3rd Saturdays 7:30-9:30 pm PALMDALE / LANCASTER 8648 Woodman Ave., Van Nuys ARCADIA FOLK DANCERS 1st & 3rd Thursdays 3:30-4:30pm Children 5 and older LALA LINE 626-441-7333 Ruth Gore 818-349-0877 Saturdays (call for schedule) Lutheran Church of the Master, 725 East Ave. J For additional Cajun/Zydeco dancing: Shaarei Torah, Arcadia • Avi Gabai 626-445-0810 Kathy Byers 661-722-3533 [email protected] users.aol.com/zydecobrad/zydeco.html INTERNATIONAL FOLK DANCE CLUB AT UCLA COSTA MESA ISRAELI DANCERS PASADENA CONTRA DANCING Mondays 9:00-11:00 pm Free Wednesdays 7:00-11:30pm Wednesdays 7:30-9:30pm (All levels) CALIFORNIA DANCE CO-OPERATIVE UCLA Ackerman Student Union Building JCC of Orange County • 250 Baker St., Costa Mesa Westminster Presbyterian Church, 2230 W Jefferson Blvd www.CalDanceCoop.org • Hotline 818-951-2003 Room 2414 • 2nd Floor Lounge Westwood Yoni Carr 760-631-0802 • [email protected] Doug Macdonald 909-624-9496 [email protected] 310-284-3636 • [email protected] 1st Fridays - Lesson 8:00pm Dance 8:30-11:30pm ISRAELI FOLK DANCING AT UCLA REDONDO BEACH South Pasadena War Memorial Hall LAGUNA FOLK DANCERS Mondays 9:00pm UCLA Ackerman Union 2414 Sundays 7:00 - 9:00pm (Intermediate/Advanced) 435 S. Fair Oaks Ave., South Pasadena Wednesdays 8:00-10:00pm James Zimmer • [email protected] 310-284-3636 American Legion Hall, 412 South Camino Real Sundays 8:00-10:00pm Dennis 626-282-5850 • [email protected] ISRAELI DANCE WITH JAMES ZIMMER Carol Johnson 310-372-8535 • [email protected] Laguna Community Center Tuesdays 7:30pm-Midnight 1st Saturdays - Lesson 7:30pm Dance 8:00-11:00pm 384 Legion Ave & Glenneyre, Laguna SANTA PAULA WJCC 5870 W. Olympic Blvd, Los Angeles Brentwood Youth House Richard Duree 714-641-7450 • [email protected] Wednesdays 7:30-10:00pm (All levels) 731 So. Bundy, Brentwood $7 ($6 for JCC Members) All ages welcome. Briggs School, 14438 West Telephone Rd. Jeff 310-396-3322 • [email protected] LEISURE WORLD FOLK DANCERS James Zimmer 310-284-3638 [email protected] Oberdan Otto 805-389-0063 [email protected] Tuesdays 8:30-11:00am Saturdays 8:30-11:00am www.geocities.com/IsraeliDance SIMI VALLEY 1st Sundays - Lesson 3:30pm Dance 4:00-7:00pm Club House 1, Leisure World, Laguna Hills 1st Fridays 8:30pm Free Mondays All Saints Epoiscopal Church Florence Kanderer 949-425-8456 University Synagogue, 11960 Sunset Blvd., Brentwood Beginners - 7:30-9:00pm • Intermediate 9:00-10:00pm 3847 Terracina Drive, Riverside Thursdays 8:00-9:30pm MOUNTAIN DANCERS Rancho Santa Susana Comm. Ctr., 5005-C Los Angeles Ave. Meg 909-359-6984 • [email protected] Sundays 2:00-3:00pm Tuesdays 7:00-9:30pm Mary Lund 818-996-5059 [email protected] 2nd Saturdays - Lesson 7:30pm Dance 8:00-11:00pm Oneyonta Congregational Church Encino Community Center, LA Recreation & Parks Sierra Madre Masonic Temple 1515 Garfield Ave., South Pasadena 4935 Balboa Blvd, Encino 818-995-1690 SOUTH PASADENA 33 E. Sierra Madre Blvd., Sierra Madre Rick Daenitz 626-797-16191 [email protected] 310-284-3638 Sundays Beginner - 6:00-7:00pm Intermediate 7:00-9:00pm Frank 818-951-4482 • [email protected] UNIVERSITY OF JUDAISM NARODNI FOLKDANCERS War Memorial Hall, 435 Fair Oaks Ave. 2nd Sundays - Wednesdays 7:30-10pm Thursdays 7:30-10:30pm $3 Ann McBride 818-841-8161 [email protected] Slow Jam 2:00pm Lesson 3:30 Dance 4:00-7:00pm Dance America, 12405 Woodruff Ave., Downey 5600 Mulholland Dr., Los Angeles La Verne Veteran’s Hall, 1550 Bonita Ave., La Verne John Matthews 562-424-6377 • [email protected] Natalie Stern 818-343-8009 THOUSAND OAKS Tuesdays 7:30-9:30pm (Experienced) Contact Lance Little 909-624-9185 VINTAGE ISRAELI NEWPORT BEACH Hillcrest Center for the Arts, 403 W. Hillcrest Dr. [email protected] Anisa’s School of Dance Sundays (International/Israeli) Robb Quint 805-498-2303 [email protected] 3rd Fridays - 8:00pm-9:00pm Beginners 14252 Ventura Blvd., Sherman Oaks Social 7:00pm Lesson 8:00pm Dance 8:30-11:30pm 9:00pm-12 midnite Intermediate and Advanced [email protected] TORRANCE South Pasadena War Memorial Hall Fridays Beginner - 7:00-8:15pm Avant Garde Ballroom • 4220 Scott Dr., Newport Beach MORRIS DANCING 435 S. Fair Oaks Ave., South Pasadena Avi Gabay 310-560-4262 • [email protected] Intermediate - 8:30-9:45pm Contact: Marie 626-284-2394 [email protected] RISING PHOENIX MORRIS Torrance Civic Center, Cultural Building, Studio 3 PASADENA FOLKDANCE CO-OP Mondays 2nd Mondays Between Torrance & Madrona 3rd Saturdays - Lesson 7:30pm Dance 8:00-11:00pm Fridays 7:45-11pm Teaching to 9pm $2 Throop Memorial Church Sunset Bar & Grill 1240 3rd St. Promenade, Santa Monica Jack Rennie 310-377-1675 [email protected] Throop Unitarian Church Audrey Goodman [email protected] 300 S. Los Robles Ave, Pasadena 300 S. Los Robles, Pasadena TUSTIN Contact John Rogers • 626-303-4269 Marshall Cates 626-792-9118 • [email protected] WILD WOOD MORRIS Wednesdays 7:00-10:00pm [email protected] 6270 E. Los Santos Drive, Long Beach Columbus Tustin Activity Center, 17522 Beneta Way RESEDA INT’L FOLK DANCERS 4th Saturdays - Lesson 7:30pm Dance 8:00-11:00pm Julie James 562-493-7151 Shirley Saturnensky 714-557-4662 Thursdays 3:00-4:45pm [email protected] • wildwoodmorris.com Brentwood Youth House Reseda Senior Center • 18255 Victory Blvd., Reseda VAN NUYS 731 South Bundy Drive JoAnne McColloch 818-340-6432 Mondays Beginner - 7:00-8:30pm Peter 562-428-6904 • [email protected] BEFORE ATTENDING ANY EVENT Intermediate - 8:00-10:00pm ROBERTSON FOLK DANCE Contact the event producer to verify information before 5th Saturday - Dance 7:00-11:00pm (Experienced) Valley College, Ethel at Hatteras St. Mondays 10:00-11:30am attending any event. (Things change!!!) Aase Hansen 818-845-5726 [email protected] Throop Memorial Church 1641 Preuss Rd., Los Angeles 310-278-5383 CORRECTIONS 300 S. Los Robles Ave, Pasadena FolkWorks attempts to provide current and accurate VENTURA Contact Kathy 818-989-1356 information on all events but this is not always possible. Fridays 7:30-10:00pm Beginner / Intermediate Send to: [email protected] or 818-785-3839 , Dance Studio, 4667 Telegraph Road Mary Brandon 818-222-4584 / Frank Ibbott 805-373-9905 September-October 2006 FolkWorks Page 19 The Secret Museum

few nights ago my wife and I, along with a couple friends wandered The result is mesmerizing. Each Aoff to somewhere strange and exotic in the city of Santa Monica. It CD offers an ancient whirlwind of was after a birthday party and we needed to get away from the chaos exotic sounds and echoes of bygone of the pier. We don’t know the area too well, but we were in a popular locale eras and distant lands. There is no they call the “promenade.” There were long lines of well–fashioned hipsters attempt to provide an academic read- vying for entry privileges to swank bars and crowded lounges, street per- ing of the material in the liner notes. formers galore, people buying more expensive things to add to their collec- In fact there is really no context for tions of whatever, and a his selection process lot of distracting signs, at all. There are just a sounds, and slow-mov- few notes about each ing humans. It was track, many “color- claustrophobic and ful” photographs, and wondrous. I’ve seen the rest is up to your Mongolian throat imagination. singers, amateur blue- Although I have a grass bands, costumed background in ethno- wise-men and broke and reli- street magicians at this gious studies, I still promenade. Folklife, feel like a sheltered good and bad, can be 19th century western- found here. Anyhow, er lining up at the my mind was on other medicine show hop- things. We were on the ing to catch a glimpse of the Hindustani fire-eater or snake hunt for a record store. charmer when I listen to this series. It’s refreshing to trek We found a Tower throughout the globe as an armchair time traveler every Records and decided to go in. The store appeared empty as we browsed, three minutes, with very little cultural reference to influence my experience. until my wife whispered something into my ear. I turned around and stared: I don’t feel that ignorance is bliss, but it’s both enjoyable and challenging to Before me was a living pop culture phenomenon. I was in awe, while the tune in and ponder the tapestry of sounds that this series offers without the rest of my group appeared totally unmoved. If anything, they shook their distraction of an ethnomusicologist’s handbook. After all, this collection heads in disgust. I, however, couldn’t believe it. The closest thing we have presents a different kind of listening experience. to American royalty was standing a few feet away, and all by herself. There Conte leaves you with little time to breathe. For one moment, you are were no bodyguards or entourage to speak of. Not even a small canine. Her suffocated by the layers and textures of the Japanese Imperial Household only company was her mobile phone. She slowly slinked her way down the Orchestra. Then you’re thrust into the shimmering spectral sounds of aisles, pretending to browse while she chatted secretly into her communica- Master Manahar Barve from . This track features mandolin, fiddle, tor. There were so many questions I wanted to ask her but only one was harmonium, and ghungur, the cluster of suspended bells. It sounds absolute- burning at me: I wonder if Paris Hilton has ever heard of the Secret ly magical. On Volume 1 alone, you can experience even stranger Museum of Mankind? After the sudden adrenalin spike, I realized aural juxtapositions. A Swedish maestrs is billed that probably nobody at the entire promenade would know with Yiddish Klezmer masters. A Polish fiddle band oddly what I was talking about. So why would Paris Hilton? After complements a Middle Eastern cascade of , ud, tar, all she looks like a busy person. I didn’t bother to ask her. and vocal by Morocco’s Raoul Journo. A wonderful track, I wish I had. Fiorassio, from the Sardinian Effisio Melis is one of the Lurking in the corners of the internet, hiding away in masterpieces of this collection. Melis was the master of certain record stores, and prestigiously displayed in a the , or ancient triple pipe. For lovers of few geeky home CD-libraries you can find a tempo- bagpipe music, it will sound strangely familiar, yet rary gateway into the Secret Museum of Mankind. It is other worldly. For others it may sound like a six- not well known in these parts but it should be. Most legged Barsoomian aquatic mating ritual. lovers of old-time music don’t even know it exists. To continue with any more description is fruit- It’s a shame. less. In my opinion, this collection is world music’s Eccentric collector Pat Conte has procured many answer to the Harry Smith Anthology of American sonic gems for his “secret museum” over a number of Folk Music. Conte’s compilation is a work of art, years. Apparently, few have glimpsed his collection of and this “secret museum” is a place we should all exotic sounds in person. That’s probably because it’s visit from time to time. I guarantee you’ll hear some- secret. Fortunately for all of us, he made some of it thing wonderful in any one of its five coffers whether available. you’re the aged wise man, the raggedy street performer, The Secret Museum of Mankind on Yazoo Records is a the latest incarnation of pop royalty, or even the old-time series of 5 CDs that highlights his record collection of world fiddler. music. The years: 1925-1948. While many have collected old hillbilly and country recordings or even jazz and blues, Conte went David Bragger is a Los Angeles-based instructor and player of old for ethnic music. As Conte points out, “Much of this music was conceived time fiddle and banjo music. He also photographs, films, and collects the or learned by those born in the 19th century.” This collection is old-time lore of traditional artists, from puppeteers in Myanmar to fiddlers of music from planet Earth.

HARVEST FESTIVAL of DULCIMERS (and more)

Sept. 16, 2006 ~ 9 am – 8 pm workshops, concerts, folk arts, vendors, food, silent auction D.P.Youth and Group Facility 34451 Ensenada Place, Dana Point, CA 92629 sponsored by So. Calif. Dulcimer Heritage www.scdh.org (562) 861-7049 Page 20 FolkWorks September-October 2006 THE INEDIBLE NATIVE PLANT CLASS

ne day as a teenager, I rented a boat on the Santa Monica Pier with at berries, there aren’t any flowers. Learn family characteristics and avoid Ofriends and rowed around inside the breakwater. Upon returning to anything in the Pea, Lily, and Carrot families unless you’re an expert.” The the dock, Sylvelin and I hopped out, but Helen cried “I’m drifting!” audience looked unhappy. We could have reached her with an oar but Sylvelin, gasping “somebody’s Finally, I handed the mike to Andy, who talked about getting permission got to do something!” plunged into the water to rescue her. This is the way from multiple and overlapping bureaucracies to forage on public lands. of the inveterate volunteer — we hear a cry for help and leap mindlessly into “Meet me outside after the door prizes and we’ll go for a walk.” The audi- action. ence brightened. That’s how I happened to volunteer to help teach a three-hour class in Then, unexpectedly, a local botanist/contradancer stood up and urged edible native plants. I can say this for myself: I ignored the first cry for help, that, instead of eating our lovely endangered native plants, we simply enjoy emailed last winter to local Master Gardeners by Tracy, our University the thrill of finding them. “If you want to eat wild plants,” he said, “see me Extension rep. A second email – obviously everybody had ignored the first afterwards for a list of plants that need extirpating.” – came from our beloved president, reminding us of our fine reputation as The walk, though, was what we’d hoped the whole class would be, an educators and begging us not to fail our community or Tracy. Perhaps, she informal exchange of knowledge. One lady said that Lewis and Clark had suggested, we’d be more comfortable volunteering as a team. used the large, soft thimbleberry leaves as toilet paper. A gentleman said Five of us succumbed. We began meeting at Arlene’s — a pleasant house that, when he was young, he occasionally got an especially piquant black- filled with artwork, quilts, and baskets — to outline the class, collect plants, berry. Then someone said, “watch out for spiders” so he did, and never and divvy up jobs. Bill potted the plants for door prizes. Andy checked laws again got that extra thrill. about foraging and planned a nature walk. Pat typed Arlene’s list of plants We got compliments about our presentation, but I imagine the candid in Latin and in English. I made a handout about poison oak and studied edi- reviews were more like: “Well, they said some plants were edible, but too ble plants. much trouble to bother with, and that other plants were edible but indistin- As I read, though, it was the poisonous plants that truly caught my fancy. guishable from deadly ones and we shouldn’t eat anything anyway because I liked the dire warnings: “This delicacy is easily confused with Thanatos they’re all endangered.” horribilis, which will kill you.” I sketched good and evil pairs, comparing Meanwhile, I’ll continue telling my granddaughters that most plants are leaves and growth habits, wondering if this would save my life. toxic and singing them Let it Be, ’ urgent song about a Several days before the class, we met at Arlene’s for fine-tuning. She flower in the forest. And the next cry for help? I won’t hear it. read her introduction about how her father had taught her to eat safely from the wild, finishing with “then you’ll talk about poison oak, Valerie, and Valerie Cooley is living in Coos Bay, Oregon. When she’s not playing with her Andy will take them for a walk.” beautiful and brilliant young granddaughters, she paddles her kayak on the “Wait,’ I said, “what comes after your introduction?” bay, watches birds, gardens, and contradances once a month “After?” she asked. “Yeah, when do you talk about cooking roots?” “As we go along, I guess,” she replied vaguely. “It’ll be a small group. We’ll just chat about recipes.” I went home, uneasy about what could be a fundamental flaw in our class. I called Tracy the next day. Twenty-five people had already signed up, too many to “chat with.” “Send pictures,” she said. “I’ll make a slide show. Big pictures might help.” I called Arlene but her phone was out of order. I tried her cell phone. “Yeah,” she said, “my house burned down. But don’t worry, I’ll be there.” Well, she was and she wasn’t. She’d lost everything she owned, her cat had run off, and all her notes were destroyed. Sixty-five attendees were sympathetic but eager. She rambled through her introduction, then tried to hand the microphone to me. I sidestepped and Tracy flicked on the slide show. Arlene glanced at the first picture and grunted, “Salal. You can eat that. Berries dry, not dangerous. NEXT!” Then, “Kinnikinnick. Yeah, hmmm. NEXT!” Then, “Salmonberries, hmmm. Eat ‘em raw; they’re pretty unat- tractive cooked. NEXT!” She disposed of 18 inspirational pictures in five minutes, handed me the mike, and sat down, well out of reach. I’d planned only a few comments about poison oak and plant identifi- cation and knew about nothing first-hand except blackberries so what, I wondered, was I supposed to do with this microphone? Suddenly every- thing I’d read about poisonous plants came pouring out — gastric distress, liver failure, blindness, death. I gave them my “draw-to-learn-and-live” pitch. “Learn the leaves of plants,” I said, “because, when you’re looking September-October 2006 FolkWorks Page 21 CARNEGIE HALL AND UNCLE RUTHIE CULMINATION

e is seven years old, blind, and deathly afraid of dogs, including our drum circles, after the lessons. Hmellow Muttl, who adores children. We secure Muttl behind the We sing songs in English and hallway gate and it still takes Nuri ten minutes to feel safe enough Spanish. Giselle is learning to to enter the house. We are not going to try to change Nuri’s mind at this use her own voice, rather than point. Children own their fears and their tears. We’ll wait till Nuri, who is that of an aging coloratura. autistic, verbal, and totally delightful, to grow older and a bit more rational. The other day, Insuk brought Nuri is here to continue his piano lessons, which officially ended when the us all a Korean feast. And Irvy’s music program at Frances Blend School was cancelled. mama makes the world’s best At first I was reluctant to give private lessons in my home. But some of chilli rellenos.( I am considering my students and their parents were so upset at the cancellation of the music future payment by barter!) program, which included piano lessons, that they convinced me to accept Continuing the discourse on their children as private students. I agreed with misgivings. These are not Practicing, a word which illustrates that great Truth, “There are no short affluent families. I hated to charge them for what had been free. So I made cuts!”—I have been, since February, happily ensconced in a wonderful new the fees as low as possible and still felt unworthy and uncomfortable. school, The Blind Children’s Center, located on Marathon Street across Nuri sits at my baby grand, which now sports the familiar Velcro circle from the Braille Institute. This is a dream job in a dream school, deserving on middle C. He is reviewing all his pieces from books by Schaum, Alfred, of its own column, but I will just tell you about our “graduation” in June. and a wonderful, old, out of print beginning piano book that my daughter BCCs children, who are blind, partially sighted, and “normal,” range in age used, thirty –five years ago. Nuri also reviews some pieces I wrote for him. from one through five years. For graduation, I provided one song, Malvina He remembers almost all of them. Reynold’s Magic Penny. The teachers chose a clever song about counting Against the wall, at a right angle to the piano, is my Roland, my favorite by tens; a Beetle song with the addition of Cuca, (yo), on the drum; assistant, known to Nuri and the other students as “Sammy .” and America The Beautiful with bells. From the very first lesson on, Sammy plays pre-recorded duets with the I would not have chosen that song because it contains many hard to children, turning a piece with only two notes into a delightful composition. understand words and phrases. When I was a little girl we sang that song in Nuri is rewarded at the end of each lesson with an improvisation period with school, and, on a beautiful day, I would always tell my father, “Look at the his beloved Sammy. I record these sessions and they are amazing, as Nuri sky, daddy, it’s so FORSPACIOUS!” But we gave bells to the children who has a great ear. His favorite voice buttons are Organ and Choir. didn’t sing, and the song sounded lovely. After we begin each new piece or exercise, I record it for Nuri on a sim- We practiced and practiced, every day for a week, and you know how ple tape recorder from the Braille Institute.) (Actual Braille music is too much I value practicing. complex for Nuri at this time.) (It is also difficult for his teacher!) Recording It paid off. Graduation Day was cool and balmy, and the sky was beau- pieces helps Nuri to practice, but the Nuri’s best help comes from his moth- tifully “forspacious.” The children sang like angels, and my antique pump er, Insuk, who also takes piano lesson on her day off, while Nuri is in organ sounded just right. The flag salute was my very favorite part. The lit- school. You have met Insuk before in this column—through her stubborn tle boy said, “PLEASE STAND—PLACE YOUR HEART OVER YOUR insistence that the C major scale should really begin with “A.” She has HEAD!” given up this campaign and has become my most accomplished piano stu- I think he was absolutely right, and precociously profound! Let’s all dent. She has also learned how to help Nuri to practice. It took some time remember to do just that! to convince her that practicing should be a lot of fun, with no scolding, and with lots of patience and praise; and that neither she nor Nuri was scheduled Uncle Ruthie is a singer, songwriter, storyteller, recording artist, Special to perform at Carnegie Hall in the near future. Education music teacher for blind children and a poet. Her radio show can be Insuk shares a common problem with all my other students, children and heard every Saturday morning at 8:00 am on KPFK 90.7 FM. In her spare time adults—practicing! she will be writing this column and sharing her thoughts on music and life with For some mystical reason, most piano students believe that the very act our readers. of taking a piano lesson, with very little, or even no practicing between les- sons, will turn them into keyboard virtuosos. I spend fifteen minutes explaining the “How Do You Get To Carnegie Hall” joke to every adult stu- dent. (“Practice!”). I explain that when they do not practice at home, their piano lesson becomes a somewhat expensive practice session. I resort to a multi-cultural specialty, a guilt trip. (“Maybe if I were a better teacher you would practice more!”). And sometimes, when they insist they have prac- ticed, I have to remind them that piano teachers can always tell when a stu- dent has not practiced! But my students are all improving, and even practicing more! I am thinking about a future recital. I am even considering accepting a few more students. It’s becoming fun. Giselle and Irvy, who come on the same day, are ready for new pieces and some scales. We use my big Djembe drums to study time signatures and rhythms. We include their parents and my husband, Stan, in informal Page 22 FolkWorks September-October 2006

HULA continued from page 9 Notice the use of English in this Hawaiian-language song, a feature found closed about 25 years ago, but the halau continues to thrive at a different occasionally in Hawaiian songs even today. location. Translation: Ethnomusicologist Amy K. Stillman says of Genoa Keawe’s importance Sweet and lovely Sweet and lovely to Hawaiian music: “In addition to her unrivalled falsetto technique, bell- Ke onaona o ka maile Is the maile’s fragrance like yodeling, and her trademark ability to hold high notes for over two min- Ho’oipo ke ‘ala A delightful odor utes, Genoa Keawe is particularly significant for her focus on presenting Sure I ka pili poli… That clings to the bosom… repertoire for the modern hula.” Genoa Keawe’s career took off. She recorded over 140 singles on the In the year 2000, Genoa Keawe received the nation’s highest honor in “49th State” label alone, and then moved on to Hula Records. She backed folk and traditional arts, the National Heritage Fellowship, awarded by the up other singers on many recordings, too. Eventually, in 1966, she started National Endowment for the Arts in Washington D.C. She has received the her own record company, Genoa Keawe Records which her son Eric Keawe Na Hoku Hanohano award (the Hawaiian recording industry’s equivalent of manages. the “Grammy”) twice, as a lifetime achievement award and as female vocal- She formed groups — Genoa Keawe and her Hula Maids, Genoa Keawe ist of the year. She holds an Honorary Doctorate Degree of Humane Letters and Her Hawaiians, and Genoa Keawe and Her . They delight- (2005) from the University of Hawaii Board of Trustees at the Windward ed audiences in Honolulu at venues such as Club Polynesia, the Aloha Grill, Community College Hawai’i Music Institute, and in 2001 took her honored the Waikiki Sands, Fort DeRussy Officers Club, the Ala Moana Hotel place in the Hawaiian Music Hall of Fame. Poolside, and the Hawaiian Regent, now known as the Marriott Waikiki She has also influenced singers from the younger generation. Amy Resort and Spa –to name a few! Hanaiali’i Giliom and Raiatea Helm have embraced the ha’i style that Genoa’s son Eric shared memories of a tour that took Auntie Genoa and Keawe perfected, performing with the legendary singer on several occa- Her Hawaiians to Southern California over 30 years ago. In 1967 they did a sions. Her grand-daughter Pomaika’I Lyman has also developed her style of one-month stint at Hop Lui’s “Latitude 20” Night Club in Torrance, singing and is currently working on a CD project. California. Eric was 11 years old. “It was a buzzing place with a lot of locals Speaking of generations, here’s another accomplishment: Genoa Keawe coming and going. Performances were full almost every night from Tuesday has 12 children, 38 grandchildren, over 50 great-grandchildren, and over 25 to Saturday. It was fun. On our off days we’d go to the horse races or down great-great-great grandchildren! to Tijuana, .” Family will play a major role at the October 28 performance in Whittier. Aside from listening to Auntie Genoa’s lovely voice, audiences enjoyed Auntie Genoa’s musicians will be Gary Aiko, her eldest son with his deep the solo spots she gave her musicians, who included her husband Edward baritone on the bass, Eric Keawe, her “number 11” son, on guitar, Keawe on bass, Auntie Pua Rogers on guitar, Uncle Benny Rogers on steel Pomaika’I Lyman, her grand-daughter (and Eric’s daughter) on ukulele, and guitar, and Lena Motta on ukulele. Eric recalled the comic performer of the Momi Kahawaiolaa, Auntie Genoa’s niece, on guitar. Alan Akaka will play group, Auntie Naughty Abbie. “She always stole the show with her hilari- the steel guitar. ous Princess Pupule song. She did other songs like The Cock-eyed Mayor Many of Auntie Genoa’s most popular songs are available on CDs. Three of Kaunakakai and Coconut Willie.” of my favorites are Genoa Keawe by Request (Genoa Keawe Records, One of the hula dancers featured in that show 30 years ago will be per- 1998), Auntie Genoa Keawe: Aloha to Aloha Grill (Genoa Keawe Records, forming in the October 28 show at Whittier College, Auntie Mapuana Yasu. 1979), and Genoa Keawe and Her Hawaiians (U’ilani Productions, 1996). Another old-time hula dancer, Auntie Florence “Flo” Koanui will join her. The latter two were recorded live. I also recommend Lovely Hula Hands “I like to sing songs that you can dance hula to,” Auntie Genoa shared. (Cord International/Hana Ola Records), a marvelous compilation that (That would be the modern auana hula accompanied by ukulele or guitar, includes Genoa Keawe along with Johnny Almeida, Naughty Abbie, and not the ancient kahiko style.) Auntie herself danced hula auana and helped other great Hawaiian musicians from years past. nurture renewed appreciation of Hawaiian culture by opening a studio in Of course, nothing can replace seeing and hearing Auntie Genoa in per- Honolulu. It housed a local halau (hula school), and offered Hawaiian lan- formance. On October 28, we are likely to hear her signature song, “Alika,” guage as well as ukulele classes, the latter taught by Auntie herself. She which describes a ship sailing the Arctic (of all things!). It’s the one in which she holds a high note for something like a minute, then moves up a note and holds it even longer. Can she still hold notes that long? Will people from the audience rise up 5814 Wilshire Blvd. |Los Angeles, CA 90036 tel 323.937.4230 | www.cafam.org and dance hula in the aisles? Her son Eric has no predictions. “There may always be surprises for all of us. Auntie Genoa’s shows are very luau style, SEPTEMBER AT THE MUSEUM which means anything can happen.” The box office number for the Ruth B. Shannon Center for the Performing Arts at Whittier College is 562-907-4203. Find more informa- CURRENT EXHIBITIONS tion on the Center’s Aloha Series on-line at www.shannoncenter.org.

SOVEREIGN THREADS: A HISTORY OF Audrey Coleman is a writer, adult educator, hula student, and passionate PALESTINIAN EMBROIDERY explorer of world music and culture. RELATED PROGRAMS July 16 – October 8, 2006 This exhibition traces the history and LISTEN, LEARN AND MAKE development of traditional Palestinian LEARN ABOUT EMBROIDERY embroidery. Artworks include late 19th Saturday, August 26, 2006 1:00 – 1:30 pm SAG BookPALS Story century textile crafts as well as Reading contemporary motifs developed by 1:30 – 3:30 pm Family Art Workshop women in refugee camps. All the works A child friendly introduction to the reflect an enduring Palestinian heritage, techniques and beauty of Tamburitza embroidery. art and identity despite a displaced population. Zulu Drum Thai Zilophone LISTEN, LEARN AND MAKE THE GIFT OF GRANDPARENTS TIGERS AND JAGUARS: LA’S ASIAN-LATINO Saturday, August 26, 2006 ART PHENOMENON 1:00 – 1:30 pm SAG BookPALS Story Reading June 30 – October 29, 2006 1:30 – 3:30 pm Family Art Workshop In collaboration with the Latino BON VOYAGE Be inspired by stories and customs Museum of History, Art and Culture, from the Middle East to create LINDA DEWAR & RON YOUNG wonderful gifts for Grandparents’ this exhibition examines the relationship Day. between the Asian and Latino (FolkWorks Board Members, communities through art and music, PANEL DISCUSSION Writers & Distributors...etc) and suggests that this relationship AT THE GOETHE-INSTITUT creates a hybrid art form yet unnamed. Sunday, September 17, 2006 Time: 4 – 7 pm FolkWorks wishes you Join a select panel of experts in the fields of history, political science, UPCOMING EXHIBITIONS a safe & relaxing trip anthropology, art history and peace studies as they discuss the effects of to your new home was and displacement on folk life, EAST WEAVES WEST: KOREAN WOMEN In SCOTLAND cultural tradition and notions of MAKE ART national identity. November 12 – January 21, 2007 Exhibition of textiles by Korean women living in the U.S., whose work integrates influences from both Korean and But, dear readers... American cultures. we are glad to let you know Linda & Ron will still be writing for us. SUMMER MUSEUM HOURS: , Mondays, Tuesdays & Wednesdays: 11am–5pm Alas distribution will be Thursdays: 11am–7pm Fridays: 11am–5pm a wee bit difficult. Saturdays & Sundays: 12pm–6pm September-October 2006 FolkWorks Page 23 Blue and BY BROOKE ALBERTS Orange CLA’s Fowler Museum of Cultural History will be mounting the first “cross of Agadez”. There are sever- Umajor exhibition of Tuareg art and culture in this country. The Art of al styles of tent poles that are not only functional but Being Tuareg: Sahara Nomads in a Modern World runs from carved with geometric forms. October 29th to February 25th. The Fowler is hosting the debut of the travel- The final space will be devoted to a well-appointed ing exhibition on its way to Stanford University and The Smithsonian. The Tuareg tent made from multiple goat skins and its furnish- 235 objects to be displayed come from the collections of the Fowler, the Iris ings ( leather saddles and cushions, musical instruments, and B. Gerald Cantor Center for Visual Arts at Stanford, the Musée wooden storage poles…), accompanied by a video from a 3- d’Ethnographie Neuchatel in and the Musée du Quai Branly in day wedding contrasting traditional elements with modern. Paris. If this intrigues you, perhaps you’d be interested in ventur- For the past two thousand years or so the Tuareg nomads made their way ing up to Ojai and visiting Leslie Clark’s Nomad Gallery. In across the Sahara’s trade routes. Most adhere to Islam. In a reversal of the addition to her own paintings and prints of Tuareg and Wodaabe norm, it is the men who are veiled among them. Women begin to wear head- people of Niger, she has their handcrafts and CDs of their music for sale. She scarves to cover their hair when they are married. The droughts during the is the founder of The Nomad Foundation, dedicated to preserving cultural and and ‘80s prompted many of them to settle in one area. There are cur- artistic traditions in Africa, and has been traveling to Niger for the past 12 rently about 1.3 million Tuareg. They are known as “The Blue People of the years. She also leads tours to visit and live with them during their fall rain- Sahara” since their distinctive traditional indigo-dyed turbans often stain their return festival season, when the Tuareg have camel races and the Wodaabe skin. have their traditional male beauty pageant, the Gerewol. Additionally, she The way they plan to organize it, the exhibit will begin with a look at how leads tours of Niger’s Southern Tenere desert (the next will be February 3rd- Tuareg decorative motifs and leatherwork have been utilized in present-day 17th, 2007), and humanitarian expeditions to help with the work of the Nomad fashion design, and the popularity of Tuareg craftsmanship in folk art gal- Foundation, which built and established a school and gardens, dug a well, dis- leries. There will be videos of Tuareg people explaining how it is to be Tuareg tributes vitamins, began a women’s embroidery co-op, and helps with herd in the modern world. replacement. For details and itineraries, visit her website below. The next room will showcase the workmanship of the Oumba and Now, from the “Blue People” to the Orange Crate… Ouhoulou family of Agadez and Niamey, Niger. They are inadan, a social Artistry of the Orange: California Vintage Fruit Labels from the subgroup of Tuareg who are traditionally smiths and artists. While they are Collection of the Los Angeles Public Library is on view in the first floor gal- practicing Muslims today, the inadan are likely descended from Jews that leries of the Central Library. First there was the “Naturalism Period” of 1885- were ejected from 14th and 15th century Morocco. 30 years’ worth of their col- 1920 which focused on California scenery, pioneer heroes, Native Americans, lective output is included in the exhibit, as well as a video showing the fami- flowers, birds, animals, and growers’ families. Then, between 1920 and 1935 ly at work together producing some of the items. there was more of an advertising aspect. Wider distribution came from rail- After that specific in-depth view comes a broader range of mid-20th cen- roads and an advertising boom in newspapers and magazines. The California tury objects, including swords, silver jewelry and wooden tent poles. Swords lifestyle and youthful health and energy were emphasized. Finally, between are a highly prized possession among the Tuareg, and are considered to be 1935 and 1955 modernization of photographic techniques allowed for the use protected by the victories of its past owners. Some silver amulets contain pro- of colored pencils and changed the look of the labels. Cartoon characters tective verses of the Koran, and some are in the geometric form known as the appear, oranges and lemons are shown more prominently, and brand names are presented in block letters. Go down and have a look at them in all their glory.

The Art of Being Tuareg: Sahara Nomads in a Modern World October 29th 2006- Febrary 25th 2007 UCLA Fowler Museum of Cultural History - www.fowler.ucla.edu Nomad Adventures, Inc. The Nomad Foundation Nomad - The Leslie Clark Gallery 307 E. Ojai Ave. #103, Ojai, CA 95023 805-646-1706 - www.nomadgal.com 11:00am-5:00pm Wednesday-Monday. Closed Tuesdays. Artistry of the Orange: California Vintage Fruit Labels from the Collection of the Los Angeles Public Library May 6th 2006- January 7th 2007 Los Angeles Central Library, first floor gallery 630 W. 5th St., Los Angeles, CA 90071 213-228-7000 www.lapl.org Monday- Thursday 10:00am-8:00pm, Friday-Saturday 10:00am-6:00pm, Sunday 1:00-5:00pm

Brooke Alberts is a songwriter and has a Masters degree in Medieval Studies.

Gary Mandell’s OPEN 7 DAYS CHRIS HILLMAN & Live Music SEPT 8 HERB PEDERSEN SEPT 9 BEARFOOT Bruce SEPT 15 CHUCK PYLE Molsky SEPT 16 THE RHYTHM BROS SEPT 29 BRUCE MOLSKY Traditional Fiddle Great SEPT 30 PETE HUTTLINGER Fri., Sept 29 • 8pm OCT 7 BERNIE PEARL OCT 28 APRIL VERCH • RETAIL—New & Vintage Instruments • 1/2 Size Guitars for Kids Martin, Taylor, Ibanez, Takamine, Fender, Mid —Authorized Dealer Method & Songbooks • Instructional Videos • Band & Orch. Rentals/Accessories • LESSONS/WORKSHOPS—Private/Group • All Styles • Guitar • Keyboard • Bass • Violin • Cello • Banjo • Voice • Group Classes for Guitar & Voice 4316 SEPULVEDA BLVD. CULVER CITY ALL AGES WELCOME 310-398-2583 www.boulevardmusic.com • Call for tickets/info. Page 24 FolkWorks September-October 2006

i folks! I’ve been away for a while has no written partnership agreement. Under H(including having a great time catching the default rules, here’s what would happen: the up with musical friends at the CTMS partnership would “dissolve” meaning it would Summer Solstice Festival) but am now back. As enter into a phase in which all of the assets of always, please remember that his column is pro- LAW the partnership would be sold for the purpose of vided for informational purposes only and is not paying its creditors and, eventually, the part- legal advice. If you would like to act on any of ners. Hence, here the sound equipment would the information you read in this column, please TALK most likely be sold in order to pay off any cred- seek the advice of qualified counsel. Your com- itors and to pay the individual partners for their ments and suggestions are appreciated and I By Richard Gee interests in the band. will do my best to make sure that I respond to Now, let’s assume the same facts, except each letter in a subsequent column. that the partnership had a written partnership We’re a four piece folk band that recently © 2006 BY RICHARD GEE. ALL RIGHTS RESERVED. USED BY PERMISSION. agreement. Most of these agreements provide bought a sound system for the band. We’re that if one partner leaves, the partnership does thinking that now that we own stuff in common, we might to make our rela- not dissolve. Rather, a partner will be paid an amount equal to the value of tionship a little more formal in case one of us leaves the band. How should his or her share in the band. The agreement can provide the financial terms we go about it? for valuing the exiting partner’s interest as well as repayment (i.e., a lump There are a number of ways you can go about this. Initially, you should sum or payments over time). In your situation, it seems to me that a written note that you already have a legal relationship with each other that can be partnership agreement would be in order, as it would anticipate any disputes categorized in two separate ways: first as partners in the band itself and as that should arise when one of you leaves the band as well as the status of the co-owners of the sound equipment. How you should “formalize” your rela- band’s assets. tionship depends largely on your goals. For example, if the issue is who This same scenario applies to most other assets of the band. For exam- owns the sound equipment, you may either make the equipment the asset of ple, who owns the band’s CDs? Who owns the band’s name? If a band mem- your partnership or, if you wish to separate it from the partnership, treat the ber leaves, what will he or she be entitled to with respect to CD sales? How sound equipment as an asset co-owned by each of you. Alternatively, if you about CDs that are recorded after the band member leaves? What about want to deal with the broader issue of what relationship each of you has in compilations – who can give the right to use tracks on a band album to the the band, including in the sound equipment, you should consider a written producer of the compilation album? What about band arrangements of partnership agreement. music? Who owns them? All of these questions have been the subject of Partnerships come in various flavors, depending on your goals and the contentious litigation and can be addressed up front in a written partnership structure of your band. Where all of you share in the decision making and agreement. there is no “leader,” per se, a simple general partnership will work. You There are no real standard partnership agreement formats, as with the don’t technically need any paperwork to form a general partnership. The formation of corporations. Have a competent legal practitioner prepare the fact that all of you are working together and that you share your profits and document – although to save money you can do most of the legwork your- losses equally is enough. California has a number of “default” rules con- selves. I’ve given you some of the issues to resolve. Sit down with your cerning the formation of partnerships as well as the rights of individual part- bandmates and think through each of these issues. Put it down in writing and ners. Under the default rules, when a partner leaves the band (also known as give the end result to your lawyer. Good luck! the partnership), the partnership is dissolved unless the written partnership agreement says otherwise. Hence, the need for a written agreement. Richard Gee is an attorney specializing in the entertainment industry and is a Let’s assume that the sound equipment was bought by the partnership Celtic and acoustic singer, guitarist, songwriter, arranger and music producer using partnership funds (for example, money generated from gigs the band in his spare time. You can reach him at [email protected] has played). Now let’s assume that a member leaves and that the partnership

PUTUMAYO PRESENTS TRIO Acoustic Africa VORONEZH with Habib Koité (Mali), Vusi Mahlasela (South Africa) and Dobet Gnahoré (Ivory Coast) “Habib Koité’s reputation as a guitar player has become almost mythical, combining rock and classical techniques with Malian tunings that make the guitar sound like a kora or ngoni.” - New York Times

Friday September 15 Discovered in a , Germany, subway at 8:30 p.m. station, these Russian masters made their U.S. debut as the sleeper-hit of the Oregon Bach Festival. $25 Their trademark arrangements of classical full-time students and favorites and just plain great tunes have children 12 & under $12 been winning raves ever since. From Bach Start your evening at the Ford in the theatre’s to Tchaikovsky, Mozart to Gershwin, Russian entryway garden with a complimentary glass folk to Piazzolla, the trio’s virtuosity and of one of the Wines of Western Australia. LPDJLQDWLRQQHYHUÁDJ Ford Amphitheatre Monday, October 23rd Just off the 101 (Hollywood) freeway across from the and south The El Rey Theatre of Universal Studios. Ground open 2 hours before showtime for picnicking. 5515 Wilshire Blvd., Los Angeles tickets | www.FordAmphitheatre.org www.theelrey.com • 323-936-6400 323.461.3673 For more information: www.acousticafrica.com September-October 2006 FolkWorks Page 25

Looking for some light reading to occupy you as A song has a few rights the same as ordinary you enjoy these last few days of summer weather? May citizens... if it happens to feel like flying where I humbly suggest one of my favorites, a hysterically GRACE humans cannot fly... to scale mountains that are funny book entitled Dave Barry’s Book of Bad Songs, not there, who shall stop it? - Charles Ives by (you guessed it) Dave Barry. We all know there are ********** some stinkers out there, and when Barry asked readers NOTES Back in 1998, I went to a concert by the bril- of his weekly syndicated column to submit their nomi- liant Irish band, Danú. Or, at least, by a portion of nees for the worst song, they didn’t let him down. He Danú, as several of the band members were unable took the results of the survey, organized them and added to get visas in time for the tour. A couple of years his own brand of satirical humor, and compiled them in BY LINDA DEWAR ago, it happened again. I was ready and eager to this book. Here’s one of the milder examples: hear Dougie Maclean as part of the old Acoustic “The number two song in the survey was Yummy Music Series, but at the last minute his tour was Yummy Yummy (I Got Love in my Tummy), the 1968 hit cancelled because his visa didn’t come through in by Ohio Express. This is the same group that later did Chewy Chewy, which time. Unfortunately, this has been an all-too-common occurrence, as touring is not to be confused with another much-hated song, Sugar Sugar which was musicians seem to have gotten the “short end of the stick” from US performed by the Archies, who were so soul-free they made Ohio Express Immigration. sound like Wilson Pickett.” Thanks to Senator John Kerry, there is light at the end of the tunnel. On ********** May 25th, the U.S. Senate approved a provision to require US Citizenship Here’s a great “happy ending” Last year, Mary Travers (of Peter, Paul and Immigration Services (USCIS) to speed up visa processing for artists as and Mary) had a bone marrow transplant, which I mentioned several times part of the comprehensive immigration bill. The amendment, which was in this column. She’s now fully recovered and back on a light touring sched- sponsored by Kerry, would reduce the current processing times for arts- ule with PP&M. And in June, the trio were awarded the Sammy Cahn related visa petitions to a maximum of 45 days by requiring USCIS to treat Lifetime Achievement Award at the annual induction ceremony of the any arts-related petition that it fails to adjudicate within 30 days as a Songwriters Hall of Fame, in recognition of the musical impact they have Premium Processing case, free of additional charge. There were a number made over their 40-plus year career. of co-sponsors, including Dianne Feinstein of California, and additional **********Q: What’s the range of an accordion? support was provided by several key artists’ organizations who joined A: About 20 feet, if you’ve got a good arm. together as the Performing Arts Visa Task Force. ********** ********** Congolese musician Fidele Babindamana, like many of his peers, “I went out today and got from my local farmer’s market some stuff for a huge played under a stage nickname, in his case “Fidele Zizi.” This was all well shepherd’s pie. They also make their own rice pudding. So I got rice pudding and a and good until one day in the 1980s he introduced himself by this nickname big jug of strawberry milk. You see, that is my treat. That is what you get for play- to a receptionist at the French music performing rights society (SACEM) ing traditional music. Shepherd’s pie, strawberry milk, and rice pudding: You can- office. At which point the entire secretarial staff burst out in laughter. Turns not set your sights any higher than that as a traditional musician.” - Johnny out his nickname in French means literally “faithful wee-wee.” Apparently Cunningham it doesn’t have quite the same meaning in Kinshasa! ********** ********** “I don’t understand why people like me! It doesn’t make any sense!” – “I’ve never had a humble opinion. If you’ve got an opinion, why be Clay Aiken humble about it?” - Joan Baez ********** Linda Dewar is a singer and a player of various instruments with strings I worry that the person who thought up Muzak may be thinking up some- and keys. She can be heard playing mostly Celtic music at small gatherings thing else. – Lily Tomlin and large festivals here and there in California.You can find her first solo *********** CD Where the Heart Is at www.cdbaby.com/lindadewar

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BY LINDA DEWAR ome people are just destined to make yet each writes as if he were hearing the voice of Smusic together. Think Peter, Paul and the other in his mind. James’s songs are often per- Mary, or Phil Cunningham and Aly sonal, reflecting his life and childhood in a small Bain. Back in the mid-1980s, an young Irish Irish village. He has a gift for turning a chance expat named James Keigher found himself living happening into an entertaining lyric, as he’s done in LA and looking for something to do. He wan- with the song Sorry State, a tongue-in-cheek dered into a pub one day, and there he met a fel- description of two ladies he overheard gossiping low exile, a Scot named Donnie Macdonald. about him in a grocery store. While he has written They got to talking over a pint (and no doubt some memorable songs in English, Donnie is another, and another…) and discovered a mutual most at home with the cadences of his native fondness for playing and singing traditional Gaelic language. As it happens, his mother left a music. legacy of poems written in Gaelic, and he has put Over the next couple of years, James and many of these to music. Donnie became fast friends, sometimes working The real essence of Men of Worth is found in at odd jobs together and often playing at the same their live performances. It’s clear that after twen- festivals and sessions. In 1968, they decided to pool their talents, and they ty years these two are still enjoying what they do. They’re funny guys, and became the duo that is still known today as Men of Worth, a name taken they can’t get up on a stage without sharing a good laugh or two with each from a song written by Archie Fisher. other and the audience. And there’s passion in their performance. When they That decision was the beginning of what would become a long and pro- play, you can sense the delight they find in the music and the range of - ductive partnership, and this year finds Men of Worth celebrating their tions they touch in their lyrics. twentieth anniversary making music together. In that time, they’ve record- So what’s next for Men of Worth? For now, the music and the craic will ed nine , performed in countless concerts and at Scottish and Irish continue. These days, James and Donnie divide their time and effort festivals all over the US, and expanded their repertoire to include conduct- between their music and the travel tours that they conduct in and ing music-oriented vacation tours of Ireland and Scotland. Scotland. Whichever they’re doing at a given moment, their purpose is the Some … their hair is not as dark, and there were same—have a great time, invite a bunch of people along, give them some- those few years a while back when they were affectionately known as “Men thing to think about, something to laugh about, and something to remember. of Girth.” Their music has evolved and matured, but it remains as it began: Men of Worth will be performing at the Seaside Scottish Highland simple, traditional, and honest. Play all nine of their albums in chronologi- Games in Ventura on October 14th and 15th, including a concert on the cal order, and you’ll hear them progress from straightforward arrangements evening of the 14th. Visit their web site at www.menofworth.com for infor- of traditional Irish and Scottish songs, through their first original offerings, mation on other performances or to buy CDs. and on to the occasional addition of backing musicians like Scottish fiddler John Taylor. Today, their repertoire still includes traditional songs and Linda Dewar is a singer and a player of various instruments with strings and tunes, but it’s expanded to include the work of some of the best songwriters keys. She can be heard playing mostly Celtic music at small gatherings and in Scotland and Ireland as well as a steadily growing body of original work. large festivals here and there in California. You can find her first solo CD As songwriters, Donnie and James each have their own distinctive style, Where the Heart Is at www.cdbaby.com/lindadewar September-October 2006 FolkWorks Page 27

TRACKS continued from page 6 MUSIC INSTRUCTION hosts. OLD TIME RADIO ON THE WEB DAVID BRAGGER www.foulk.com – old time radio shows include sci-fi, drama, mystery, and David Bragger teaches traditional fiddle and westerns genres. Free MP3 downloads of shows, and vintage radio shows post- banjo to students of all ages and levels. He ed for trade or sale. teaches music by ear, so no musical background www.otrcat.com – same notation as foulk.com. is necessary! His students have won awards at www.old-time.com – old time radio fans often collect a favorite series to festivals from Topanga, California to Galax, completion, then want to find similar shows. This site uses genre/type classifi- Virginia. More importantly, he shows you how cations from the good ol’ days to help you find them. to have a foot-stomping ruckus of a good time! www.radiorevisited.com – offers original radio programs from the 1930s, You’ll be learning the technique, bowings, and styles of traditional ‘40s and ‘50s. Appalachian musicians so you can play at local jam sessions, bang away www.spring.net – Gene Fowler and Bill Crawford offer the quacks, yodel- on your front porch, or saw like mad at local festivals and contests. For ers, pitchmen, psychics, and other amazing broadcasters of the old time lessons call David at 818-324-6123, or email him at American airwaves. [email protected]. ECLECTIC WITH FOLK AMERICANA CONTENT DES REGAN www.live365.com – has 35 stations that carry Humble Texas, Paul E. Unravel the mysteries of the Irish button accor- Davis’ show from (where else?) Humble, Texas. His playlist includes LA per- dion with Des Regan, who has performed for forming songwriters Sean Wiggins, Jennifer Corday, Kelly’s Lot and others. over in concert halls and pubs across More at www.humbletexas.net. the United States and Ireland. In his warm www.harrisradio.com – Pete Harris’ show, recommended by singer-song- affable style, he will show you the intricacies writer Melineh Kurdian, has a rotating schedule of indies, including many new of ornamentation that gives Irish music its’ dis- folk and acoustic Renaissance artists. tinct sound. His repertoire is from his native www.artistlaunch.com/enchantressradio – Enchantress Radio from County Galway, with influences from Clare Pittsburgh delivers all women artists on several stations. One show, the weekly and Sligo. Artists Launch, has featured notable local performing songwriters like Amilia He loves to kindle the spirit of those with a K. Spicer and Che Zuro. That show had 382,000 listeners in its first ten months. feverish interest in Irish music. If you don’t have a B/C button accor- www.live365.com/stations/aaronchilds – Aaron Childs’ show from Jackson, dion, Des can assist you in finding one for a reasonable price. Contact Michigan, together with’Nette Radio, is the most eclectic on our list. He plays Des Regan: 818-506-8303 or email him at [email protected] blues, rock, jazz, alternative, electronica, , and Americana. JOELLEN LAPIDUS www.renegaderadio.net –’NetteRadio is Annette Conlon’s weekly two- Joellen Lapidus is one of the pioneers of con- hour nternet radio show from , TX, Wednesday, 6-8pm. Often very rock- temporary fretted dulcimer playing and con- oriented, Annette’s show is dedicated to promoting unsigned women musicians struction. She is the author of the dulcimer across all genres, from piano to punk. She includes discussion of current events instruction book Lapidus on Dulcimer. Her and upcoming showcases around the country. Annette says “it’s like hanging out playing style is a blend of traditional with friends from college, or whatever, listening to music and gabbing away.” Appalachian, Indian, Arabic, jazz, classical and Rebroadcast Sunday, 5pm on the all-women-all-day Nowhere To Go Radio, that gives the dulcimer a new range www.ntgradio.com. of rhythmic, melodic and tuning possibilities. AMERICANA MUSIC & INFO SITES Returning to her first musical loves, the accor- www.acousticmusic.net – lists programs playing acoustic music in Southern dion and , Joellen also teaches a high California. energy Klezmer Band Workshop at McCabes. www.americanaroots.com – e-zine site with news, features and music For dulcimer lessons or a Klezmer Band reviews. Also has a link to their internet music stream, broadcasting very good Workshop call her at 310-474-1123 Americana music. www.americanarootsla.net – Bliss, entertainment writer for the in-print Pasadena Weekly, also operates LA’s Americana, alt-country, roots and blues You can be listed here! information network. There’s an extensive calendar of upcoming local per- $30/1x • $75/3x • $125/6x • [email protected] • 818-785-3839 formances, info on radio and TV appearances by artists, local venue addresses and dozens of links to other Americana-related sites. www.freighttrainboogie.com – great site for all things Americana, including news, CD reviews, an nternet store in connection with .com, and links to its two nternet radio broadcasts. www.nodepression.net – web home of the magazine, No Depression, wide- HELP WANTED ly regarded as the “bible” of Americana and alt-country music. Has archives, • DISTRIBUTION • some of the best writings on the genre, from past issues and music samples of important new artists. Consider subscribing to the print-media magazine. • ADVERTISING SALES • www.sugarinthegourd.com – recommended by storyteller Terry Rezek, tbis • EDITORIAL ASSISTANT • one has lots of info links. LOCATORS TO FIND AMERICANA, FOLK, ACOUSTIC AND ALT- COUNTRY STATIONS www.gumbopages.com – the largest listing of public, college, community and noncommercial radio stations. www.folk.org – North American Folk Alliance’s informative site. MAIL@ FOLKWORKS.ORG • 818-785-3839 www.countryrootsmusic.com/radio.html www.radio-locator.com www.markbrine.com/americana_roots_music_radio_stations_links.htm www.live365.com © kathleen masser www.RadioFreeTunes.com www.songlink.com –SongLink International. www.taxi.com – TAXI, the business that helps songwriters place their music, also lists web radio. Did we miss your favorite? E-mail your additions, and we’ll include them in an update. We may need to do a feature on web radio from folk-friendly Canada, where there are stations like Calgary’s CKUA (www.ckua.org). But that’s another story.

Larry Wines is producer and host of an acoustic Americana radio show in Los Angeles, also called Tied to the Tracks. Offering live in-studio performers and recorded music from Maine to Mexico, New Orleans to Nova Scotia, the Rocky Mountains to the rocky coasts, Texas border squeezebox to Memphis harmonica, it’s blues to bluegrass, cowboy to Cajun to Celtic to Quebecois, new old, trad, alt and post folk, and the acoustic Renaissance, with local, national, and interna- tional roots/Americana artists. It airs Saturdays, 6-10 a.m. on KCSN 88.5 FM, simulcast at www.kcsn.org. Larry is a writer, songwriter, journalist, mountain climber, museum founder and former political pundit. He has restored steam locomotives, enjoys music festivals, good company, a good story and hearty laughter. His work has appeared “in lots of obscure places” throughout America. specializing in live performance photography 310.396.7296 [email protected] Page 28 FolkWorks September-October 2006

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The LA Times has When I do my show already weighed in on the growing controversy with “Our Two Cents,” an Songs and Stories of the editorial that stakes out the rational position that the penny is no longer a Great Depression, am I meaningful unit of currency. The arguments make themselves: we all do going to have to leave what we can to avoid being paid our change in pennies, usually giving the out one of my favorite store an extra penny so that we can be paid the next higher unit of currency, popular songs of the era, rather than having to absorb four pennies in change. Andy Rooney on Sixty I Found a Million Minutes made a convincing case that people no longer go through the trou- Dollar Baby in a Five ble of picking up a penny they see on the ground—they walk right on by, and Ten Cent Store? even though it is found money. Am I going to have Economically speaking, I am prepared to defer to Uncle Sam, The LA to leave out Woody Times, and Andy Rooney. But as a songwriter, I do what I do best: I Protest. Guthrie’s Rambling I have no idea what removing the penny would do to our economy, but I Round, because he says, can say with some authority that it would decimate our language, rob our his- I would like to marry, tory, and desecrate our most cherished institution: I refer, of course, to the and some day settle Library of Congress. down, but I can’t save a BY ROSS ALTMAN Next to the Declaration of Independence, the Constitution, and the penny boys, as I go ram- Gettysburg Address, I would put ’s Poor Richard’s bling round.? Almanac on the top shelf of defining American documents, those without Am I going to have which we could no longer be sure what it means to be an American. to leave out Pennies From Heaven? It was Ben Franklin who said in that book that a penny saved is a penny We owe something to the past. Let it be the fraction of a cent we may have earned. Put that basic principle of personal finance on one side of the balance to pony up to keep the penny in circulation, even if we no longer feel inclined beam, and then on the other side put the collected works of John Maynard to stop, as Andy Rooney always does, to pick up a lucky penny. Keynes and John Kenneth Galbraith, and watch them be sent skyward by Let us not give up the phrase ten cents on the dollar to describe a bad Franklin’s . Do we want our children and their children to have to debt; let us not give up the memory of The Penny Arcade, even if we have to look that up in a dictionary, because they no longer know what a penny is? pay a dollar for what used to cost a penny; let us not force the 99 Cent Stores How about a penny for your thoughts? The next time you are sitting to rename themselves the One Dollar Stores; let us not force Phillipe’s across from your loved one, and an annoying silence descends upon the con- Restaurant to raise the cost of their famous 9 cent cup of coffee to a dime; let versation, try leaning across the table and saying a nickel for your thoughts. us not force libraries to put the wonderful novel The Year of the Zinc Penny It won’t bring you closer together. A penny will. (1943) in Special Collections for rare books because no one gets the title; let The next time someone you know saves a few cents to buy an inferior air us for God sakes not encourage the US Post Office to once again raise the conditioner, only to have it break down on the first hot day of summer, you price of a first class stamp by one penny, because 39 cents is no longer a pos- will say to yourself penny wise, pound foolish. You won’t say, “a quarter sible transaction. wise, a dollar foolish.” We still owe something to the British, even after the Let us not remove Abraham Lincoln’s distinguished profile from where it Revolution. belongs—on our basic unit of currency. No one ever found “a lucky nickel.” You find a lucky penny. Let us not be penny wise, and pound foolish. once published a small chapbook of poetry with the lovely A penny for your thoughts. title, Poems a Penny Each. Should we now have to put an asterisk in the title? Author’s note: To express your opinion on this weighty matter, simply Bob Dylan wrote an early song that sang the night after email Ross at [email protected] Also, for the record, in last issues’ John Kennedy was assassinated—He Was a Friend of Mine. Dylan’s words column about Joe Hickerson, his dates of attendance at Oberlin were inaccu- moved the audience to tears: He was a friend of mine/He was a friend of rate—he attended from 1953 to 1957. However, he did add his two cents to mine/He died without a penny/He didn’t have a dime/He was a friend of Pete Seeger’s Where Have All the Flowers Gone in 1960, as stated; Joe heard mine. Should we now have to gloss the third line when it is reprinted, so peo- the song as a camp counselor at Camp Woodlawn, and made his changes ple will know what it used to mean? after Pete left. The song was originally copyrighted in 1961. Everyone who loves folk music knows that Stephen Foster died with 38 cents in his pocket, and the title of an unfinished song: Dear Friends and Ross Altman has a Ph.D. in English. Before becoming a full-time folk singer he Gentle Hearts. Will we soon need to footnote that anecdote, when we retell taught college English and Speech. He now sings around California for it? libraries, unions, schools, political groups and folk festivals. Hank Williams wrote in Hey Good Lookin’: Gonna throw my date book over the fence/Buy me one for five or ten cents… Will we soon have to pause in the middle of Hank’s song to explain to the audience that “five or ten cents” can be translated to “a nickel or a dime”? NEW MUSIC COURSE –UCLA When next sings On the Sunny Side of the Street, and comes THE INSIDER’S GUIDE TO MUSIC MANAGEMENT to the line If I only have a cent, I’d be rich as Rockefeller, is he going to choke up when he realizes he can no longer be sure his young audience will X 447.3 MANAGEMENT 2 UNITS $395 know what he is saying? Will Paul McCartney no longer be able to sing Penny Lane on his The music manager’s role is crucial to a musician’s career success. Yet American tours? very few people who enter the entertainment industry have any idea what When I sing the folk classics of the sixties for some group of curious high a manager does or how one can help their career. This course is designed school students and am asked to do ’s Five Hundred Miles, am I to explain the management side of the music business. Find out what music going to have to break up the line Not a shirt upon my back, not a penny to managers do, why they are important, and how to avoid management pit- my name, Lord I can’t go home this a’ way with an pointed explanation of falls. Lectures, discussion, and industry guests address such topics as when what her line meant in 1965? to get a manager, the music business only looks glamorous from the out- When I do a children’s concert and include Malvina Reynold’s great song side: the real deal, the role of the manager in the indie world, and going up Magic Penny, am I going to have to give them an explanation of what the ladder with a manager. Elective course in Certificate Program in the Malvina’s now obscure monetary reference may have meant to an earlier Music Business. generation? Mike Gormley, President of the management firm L.A. Personal When I do a labor song concert and include the depression era classic 11 Development, where he oversees the careers of such clients as Lisbeth Cents Cotton and 40 Cents Meat, am I going to have to explain not the eco- Scott, Ronny Cox and Quincy Coleman. Mr. Gormley previously managed nomics of sharecropping, but what unit of currency a cent is? Lowen & Navarro, the Bangles, , Angelique Kidjo, Concrete When I do a Christmas concert and include the lovely English song Blonde and Wall of Voodoo. His previous positions include vice presi- Christmas Is a’ Coming (and the geese are getting fat/please put a penny in dent/assistant to the chairman for A&M Records and director of publicity the old man’s hat) am I going to have to explain not the tradition of wassail- for and PolyGram, Inc. ing, but the significance of this quaint word penny? Mike is presently on the Board of Music Manager’s Forum and When I do ’s moving new/old song Here Comes That L.A.WoMen In Music and is past president of the Conference of Personal Rainbow Again, based on one memorable scene from Steinbeck’s Grapes of Managers. He is also on the Management/Legal Advisory Commitee for Wrath, in which a generous woman behind the counter at a restaurant gives AFTRA. two impoverished Okie children “two for a penny candy,” knowing they Contact UCLA Extensions Division./ Reg# S4446B / UCLA: CS76 couldn’t pay the real price of “two penny candy,” and then tells an observant Young Hall trucker who catches her undercharging, “What’s it to you?” am I going to Wednesday, 7-10pm / October 11-November 15, 6 mtgs. have to stop the song to explain what just took place, because no one is sure Page 30 FolkWorks September-October 2006 venues • venues • venues • venues

HOUSE CONCERTS, ETC. FIRESIDE CONCERTS ME ‘N’ ED’S PIZZA PARLOR Borchard Community Center 4115 Paramount Blvd., Lakewood KULAK'S WOODSHED These are informal, intimate special events that people 190 Reino, Newbury Park 562-421-8908 5230-1/2 Laurel Canyon Blvd., North Hollywood hold in their homes. Bob Kroll 805-499-3511 [email protected] 818-766-9913 • www.kulakswoodshed.com Call your local hosts for scheduled artists! MUSIC CENTER PERFORMING ARTS CENTER FOLK MUSIC CENTER 111 S. Grand Ave., Los Angeles MONROVIA COFFEE HOUSE BRIGHT MOMENTS IN A COMMON PLACE 220 Yale Ave., Claremont 213-972-7211 • www.musiccenter.org 425 S. Myrtle, Monrovia • 626-305-1377 hosted by David Zink, Altadena • 626-794-8588 909-624-2928 • www.folkmusiccenter.com MUSIC CIRCLE NOVEL CAFE BODIE HOUSE CONCERTS FOLKWORKS CONCERTS Herrick Chapel, Occidental College 212 Pier Ave., Santa Monica • 310-396-8566 Agoura Hills [email protected] 818-785-3839 • www.FolkWorks.org 626-449-6987 • www.musiccircle.org PRISCILLA’S GOURMET COFFEE 818-706-8309 • www.BodieHouse.com [email protected] ORANGE CO. PERFORMING ARTS CENTER 4150 Riverside Dr., Burbank • 818-843-5707 DARK THIRTY HOUSE CONCERTS HENRY FONDA THEATHER 600 Town Center Dr., Costa Mesa THE TALKING STICK 1132 Pinehurst Dr., Lakeside (San Diego) 2126 Hollywood blvd., Hollywood 714-556-2787 • www.ocpac.org 1630 Ocean Park Blvd., Santa Monica 619-443-9622 • www.darkthirty.com www.henryfondatheater.com PERFORMANCES TO GROW ON www.thetalkingstick.net HOUSE ON THE HILL CONCERTS JOHN ANSON FORD AMPHITHEATRE Church of Religious Science - Performing Space TRINITY BACKSTAGE Highland Park • 323-221-7380 • [email protected] 2580 Cahuenga Blvd.East, Hollywood 101 S. Laurel, Ventura 1500 State St., Santa Barbara MARIE AND KEN’S • Beverlywood • 310-836-0779 323-461-3673 • www.fordamphitheatre.com 805-646-8907 • www.ptgo.org 805-962-2970 www.trinitybackstage.com NOBLE HOUSE CONCERTS FOWLER MUSEUM OF CULTURAL HISTORY PEPPERDINE UNIVERSITY (SMOTHERS THEATRE) THE UGLY MUG CAFE 5705 Noble Ave., Van Nuys • 818-780-5979 UCLA North Campus, Westwood 24255 Pacific Coast Highway, Malibu 261 N. Glassell, Orange • 714-997-5610 [email protected] 310-825-4361 • www.fowler.ucla,edu 310-506-4522 • www.pepperdine.edu/cfa THE UNDERGROUND RUSS & JULIE’S HOUSE CONCERTS THE FRET HOUSE SAN DEIGO FOLK HERITAGE 3367 Telegraph Rd., Ventura Agoura Hills / Westlake Village 309 N. Citrus, Covina San Dieguito United Methodist Church 805-644-0064 • www.theundergroundventura.com www.houseconcerts.us 818-339-7020 • www.covina.com/frethouse 170 Calle Magdalena, Encinitas (San Diego) UN-URBAN COFFEHOUSE [email protected] THE GETTY CENTER Templar Hall in Old Poway Park 14134 Midland Road, Poway (San Diego) 3301 Pico Blvd., Santa Monica • 310-315-0056 RYAN GUITAR’S • Westminster • 714-894-0590 1200 Getty Center Dr., Los Angeles 310-440-7300 • www.getty.edu 858-566-4040 • www.sdfolkheritage.org ZOEYS CAFÉ UPSTAIRS THE TEDROW’S • Glendora • 626-963-2159 451 East Main St., Ventura AMPHITHEATRE SAN JUAN CAPISTRANO COFFEE KRIS & TERRY VREELAND’S 805-652-1137 • 805-652-0091 (UNIVERSAL CITYWALK) MULTICULTURALARTS SERIES South Pasadena • 323-255-1501 www.zoeyscafe.com/music.html 100 Universal City Plaza, Universal City San Juan Capistrano Public Library CONCERT VENUES 818-622-4440 • www.hob.com/venues/concerts/gibson 31495 El Camino Real, San Juan Capistrano CLUBS/RESTAURANTS 949-248-7469 • www.musicatthelibrary.com ACOUSTIC MUSIC SAN DIEGO GRAND PERFORMANCES BELLY UP TAVERN 4650 Mansfield St., San Diego California Plaza, 350 S. Grand Ave., Los Angeles 143 S. Cedros, Solano Beach 1122 N Milpas St, Santa Barbara 619-303-8176 • www.acousticmusicsandiego.com 213-687-2159 • www.grandperformances.org 858-355-1596 • www.bellup.com 805-962-7411 • www.sbbowl.com STEVE ALLEN THEATRE GREEK THEATRE CAFE LARGO SKIRBALL CULTURAL CENTER 4773 Hollywood Blvd., Hollywood 700 North Vermont, Griffith Park, Los Angeles 432 N. Fairfax Ave., Los Angeles 2701 N. Sepulveda Blvd., Los Angeles 323-860-7785 323-665-5857 • www.greektheatrela.com 323-852-1073 • www.largo-la.com 310-440-4500 • www.skirball.org AMERICANA MUSIC SERIES THE GROVE OF ANAHEIM CINEMA BAR SONGTREE CONCERT SERIES Hilltop Center, 331 E. Elder, Fallbrook (San Diego) 2200 East Katella Ave., Anaheim 3967 Sepulveda Blvd., Culver City Live Oak Unitarian Universalist Congregation 760-723-2563 • [email protected] 714-712-2700 • www.thegroveofanaheim.com 310-390-1328 • www.thecinemabar.com 820 N. Fairview, Goleta AUTRY NATIONAL CENTER HAMMER MUSEUM AT UCLA 805-403-2639 • www.songtree.org CLUB TROPICAL (Merger of Museum of the American West, Southwest 10899 Wilshire Blvd., Los Angeles 8641 Washington Blvd, Culver City SYLVIA WOODS HARP CENTER Museum of the American Indian and Institute for the 310-443-7000 • www.hammer.ucla.edu 310-287-1918 • www.cryptonight.com 915 N. Glendale Ave., Glendale Study of the American West) HOLLYWOOD BOWL 818-956-1363 • www.harpcenter.com COLE’S P.E. BUFFET 4700 Western Hefritage Way, Griffith Park (L.A.) 2301 N. Highland Ave., Hollywood 118 E. 6th St., Los Angeles 234 Museum Drive, Mt. Washington (L.A.) 323-850-2000 www.hollywoodbowl.com THOUSAND OAKS CIVIC ARTS CENTER 213-622-4090 • www.colespebuffet.com 323-667-2000 • autrynationalcenter.org 2100 Thousand Oaks Blvd., Thousand Oaks HOUSE OF BLUES 805-449-2787 • www.toaks.org/theatre FRANK AND JOE’S SOUTHERN SMOKEHOUSE THE BARCLAY 1530 S. Disneyland Dr., Anaheim • 714-778-BLUE 110 E. Colorado Blvd., Monrovia • 626-574-0292 4255 Campus Drive, Irvine UCLALive! 8430 Sunset Blvd., West Hollywood • 323-848-5100 GENGHIS COHEN 949-854-4646 • www.thebarclay.org 1055 Fifth Ave., San Diego • 619-299-BLUE (2583) Royce or Shoenberg Halls, Westwood 310-825-4401 • www.uclalive.org 740 N. Fairfax Ave., Los Angeles BOULEVARD MUSIC www.hob.com/venues/clubvenues 323-653-0653 • www.genghiscohen.com 4316 Sepulveda Blvd., Culver City WHITTIER COLLEGE - RUTH B. SHANNON HUMPHREY’S CONCERTS BY THE BAY HOTEL CAFE 310-398-2583 • www.boulevardmusic.com CENTER FOR THE PERFORMING ARTS 2241 Shelter Island Dr., San Diego 1623 1/2 N. Cahuenga Blvd., Hollywood [email protected] 619-523-1010 • www..humphreybythebay.com 6760 Painter Ave., Whittier 562-907-4203 • www.shannoncenter.org 323-461-2040 • www.hotelcafe.com BLUEGRASS ASSOCIATION OF SO. CAL. JAPANESE AMERICAN CULTURAL & IRELAND’S 32 Braemar Country Club Grille Room WILL GEER THEATRICUM BOTANICUM COMMUNITY CENTER 3721 Burbank Blvd., Van Nuys 4001 Reseda Blvd., Tarzana 1419 N. Topanga Canyon Blvd., Topanga 244 S. San Pedro St., Los Angeles 818-785-4031 • www.irelands32pub.com Joy Felt 818-705-8870 • www.socalbluegrass.org 213-680-3700 • www.jaccc.org 310-455-3723 • www.theatricum.com KILLARNEY’S BLUE RIDGE PICKIN’ PARLOR COFFEE HOUSES JAPANESE AMERICAN NATIONAL MUSEUM 209 Main St., Huntington Beach 17828 Chatsworth St., Granada Hills 369 E. First St., Los Angeles 14 BELOW 714-536-7887 818-282-9001 • www.pickinparlor.com 213-625-0414 • www.janm.org 1348 14th St., Santa Monica • 310-451-5040 KNITTING FACTORY CALIFORNIA CENTER FOR THE ARTS LANCASTER PERFORMING ARTS CENTER ALTA COFFEE 7021 Hollywood Blvd., Hollywood 340 North Escondido Blvd., Escondido 750 W. Lancaster Blvd., Lancaster 506 31st St., Newport Beach • 949-675-0233 323-463-0204 • www.knittingfactory.com/kfhollywood 800-988-4253 • www.artcenter.org 661-723-5950 • www.lpac.org BARCLAY’S COFFEE THE MINT CALTECH FOLK MUSIC SOCIETY LEVANTINE CULTURAL CENTER 8976 Tampa Ave., Northridge • 818-885-7744 6010 W. Pico Blvd., Los Angeles California Institute of Technology, Pasadena 8424A Santa Monica Blvd., West Hollywood 323-954-9630 • www.themintla.com 888-222-5832 • www.folkmusic.caltech.edu 310.559.5544 • www.levantinecenter.org BEAN TOWN [email protected] 45 N. Baldwin Ave., Sierra Madre MOLLY MALONE’S LEVITT PAVILION FOR THE PERFORMING ARTS 626-355-1596 • www.beantowncoffeebar.com 575 S.Fairfax Ave., Los Angeles CALTECH PUBLIC EVENTS 85 East Holly St., Pasadena 323-935-1577 • www.mollymalonesla.com California Institute of Technology, Pasadena 626-683-3230 • www.levittpavilionpasadena.org BUSTER’S COFFEE AND ICE CREAM 888-222-5832 • www.events..caltech.edu 1006 Mission St., South Pasadena • 626-441-0744 OLD TOWN PUB THE LIVING TRADITION 66 N. Fair Oaks Ave., Pasadena CARPENTER PERFORMING ARTS CENTER COFFEE CARTEL 250 E. Center St., Anaheim 626-577-6583 • www.oldtownpub.com 6200 Atherton Blvd., Long Beach 949-646-1964 • www.thelivingtradition.org 1820 Catalina Ave., Redondo Beach • 310-316-6554 562-985-4274 • www.carpenterarts.org COFFEE GALLERY BACKSTAGE SISTERS OF BUBIK LOBERO THEATRE 34 S. Raymond, Pasadena CELTIC ARTS CENTER 2029 N. Lake, Altadena 33 E. Canon Perdido St., Santa Barbara 626-744-9220 • www.sistersofbubik.com 4843 Laurel Canyon Blvd., Valley Village 805-963-0761 • www.lobero.com 626-398-7917 • www.coffeegallery.com 818-760-8322 • www.celticartscenter.com CURLEY’S CAFE SOHO RESTAURANT AND MUSIC CLUB LORD OF THE STRINGS CONCERT SERIES 1221 State St., Santa Barbara CERRITOS CENTER 1999 East Willow, Signal Hill • 562-424-0018 Dana Point Community Center 805-962-7776 • www.sohosb.com FOR THE PERFORMING ARTS 24642 San Juan St., Dana Point GAYLE’S PERKS 12700 Center Court Drive, Cerritos 949-842-2227 / 949-244-6656 9028 Balboa Blvd., Northridge TANGIER RESTAURANT 562-916-8501 • www.cerritoscenter.com www.trjohnsonhomes.com/concerts.htm 818-893-6507 • www.gayleperks.com 2138 Hillhurst Ave., Los Feliz (Los Angeles) [email protected] 323-666-8666 • www.tangierrestaurant.net MADRID THEATRE HALLENBECKS GENERAL STORE THE COACH HOUSE 21622 Sherman Way, Canoga Park 5510 Cahuenga Blvd., North Hollywood TEMPLE BAR 33157 Camino Capistrano, San Juan Capistrano 818-347-9938 • www.madridtheathre.org 818-985-5916 • www.hallenbecks.com 1026 Wilshire Blvd., Santa Monica 949-316-8927 • www.thecoachhouse.com 310-393-6611 • www.templebarlive.com McCABE’S GUITAR SHOP HIGHLAND GROUNDS CTMS CENTER FOR FOLK MUSIC 3101 Pico Boulevard, Santa Monica 742 N. Highland Ave., Hollywood VIVA CANTINA 16953 Ventura Blvd. or 4935 Balboa Ave., Encino 310-828-4497 • www.mccabesguitar.com 323-466-1507 • www.highlandgrounds.com 900 Riverside Dr., Burbank 818-817-7756 • www.ctms-folkmusic.org 818-845-2425 • www.vivacantina.com Concert Hotline 310-828-4403 KAVA DUME THE EL REY THEATRE McCALLUM THEATRE 5653 Kanan Rd., Agoura Hills VICENZO’S PIZZA 5515 Wilshire Blvd., Los Angeles 73000 Fred Waring Dr., Palm Desert 818-865-8602 • www.kavadume.com 24500 Lyons Ave., Newhall 661-259-6733 323-936-6400 • www.theelrey.com 760-340-ARTS • www.mccallumtheatre.com IT’S A PARTY! SAVE THE DATE FOLKWORKS ANNUAL RECOGNITION EVENT Saturday, November 4, 2006

for all Writers / Distributors / Board of Directors/ Members BECOME A MEMBER* NOW & YOU ARE INVITED to join see page 28 or online www.FolkWorks.org

*Membership at FRIEND level and above September-October 2006 FolkWorks Page 31

SPECIAL EVENTS continued from page 32

8:00pm BAYANIHAN PHILIPPINE $40/$20 17 & under FRIDAY OCTOBER 6 8:00pm TANGO AND FIRE [www.tangoandfire.com] $21-29 7:30pm LATIN HARP NIGHT [www.josesmith.com] NATIONAL DANCE COMPANY Caltech (Beckman) /$10 youth San Dieguito United Methodist Church [www.bayanihannationaldanceco.ph] * CALICO DAYS Caltech Public Events Presented by San Diego Folk Heritage Pepperdine University (Smothers Theatre) With The Witcher Brothers Calico Ghost Town, Calico (near Barstow) SATURDAY OCTOBER 14 8:00pm TOM RUSH [www.tomrush.com] 8:00pm TAJ MAHAL [www.tajblues.com] $40 www.calicotown.com/events/calicodays With A.J. CROCE [www.ajcroce.com] Malibu Inn * FAMILY FOLKTALES: RABBITS, ROOSTERS, MON- Poway Center for Performing Arts, Poway 22969 Pacific Coast Hwy, Malibu 10:00am- WOLF MOUNTAIN BLUEGRASS FESTIVAL KEYS, OH MY! 858-668-4797 • www.powayarts.org 310-456-6060 Perfect Strangers, Frank Wakefield Band, Japan American National Museum High Plains Tradition, Bluegrass Redliners, Keith Little and 8:00pm JOHN STEWART [www.chillywinds.com] $20 * SEASIDE HIGHLAND GAMES Fret House THURSDAY SEPTEMBER 28 Jim Nunally, High Country, Lone Prairie, Mighty Crows, See October 13 7:30pm RICK SHEA [www.rickshea.net] $15 Page Brownton and Friends, Jake Quesenberry and the 8:00pm KAEDMON [www.kaedmon.com] $15 McRae Brothers, HeartWood 8:30am- STORYTELLING FESTIVAL Coffee Gallery Backstage & I SEE HAWKS IN L. A. [www.iseehawks.com] See October 13 Folk Music Center, Claremont Santa Cruz County Fairgrounds, Watsonville 8:00pm MARK HUMPHREYS [www.markhumphreys.com] 831-425-2270 • www.wolfmt.com 1:00pm- BLUESAPALOOZA Free 7:30pm VENICE [www.venicecentral.com] Bean Town 2:00pm- HARDLY STRICTLY BLUEGRASS FESTIVAL With Les Johnson Band, Stan West Band, Doug McLeod and Acoustic Music San Diego Blue Mama with Dennis Roger Reed 9:00pm CONJUNTO JARDIN [www.conjuntojardin.com] With , Ricky Scaggs & Kentucky Thunder, Temple Bar 8:00pm MARIA KALANIEMI TRIO [www.mariakalaniemi.com] The Del McCoury Band, Ramblin’ Jack Elliott, Fret House $25/$20 Skirball members/$15 Full time students Iris Dement, Laurie Lewis & The Right Hands and more 7:00pm BERKLEY HART [www.berkleyhart.com] $15 SUNDAY OCTOBER 22 Finland’s “Queen of the Accordion” Speedway Meadow Golden Gate Park, San Francisco Coffee Gallery Backstage 3:00pm SUZANNE TENG [www.suzanneteng.com] $15adv Skirball Cultural Center www.hardlystrictlybluegrass.com 7:00pm JOYCE WOODSON [www.joycewoodson.com] $12 /$7 Children 12 & under $17dos/$9 Children 12 & under 7:30pm JAMES LEE STANLEY [www.jamesleestanley.com] $20 Noble House Concerts Mystic Journey (family concert) 8:00pm LOWEN & NAVARRO [www.lownav.com] $25 and PETER TORK [www.petertork.com] Theatricum Botanicum Coffee Gallery Backstage 7:30pm FOUR SHILLINGS SHORT [art.net/~4ss] $15 Acoustic Music San Diego Songtree Concert Series 7:00pm BOB LIND [www.boblind.com] $15 FRIDAY SEPTEMBER 29 8:00pm SOURDOUGH SLIM [www.sourdoughslim.com] $15 7:30pm DAVE STAMEY [www.davestamey.com ] with DAFNI [www.dafni.us] * HARVEST MOON DANCE FESTIVAL $105 Coffee Gallery Backstage plus TRAILS & RAILS Coffee Gallery Backstage Weekend with Nils Fredland 8:00pm ESTAMPAS PORTEÑAS [www.tango-fire.com] $45 Americana Music Series (Fallbrook) 8:00pm JAMES MCVAY [www.jamesmcvay.com] and Mock Turtle Soup and Key Ingredients Tango Fire Trinity Coffee House Backstage Santa Barbara Country Dance Society Pepperdine University (Smothers Theatre) 8:00pm LIL’ REV [www.lilrev.com] $15 Jewish & Yiddish /$12 FolkWorks & CAFAM members MONDAY OCTOBER 23 805-682-1877 • www.sbcds.org 8:00pm SEVERIN BROWNE [www.severinbrowne.com] 7:30 pm SOUAD MASSI [souadmassi.artistes.universalmusic.fr] And JAMES COBERLY SMITH Folksongs, American Folk, Celtic, * HABIB KOITE, VUSI MAHLASELA Getty Center (Harold M. Williams Auditorium) [www.jamescoberlysmith.com] Original Tunes and Old Time Instrumentals [www.vusimahlasela.com ] & DOBET GNAHORE $29 7:30pm ELLIS PAUL [www.ellispaul.com] With PAUL ZOLLO [www.paulzollo.net] Craft and Folk Art Museum Kulak’s Woodshed Acoustic Africa • www.putumayo.com/acousticafrica With ANTJE DUVEKOT [www.antjeduvekot.com] Presented by FolkWorks El Rey Theatre Acoustic Music San Diego SATURDAY OCTOBER 7 8:00pm JOHN SCOFIELD $28-45 8:00pm LORIN HART [home.earthlink.net/~lorinhart] 8:00pm DENNIS ROGER REED [www.dennisrogerreed.com] * CALICO DAYS with MAVIS STAPLES [www.mavisstaples.com] /$15 Coffee Gallery Backstage Acoustic Root Music See October 6 Music of UCLA Students Alta Coffee UCLALive! WEDNESDAY OCTOBER 25 10:00am- TRAIN SONG FESTIVAL 8:00pm TAJ MAHAL [www.tajblues.com] $37 858-668-4576 www.powaymidlandrr.org/songfest.htm 8:00pm CLAIRE MANN [www.clairemann.com] $15 9:30am & 11:00am ADAAWE [www.adaawemusic.com] Lancaster PAC Presented by San Diego Folk Heritage And AARON JONES [www.tradmusic.com] /$5 youth Performance for students and educators McCallum Theatre for Performing Arts 8:00pm BRUCE MOLSKY [www.brucemolsky.com] Caltech Dabney Lounge 10:00am- WOLF MOUNTAIN BLUEGRASS FESTIVAL Caltech Folk Music Society Boulevard Music See October 6 8:00pm JAY LEONHART [www.jayleonhart.com] $20 8:00pm TANIA LIBERTAD $25-95 The Bass Lesson. Comedy/Music 8:00pm LOWEN & NAVARRO [www.lownav.com] $25 11:00pm- HARDLY STRICTLY BLUEGRASS FESTIVAL With Mariachi los Camperos Coffee Gallery Backstage Coffee Gallery Backstage see October 6 Orange County PAC 11:00am- COWBOY FESTIVAL THURSDAY OCTOBER 26 8:00pm TOMMY EMMANUEL [www.tommyemmanuel.com] $40 8:00pm MARIACHI DIVAS AND FRIENDS $20-30 7:30pm SUSAN WERNER [www.susanwerner.com] Pepperdine University (Smothers Theatre) With Sourdough Slim, Shirley Lorraine, Jim Spencer, John Anson Ford Amphitheatre /$12 Children 12 & under Jack of Diamonds Band, Mark Bailey & Friends Acoustic Music San Diego 8:30pm MASANGA MARIMBA ENSEMBLE [www.masanga.com] Underwood Family Farm 8:00pm FÉS FESTIVAL OF WORLD SACRED MUSIC $28-45 Club Tropical SATURDAY SEPTEMBER 30 SUNDAY OCTOBER 15 3370 Sunset Valley Rd., Moorpark • 805-529-3690 * SEASIDE HIGHLAND GAMES UCLALive! /$15 UCLA Students www.underwoodfamilyfarms.com/cowboy_weekend.htm SATURDAY SEPTEMBER 30 See October 13 FRIDAY OCTOBER 27 11:00am- GRAND AVENUE FESTIVAL * HARVEST MOON DANCE FESTIVAL $105 7:00pm DOUG MacLEOD [www.doug-macleod.com] $15 7:30pm SUSAN WERNER [www.susanwerner.com] See September 29 Music, Dance, Drum Circle, Food and more Coffee Gallery Backstage Grand Ave., between Temple and 4th Streets Acoustic Music San Diego * LU‘AU IN THE PARK $25/$10 Children 3-12 7:00pm JOYCE ANDERSEN [www.joyscream.com] 8:00pm DENNIS ROGER REED With Hula Hälau Ka Lehua Uluwehi I Ka Lani, 6:30pm ANDY RAU BAND [www.andyrauband.com] Theater 150 Me ‘n’ Ed’s Acoustic Root Music Kamaki & Company 918 E Ojai Ave., Ojai Alta Coffee La Habra Heights Park 7:00pm THE BILGEWATER BROTHERS $18 805-646-4300 www.theater150.org 1885 N. Hacienda Rd, La Habra Heights 8:00pm DERVISH [www.dervish.ie] $17-25/$10 youth [myspace.com/bilgewaterbros] 8:00pm AARON JONES Janice Cortez 714-970-2489 [email protected] Coffee Gallery Backstage Caltech Beckman [www.tradmusic.com/artistinfo.asp?artistID=87] Caltech Folk Music Society * KVMR CELTIC FESTIVAL 7:30pm & 9:30pm KATIA MORAES [www.katiamoraes.com] and CLAIRE MANN [www.clairemann.com] Dougie MacLean, Alasdair Fraser, Shooglenifty, The Cottars, & SAMBAGURU [www.sambaguru.com] Caltech Beckman Institute Auditorium 8:00pm APRIL VERCH [www.aprilverch.com] $20 Molly’s Revenge San Juan Capistrano MultiCultural Series Caltech Folk Music Society Blue Ridge Pickin’ Parlor Nevada County Fairgrounds, Grass Valley 8:00pm SUSAN WERNER [www.susanwerner.com] $18 www.kvmr.org/celticfestival 8:00pm BERNIE PEARL [www.berniepearl.com] 8:00pm BERKLEY HART [www.berkleyhart.com] $15 Boulevard Music Walton house concert (San Diego) McCabe’s Guitar Shop * EARL BROTHERS [www.earlbrothers.com] $15 Kristen ([email protected]) SATURDAY OCTOBER 28 San Dieguito United Methodist Church /$12 SDFH Members 8:00pm INTI-ILLIMANI [www.inti-illimani.com]$21-29/$10 youth Presented by San Diego Folk Heritage Music of the TUESDAY OCTOBER 17 Noon STEFANI VALADEZ AND FRIENDS Caltech (Beckman Auditorim) Skirball Café Z * STEVE POLTZ [www.poltz.com] $15 Caltech Public Events 6:30pm LOST HIGHWAY [www.losthighwaybluegrass.com] Canyon Folk Bluegrass Association of Southern California 3:00pm & 8:00pm AUNTIE HENOA KEAWE $35 124 Frances Dr., El Cajon 8:00pm LAURENCE JUBER [www.laurencejuber.com] $20 Living of Aloha McCabe’s Guitar Shop 8:00pm JOAN BAEZ [www.joanbaez.com] $50-55 619-659-5753 • www.canyonfolkhouseconcerts.com Lancaster PAC Whittier College 8:30pm BRIGITTE DeMEYER [www.brigittedemeyer.com] 7:00pm SLIGO RAGS [www.sligorags.com] $15 10:00am JUAN L. SANCHEZ $5 WEDNESDAY OCTOBER 18 \ RAZZLE BAM BOOM /Children Free Knitting Factory Coffee Gallery Backstage John Anson Ford Amphitheatre Big!World!Fun! 7:30pm JOAN BAEZ [www.joanbaez.com] $45 7:30pm RICK SHEA [www.rickshea.net] SUNDAY OCTOBER 8 Humphrey’s Concerts By The Bay 10:00am BRUCE MOLSKY [www.brucemolsky.com] * COWBOY FESTIVAL / I HAWKS IN L.A. [www.iseehawks.com] 2241 Shelter Island Drive, San Diego Folk Music Center Old-Time Fiddle Workshop See October 7 619-523-1010 • www.humphreysbythebay.com Sponsored by FolkWorks 818-785-3839 * CALICO DAYS 7:30pm HIGH HILLS [www.highhills.com] $15 12:30pm AVILA BEACH MUSIC FESTIVAL See October 6 THURSDAY OCTOBER 19 Bluegrass /$12SDFH members With Emmy Lou Harris, Herb Pedersen, Irene Kelley & Jude 8:00pm THE BILGEWATER BROTHERS $15 Templar’s Hall 10:00AM- THE 35TH ANNUAL OLD-TIME FIDDLER’S $12/ [myspace.com/bilgewaterbros] Presented by San Diego Folk Heritage Johnstone CONVENTION AND FESTIVAL $10 Srs., Teens Benefit for SMILE and OPTIONS (Community organiza- Steve Allen Theatre 8:00pm RONNY COX [www.ronnycox.com] Stowe House /$5 Children 4773 Hollywood Blvd, Hollywood tions) 304 N. Carneros Rd., Goleta Fret House Avila Beach (7 Miles from San Luis Obispo) www.sbsunriserotary.org/fiddlers 8:00pm APRIL VERCH [www.aprilverch.com] 805-558-4587 • www.avilabeachmusicfestival.com FRIDAY OCTOBER 20 10:00am- A TASTE OF FOLK MUSIC Free 7:30pm MARTA TOPFEROVA [www.martatopferova.com] Boulevard Music 3:00pm & 8:00pm DANIEL HO [www.danielho.com] $35 Folk & Bluegrass Music Festival Acoustic Music San Diego 8:00pm SUSIE GLAZE [www.susieglaze.com] KEOKI KAHUMOKU [www.kahumoku.com/keoki] Encino Park • 16953 Ventura Blvd., Encino CTMS Center for Folk Music & HERB OHTA JR [www.herbohtajr.com]. CTMS Center for Folk Music SATURDAY OCTOBER 21 Whittier College 8:00pm TOM KIMMEL [www.tomkimmel.com] 10:00am- WOLF MOUNTAIN BLUEGRASS FESTIVAL * RAMBLIN’ JACK ELLIOTT [www.ramblinjack.com] Bodie Hills Concert 7:00pm MARIACHI NUEVO CUICATLAN $40-48 See October 6 The Echo [www.nuevocuicatlan.com] Arthur Festival, Los Angeles 8:00pm CLARK BRANSON AND FRED STARNER $20 HERMANOS HERRERA 11:00pm- HARDLY STRICTLY BLUEGRASS FESTIVAL Boston Court /$15 Students, Srs. see October 6 noon HOT CLUB QUARTET [www.hotclubquartet.com] [www.hermanosherrera.netfirms.com] Skirball Cafe Z 8:00pm RANI ARBO & DAISY MAYHEM [www.raniarbo.com] AND BALLET OLLIN [www.balletollin.org] Noon- HOOTENANNY & THE WOODY GUTHRIE SHOW$5-15 With ASLEEP AT THE WHEEL $27.50-47.50 John Anson Ford Amphitheatre Will Geer Theatricum Botanicum 7:00pm JANET KLEIN and Her Parlor Boys $20 [www.asleepatthewheel.com] [www.janetklein.com] Cerritos Center for the Performing Arts 7:00pm & 9:00pm CONJUNTO JARDIN [www.conjuntojardin.com] 3:45pm CORNUCOPIA $8 Coffee Gallery Backstage $10/$5 children 5 and under Storytelling (adults only) 8:00pm JOHN STEWART [www.chillywinds.com] San Juan Capistrano MultiCultural Series Workout Studio 7:30pm SLIGO RAGS [www.sligorags.com] $10 Trinity Backstage Coffee House 4735 Lankershim Blvd., North Hollywood • 818-506-3903 Folk Music Center 7:30pm MARLEY’S GHOST [www.marleysghost.com] SUNDAY OCTOBER 29 Folk Music Center 7:00pm JAMES LEE STANLEY [www.jamesleestanley.com] 7:30pm WENDY WALDMAN / JENNY YATES $14 / BONNIE HAYES / DEBORAH HOLLAND 10:00am- MASANGA MARIMBA ENSEMBLE [www.masanga.com] 8:00pm ISRAEL and PASTORA GALVAN $42.50-57.50 & PETER TORK [www.petertork.com] $20 Coffee Gallery Backstage Sponsored by The Living Tradition Santa Monica Farmers Market Flamenco Arts Festival / $27.50 Students Main St. & Ocean Park Lobero Theatre 7:30pm & 9:30pm CHRIS SMITHER[www.smither.com] $20 MONDAY OCTOBER 9 McCabe’s Guitar Shop 7:30pm APRIL VERCH [www.aprilverch.com] 8:00pm DENNIS ROGER REED * DANIEL HO [www.danielho.com], 7:30pm & 9:00pm MICHAEL PAUL SMITH Acoustic Music San Dieg Acoustic Root Music KEOKI KAHUMOKU [www.kahumoku.com/keoki] Bean Town Tribute to Paul Robeson & HERB OHTA JR [www.herbohtajr.com] San Juan Capistrano Multicultural Series 8:00pm BAYANIHAN PHILIPPINE NATIONAL $26 Uke and Slack Key Guitar Workshops DANCE COMPANY /$24 Students, Srs./$13 16 & under Buffalo Bros. Guitars [www.bayanihannationaldanceco.ph] 4901 El Camino Real, Carlsbad Haugh PAC 760-434-4567 • www.buffalobrosguitars.com 8:00pm CAROLYN HESTER [www.carolynhester.com] $12 8:00pm DRUHA TRAVA [www.druhatrava.com] $20 FIDDLE WORKSHOP with BRUCE MOLSKY & ROSS ALTMAN [www.ultimate.com/altman/] Coffee Gallery Backstage t h Café Danssa Saturday, September 30 11533 W. Pico Blvd., West L.A. • 310-478-7866 TUESDAY OCTOBER 10 8:00pm ELLIS PAUL [www.ellispaul.com] $17.50 7:30pm ALOHA WITH STYLE II [email protected] • 818-785-3839 With ANTJE DUVEKOT [www.antjeduvekot.com] [www.sharleneoshiro.com/alohawithstyle] McCabe’s Guitar Shop With DANIEL HO [www.danielho.com], Bruce Molsky has become known as one of the most influential traditional fiddlers of his HERB OHTA, JR [www.herbohtajr.com] & 8:00pm ASHLEY MAHER [www.ashleymaher.com] $12 KEOKI KAHUMOKU [www.kahumoku.com/keoki] generation. The Star-Tribune calls him “old-time music’s answer to - a Noble House Concerts Acoustic Music San Diego 8:00pm SMALL POTATOES $15 commanding musician with a voracious appetite for traditional music styles.” Darol Anger has [www.smallpotatoesmusic.com] WEDNESDAY OCTOBER 11 Fret House 8:00pm MERLE HAGGARD [www.merlehaggard.com] $38-65 dubbed him “The Rembrandt of Appalachian Fiddling.” Bruce performs solo, and also joins With RAMBLIN’ JACK ELLIOTT /$17 UCLA Students SUNDAY OCTOBER 1 [www.ramblinjack.com] Anger, along with Michael Doucet in the group Fiddlers 4, just nominated for a 2003 Grammy * HARVEST MOON DANCE FESTIVAL $105 UCLALive! See September 29 8:00pm MARCIA BALL [www.marciaball.com] Award. He also plays with ’s new group Mozaik, and has produced numerous CD’s. 9:30am & 11:30am KARL ANTHONY [www.karlanthony.com] $8 Canyon Club Bruce offers intensive fiddle and banjo workshops all around the U.S. Groups of 12 to 18 Peter Alsop’s Kids Koncerts Will Geer Theatricum Botanicum THURSDAY OCTOBER 12 8:00pm LES YEUX NOIRS [www.lesyeuxnoirs.net]$30/$25 Skirball students gather to learn the intricacies of playing in the old mountain style. Considerable atten- 7:00pm HARVEST MOON OPEN DANCE $10 members/$20 full time students Contra Dance Gypsy Klezmer Quintet tion is also given to the history and background of this archaic, but very popular roots music Carrillo Ballroom Skirball Cultural Center 805-682-1877 www.sbcds.org style. 8:00pm MARCIA BALL [www.marciaball.com $17adv/$19 DOS 7:00pm BAYANIHAN PHILIPPINE NATIONAL DANCE $25-45 Belly Up Tavern Here’s a description of a typical workshop day: COMPANY [www.bayanihannationaldanceco.ph] Orange County PAC FRIDAY OCTOBER 13 10:00 - 10:15 Introductions, set up, questions, coffee, late arrivals, etc. 7:00pm JEANNIE WILLETS [www.jeanniewillets.com] $15 * SEASIDE HIGHLAND GAMES Coffee Gallery Backstage With Men of Worth [www.menofworth.com], 10:15 - 12:30 Instruction 7:30pm BRUCE MOLSKY [www.brucemolsky.com] Alex Beaton [www.alexbeaton.com], MARLEY’S GHOST [www.marleysghost.com] The Browne Sisters and George Cavanaugh 12:30 - 1:30 Lunch (provided) Acoustic Music San Diego [www.brownesisters.com/], The Wicked Tinkers [www.wickedtinkers.com], 1:30 - 2:15 Repertoire 8:30pm TAJ MAHAL [www.taj-mo-roots.com] $35-40 Eric Rigler And Bad Haggis [www.badhaggis.com], House of Blues, Anaheim Celtic Spring [www.celticspringband.com] 2:15 - 3:30 Instruction MONDAY OCTOBER 2 ,Ventura • seaside-games.com Suggested experience level: Anyone who is comfortable with the instrument and who has at 8:00pm RIDERS OF THE PURPLE SAGE $20 7:30pm STORYTELLING FESTIVAL [www.ridersofthepurplesage.com] Charlie Chin, Wilie Claflin, Donald Davis, Diane Ferlatte, least a small repertoire of tunes should consider coming. The skeleton of the tunes is taught Coffee Gallery Backstage and Liz Weir Historic Town Center Park Tent (HTC) first, and then additional variations and ornamentation are added. That way there can be bene- TUESDAY OCTOBER 3 Camino Real Playhouse 6:30pm DANIEL HO [www.danielho.com], 31806 El Camino Real, San Juan Capistrano fit for people at higher skill levels as well. KEOKI KAHUMOKU [www.kahumoku.com/keoki] Work hrs. 949-493-5911 & HERB OHTA JR [www.herbohtajr.com]. $35 After hrs. 949-768-1916 • www.storyfestival.com This approach to focused learning in the oral tradition is challenging, but it’s also a lot of SoHo Restaurant 8:00pm JOYCE ANDERSEN [www.joyscream.com] $15 fun. Bruce has been teaching in this very structured way for years, and says he has never left a 7:30pm EMMYLOU HARRIS [www.emmylou.net] $40 Coffee Gallery Backstage Humphrey’s Concerts By The Bay 8:00pm KIM EUNG HWA [www.kimeunghwa.org] $30/$12 workshop without learning something new himself! 8:00pm JANET KLEIN & HER PARLOR BOYS Students/Children 12 & under [www.janetklein.com] Korean-American Dance Association Cost is $60.00 for the workshop. Payment is due prior to workshop date. Refunds can be plus Jerry Beck’s rare early film shorts John Anson Ford Amphitheatre Steve Allen Theatre 8:00pm MARCIA BALL [www.marciaball.com] $17.50 made if there is someone on the waiting list who is available to come in your place. If no one 8:00pm BRIGITTE DeMEYER [www.brigittedemeyer.com] $15 / CONNIE RAE from the waiting list is available, then 50% refund is possible. Coffee Gallery Backstage The Coach House Page 32 FolkWorks September-October 2006

SPECIAL EVENTS

FRIDAY SEPTEMBER 1 7:30pm BOB WEBB [richmondwebb.com] $15 7:30pm SONS OF THE NEVER WRONG [www.sons.com] Old time banjo, sea songs and shanties Cerritos Center for the Performing Arts * STRAWBERRY MUSIC FESTIVAL **SOLD OUT** Buffalo Brothers Guitars Indicates Editor’s Picks With Fiddlestix, Tom Ball and Kenny Sultan, , 8:00pm JOHN MUELLER $15 4901 El Camino Real, Carlsbad [www.rockabillyhall.com/JohnMueller.html] 8:00pm KELLY JOE PHELPS [www.kellyjoephelps.net] Witcher Brothers, Big Sandy and his Fly Rite Boys, 760-434-4567 • www.buffalobrosguitars.com Laurie Lewis Band, , Rodney Crowell Band, Coffee Gallery Backstage McCabe’s Guitar Shop Peter Ostroushko, Rhonda Vincent and the Rage, 8:00pm JOE & VICKIE PRICE [www.joepriceblues.com] $12.50 8:00pm THE BERKELEY OLD-TIME MUSIC CONVENTION 8:30pm ETTA JAMES AND THE ROOTS BAND $46-50 Jerry Douglas Band, Sam , and others Coffee Gallery Backstage [www.berkeleyoldtimemusic.org] $18.50 adv /$20 door [www.etta-james.com] Camp Mather, Yosemite • www.strawberrymusic.com 8:00pm JANET KLEIN & HER PARLOR BOYS with Hank Bradley, Jody Stecher and Ginny Hawker House of Blues, Anaheim * VALLEY OF THE MOON SCOTTISH FIDDLE SCHOOL [www.janetklein.com] The Freight & Salvage TUESDAY SEPTEMBER 19 With Alasdair Fraser plus Jerry Beck’s rare early film shorts 1111 Addison St., Berkeley Steve Allen Theatre 7:00pm ZHENA FOLK CHORUS $20 Boulder Creek THURSDAY SEPTEMBER 14 Wayfarers Chapel 415-566-4355 • www.valleyofthemoon.org 8:00pm DWIGHT YOAKAM [www.dwightyoakam.com] 5755 Palos Verdes Dr. South, Rancho Palos Verdes The Grove of Anaheim 8:00pm DWIGHT YOAKUM [www.dwightyoakam.com] $60 8:00pm KENNY SARA AND THE SOUNDS OF NEW ORLEANS Viejas Concerts in the Park, Alpine 310-377-7919 ext 6 or 310-833-3690 • www.zhena.org Levitt Pavilion for the Performing Arts Free 8:00pm & 9:30pm HOT CLUB QUARTET $15 www.viejasentertainment.com 8:00pm SHERI LEE AND BLUE HEART Free 8:00pm IGOR & THE JAZZ COWBOYS $15 [www.hotclubquartet.com] [www.sherileeandblueheart.com] Bluegrass [www.igorsjazzcowboys.com] Warszawa Patio FRIDAY SEPTEMBER 15 Bluegrass Association of Southern California Coffee Gallery Backstage 1414 Lincoln Blvd., Santa Monica • 310-393-8831 * FRESNO SCOTTISH GAMES With Ed Miller and John Taylor, Molly’s Revenge, and 8:00pm LARRY MAURICE [www.larrymaurice.com] $15 8:30pm STEVE POLTZ [www.poltz.com] with AJ CROCE FRIDAY SEPTEMBER 8 Banshee in the Kitchen Cowboy Entertainer The Mint * WESTERN ARTS ALLIANCE CONFERENCE Coombs Riverbend Ranch Park Coffee Gallery Backstage 9:00pm JOHN FOGERTY [www.johnfogerty.com] $30-55 See September 5 www.scottishsociety.org/games.html WEDNESDAY SEPTEMBER 20 The Arena - Soboba Casino Noon MASANGA MARIMBA ENSEMBLE [www.masanga.com] * FIDDLIN’ DOWN THE TRACKS CONTEST 23333 Soboba Rd, San Jacinto 8:00pm PLANET DRUM [www.planetdrum.org] $50-100 Grand Performances West Park Activity Center - Tehachapi , , & more 9:00pm STEFANI VALADEZ AND FRIENDS 5:00pm L.A. GREEK FESTIVAL Free 661-823-0963 or 661-428-0482 Lobero Theatre Stefani Valadez, (vocals & percussion), www.tehachapi.com/fiddlecontest/ 1324 S. Normandie Ave., Hollywood 9:00pm SLIGO RAGS [www.sligorags.com] Nyofu Tyson (Turkish saz and vocals), 323-737-2424 • www.LAGreekFest.com 10:00am- PLYMOUTH BLUEGRASS FESTIVAL John Heard (bassist), Jamie Papish (percussionist) Killarney’s 7:00pm PRIMAL TWANG $29.75 - $49.75 With Cherryholmes and others Melanie Kareem (dance) Amador County Fairgrounds THURSDAY SEPTEMBER 21 Club Tropical See September 7 7:00pm LOS LOBOS, IVAN NEVILLE’S DUMPSTAPHUNK$42 Plymouth, CA Noon BRASIL BRAZIL [brasilbrazilshow.com] SATURDAY SEPTEMBER 2 Humphrey’s Concerts by the Bay www.landspromotions.com/plymouth Pershing Square Summer Concerts * STRAWBERRY MUSIC FESTIVAL **SOLD OUT** 7:30 pm VASHTI BUNYAN [www.forthstreet.demon.co.uk] 6:00pm MILLPOND MUSIC FESTIVAL 2:00pm CONCIERTO PARA LOS NIÑOS $9.50 See September 1 Getty Center (Harold M. Williams Auditorium) With Bob & Barbara Mora, The Bishop , Flamenco Arts Festival /Free children under 12 Fiddlin Pete & Friends, Brian Joseph, David Lindley Children’s Matinee Performance • Lobero Theatre * VALLEY OF THE MOON SCOTTISH FIDDLE SCHOOL 8:00pm RICK SHEA [www.rickshea.net] $15 See September 1 Millpond Recreation Area, Bishop 8:00pm DIRTY DOZEN BRASS BAND[www.dirtydozenbrass.com] & I SEE HAWKS IN L. A. [www.iseehawks.com] www.inyo.org/millpond * SOLOMON BURKE, BOBBY WOMACK, Coffee Gallery Backstage SoHo Restaurant $18 BOBBY “BLUE” BLAND, MARVIN SEASE, 7:30pm SLIGO RAGS [www.sligorags.com] 8:00pm MICHAEL LILLE [www.Michaellille.com] 8:00pm PACIFICO DANCE COMPANY $40/$36 students, srs. La Creperie Café , SHIRLEY BROWN, LATIMORE [www.pacificodance.com] /$20 12 and under Trinity Coffeehouse Backstage Gibson Amphitheater, Universal City 4911 E. Second St., Long Beach with Perla Batalla 562-434-8499 lacreperiecafe.net 8:00pm OMAYRAAMAYA FLAMENCO $42.50-57.50 * ORANGE INTERNATIONAL STREET FAIR Carpenter Center DANCE COMPANY / $27.50 Students [www.orangestreetfair.com] 8:00pm CHUCK PYLE [www.chuckpyle.com] Flamenco Arts Festival • Lobero Theatre 8:00pm CHRIS HILLMAN [www.chrishillman.com] Boulevard Music With SLIGO RAGS [www.sligorags.com] & HERB PEDERSEN [www.herbpedersen.com] 8:00pm PLANET DRUM [www.planetdrum.org] $31.50 Glassell St. & Chapman Ave., Orange Boulevard Music 8:00pm AL STEWART [www.alstewart.com] Mickey Hart, Zakir Hussain, Giovanni Hidalgo & more Coach House 6:30pm ANDY RAU BAND [www.andyrauband.com] 8:30pm WILLIE NELSON [www.willienelson.com] Avalon Me ‘n’ Ed’s, Lakewood With RYAN ADAMS, NEKO CASE 8:00pm GÜLAY AND THE ENSEMBLE ARAS $25/$12 Youth 1735 N. Vine St., Hollywood 7:00pm EVE SELIS [eveselis.com] $15 Hollywood Bowl World Fusion Music from the Silk Road 8:00pm DR. JOHN [www.drjohn.org ] / LITTLE FEAT $38-48 Coffee Gallery Backstage Lancaster PAC The Grove of Anaheim SATURDAY SEPTEMBER 9 7:00pm 117 WEST [www.117westbluegrass.com] $15 8:00pm AMERICANA MUSIC CIRCLE Free 8:00pm THE BILGEWATER BROTHERS $15 San Diego Folk Heritage (Templar Hall) * WESTERN ARTS ALLIANCE CONFERENCE With MAURA FOGATY [www.maurafogarty.com] [myspace.com/bilgewaterbros] See September 5 SARAH COLEMAN IS LADYTOWN, NICOLE GORDON 7:00pm & 9:00pm CHRIS HILLMAN [www.chrishillman.com] $10 Steve Allen Theatre 10:00am TALL SHIPS FESTIVAL MARK FOSSON & HERB PEDERSEN /$5 children 5 and under Kulak’s Woodshed FRIDAY SEPTEMBER 22 [www.herbpedersen.com] with BILL BRYSON With Pint & Dale, Bill Dempsey and Connie Allen San Juan Capistrano MultiCultural Series Foggy Dew, Gary Seiler and Halau Hula Lani Ola 8:00pm LAURIE LEWIS & The RIGHT HANDS $17.50 * TAIKO CAMP Baby Beach Grass Park [www.laurielewis.com] With Seiichi Tanaka, Kenny Endo, Marco Lienhard, others 7:30pm JOHN FOGERTY [www.johnfogerty.com] $32.00-$72.00 Dana Point Harbor, Dana Point McCabe’s Guitar Shop Shady Creek Camp, Grass Valley & LUCINDA WILLIAMS [www.lucindawilliams.com] tallshipsfestival.com www.grassvalleytaiko.com The Greek Theatre 8:00pm THE BILGEWATER BROTHERS $18 10:00am CELEBRATION OF ASIAN-AMERICAN CULTURE AND [myspace.com/bilgewaterbros] noon VERY BE CAREFUL [www.verybecareful.com] Free 7:30pm BLUE13 DANCE COMPANY [www.blue13dance.com] TRADITION Coffee Gallery Backstage Grand Performances KARISHMA: Bollywood Dance John Anson Ford Amphitheatre Big!World!Fun! John Anson Ford Amphitheatre 8:30pm TRIO VORONEZH [www.triovoronezh.com] 6:30pm THOROGOOD & THE DESTROYERS $29.50-$74.50 Noon EXTREME KLEZMER MAKEOVER Free John Anson Ford Amphitheatre DR. JOHN [www.drjohn.org], 8:00pm ANUPAMA BHAGWAT [www.anupamabhagwat.com] $25 Skirball Café Z BUDDY GUY [www.buddyguy.net], SHRUTI SADOLIKAR /$15 Music Circle Members SATURDAY SEPTEMBER 16 DIRTY DOZEN BRASS BAND[www.dirtydozenbrass.com] [www.musicalnirvana.com/hindustani/shrutisadolikar.html] 1:00pm- L.A. GREEK FESTIVAL $3/Free 12 & under See September 8 * FIDDLIN’ DOWN THE TRACKS CONTEST Greek Theater ANANDOGOPAL BANDOPADHYAY /$5 Students see September 15 JYOTI GUHO [harmonium] /Free Oxy students 7:00pm PRIMAL TWANG $29.75 - $49.75 8:00pm ANI DIFRANCO [www.columbia.edu/~marg/ani/] See September 7 9:00am- JULIAN BLUEGRASS FESTIVAL Copley Symphony Hall, San Diego Herrick Chapel, Occidental College With Donner Mountain Bluegrass Band, 626-449-6987 • www.musiccircle.orgs 7:00pm HUAYUVALTIA [www.huayucaltia.com] $10/$5 children 8:00pm BRIAN JOSEPH [www.brianjosephmusic.com] $15 Susie Glaze & the Hilonesome Band, 7th Day Buskers, Coffee Gallery Backstage 8:00pm LISA FINNIE and FRIENDS San Juan Capistrano Multicultural Series 5 and under Trails & Rails, Pacific Ocean Bluegrass Band, [www.home.earthlink.net/~finnie66/id1.html] 7:00pm & 9:30pm THE STAIRWELL SISTERS $15 Connie Allen & Bill Dempsey 8:00pm NATHAN McEUEN [www.nathanmceuen.com] $10 Bean Town [www.stairwellsisters.com] Frank Lane Park Zoey’s Cafe 9:00pm STEVE POLTZ [www.poltz.com] $17adv/$19 door Coffee Gallery Backstage 760-765-3937 • www.julianbluegrassfestival.com SATURDAY SEPTEMBER 23 The Belly Up 7:30pm TOM KURAI & YUKIKO MATSUYAMA 9:00am- HARVEST FESTIVAL OF DULCIMERS (AND MORE) 10:00am JUAN L. SANCHEZ $5/Children Free Taiko Dana Point Youth and Group Facility children’s songs from around the world LISTING UPGRADE NOW AVAILABLE Folk Music Center 34451 Ensenada Place, Dana Point So. California Dulcimer Heritage 10:00am- ADAMS AVE. STREET FAIR 7:30pm BONNIE RAITT [www.bonnieraitt.com] $30.00-$85.00 562-861-7049 www.scdh.org www.adamsaveonline.com/StreetFair Have your Special Event listed in larger font KEB’ MO’ [www.kebmo.com] and highlighted in BOLD FACE. The Greek Theatre 10:00am- PLYMOUTH BLUEGRASS FESTIVAL 11:00am FESTIVAL DEL MAR $40 See September 15 THOROGOOD & THE DESTROYERS $29.50-$74.50 ONLY $20 per event. 8:00pm LONE HILL RAMBLERS $15 DR. JOHN [www.drjohn.org ], 10:00am- IRVINE GLOBAL VILLAGE FESTIVAL Free BUDDY GUY [www.buddyguy.net], Call 818-785-3839 /$12 FolkWorks & CAFAM members with Alireza Khademi, Bonne Musique Zydeco, Old Time Music at its’ best with Steve Lewis (banjos), DIRTY DOZEN BRASS BAND [www.dirtydozenbrass.com] or email - [email protected] for details. Ektaa Center, Irvine Korean Dance Group, The Racetrack Infield at The Del Mar Fairgrounds Joe Wack (guitar, fiddle, banjo) and Paul Jarrell (fiddle) Las Estrellas Ballet Folklorico, 2260 Jimmy Durante Blvd., Del Mar Mei-Ling Lee Dance And Chinese Performing Arts Group, Craft and Folk Art Museum 7:00pm BANSHEE IN THE KITCHEN $15/$12 SDFH members SUNDAY SEPTEMBER 3 Presented by FolkWorks Pro Dance Center, Syrtaki, Upstream Bill Barber Park [www.bansheeinthekitchen.com] * STRAWBERRY MUSIC FESTIVAL **SOLD OUT** 8:00pm BEARFOOT [www.bearfootbluegrass.com] $15 4 Civic Center Plaza, Irvine • www.irvinefestival.org San Diego Folk Heritage(Templar Hall) See September 1 Boulevard Music 2:00pm- MILLPOND MUSIC FESTIVAL 7:00pm & 9:30pm HIGH HILLS BLUEGRASS BAND $18 * LONG BEACH BLUES FESTIVAL 8:00pm MARK HUMPHREYS [www.markhumphreys.com] Free With Bearfoot Bluegrass, Bakra Bata, [www.highhills.com] With Bettye LaVette, Luther “Guitar Junior” Johnson & the Bean Town Marc Atkinson Trio, Genticorum, Coffee Gallery Backstage Magic Rockers, The Campbell Brothers The Kusun Ensemble, Laura Love 7:30pm ERIC BIBB [www.ericbibb.com] $29 California State University, Long Beach Athletic Field 8:00pm PACIFICO DANCE COMPANY $40/$36 students, srs Carpenter Arts Center ./$20 12 and under Millpond Recreation Area, Bishop Thousand Oaks Performing Arts Center 1250 N Bellflower Blvd., Long Beach www.inyo.org/millpond Jay and Janet Scheer Forum Theatre www.jazzandblues.org/events/lbbf/2006/info/ 8:00pm JOHN BATDORF [www.johnbatdorfmusic.com] $15 Sponsored by Performances To Grow On Fret House 4:00pm- MARTIN GUITAR CLINIC Free * FIESTA DE LOS ARTES With George Sabolic 8:00pm ANI DIFRANCO [www.columbia.edu/~marg/ani/] With Lisa Haley 8:00pm DWIGHT YOAKAM [www.dwightyoakam.com] $60-70 Fret House Orpheum Theatre Hermosa Ave & 11th St., Hermosa Beach • 310-376-0951 Lancaster PAC 7:00pm THE WOODHEAD MEETS NEON MAN $20/$15 kids 842 S. Broadway, L.A. 9:30am & 11:30am MOLLY HOGAN AND WILDWORKS $8 8:00pm PETER OSTROUSHKO [www.peterostroushko.com] $15 Thousand Oaks Civic Arts Plaza (Scherr Forum Theatre) 877-677-4386 8 • www.laorpheum.com Peter Alsop’s Kids Koncerts and ARKADIY YUSHIN /$5 youth 8:00pm ANNE HILLS [www.annehills.com] $15 Will Geer Theatricum Botanicum Caltech (Beckman ) 7:00pm CHUCK PYLE [www.chuckpyle.com] $15 Coffee Gallery Backstage Caltech Dabney Hall Lounge /$5 Caltech students, children 6:15pm DOWN HOME BLUES FESTIVAL $35-75 Presented by The Caltech Folk Music Society Caltech Folk Music Society With Solomon Burke, Bobby “Blue” Bland, 8:00pm JENNY YATES [www.jennyyates.com] $15 7:30pm WILLIAM PINT & FELICIA DALE [members.aol.com/pintndale] 8:00pm PINT & DALE [members.aol.com/pintndale] Marvin Sease, Clarence Carter, Denise Lasalle & Band, plus DEBORAH HOLLAND [www.deborahholland.net] CTMS Center for Folk Music Latimore, Sir Charles Russ and Julie’s House Concerts Americana Music Series (Fallbrook) Gibson Amphitheatre, Universal City 8:30pm WILLIE NELSON 7:30pm CHRIS STUART & BACKCOUNTRY $14 8:00pm “SYNERGY” $25/$12 Students, children 12 & under 6:30pm JOHN FOGERTY [www.johnfogerty.com] $34.50-64.50 See September 8 [www.backcountryrecords.com] /$11 TLT members Moira Smiley & VOCO & LUCINDA WILLIAMS [www.lucindawilliams.com] / MIKKI BRISK [www.mikkibrisk.com] /Free children andTRIPDANCE Theatre & Regina Klenjoski Dance Co. SUNDAY SEPTEMBER 10 Santa Barbara Bowl Sponsored by The Living Tradition / under 18 with paid adult John Anson Ford Amphitheatre * TALL SHIPS FESTIVAL 7:30pm SUZANNE TENG [www.suzanneteng.com] $30 7:00pm DEL CASHER [delcasher.com] $15 8:00pm DUO ERATO [www.duoerato.com] $15 Inventor Of The Wah Wah See September 9 Pool concert • www.poolconcerts.com 9:30am & 11:30am PETER ALSOP [www.peteralsop.com] $8 (Martha Masters and Risa Carlson) Coffee Gallery Backstage 8:00pm THE RHYTHM BROTHERS [www.rhythmbrothers.com] Fret House 8:00pm TEDDY THOMPSON BAND [www.teddythompson.com] Peter Alsop’s Kids Koncerts Boulevard Music + ETIENNE DE ROCHER $39.50 adv/$42.50 DOS Will Geer Theatricum Botanicum 8:00pm GRANDEZA MEXICANA $25-30 SUNDAY SEPTEMBER 24 Lobero Theatre noon- L.A. GREEK FESTIVAL $3/Free 12 & under FOLK BALLET COMPANY 9:30am & 11:30am JUMBO SHRIMP CIRCUS $8 Presented by Sings Like Hell See September 8 Mexico - Mi Tierra y Mis Pasiones [www.jumboshrimpcircus.com] Peter Alsop’s Kids Koncerts MONDAY SEPTEMBER 4 2:00pm- BONNE MUSIQUE ZYDECO $17 John Anson Ford Amphitheatre [www.bonnemusiquezydeco.com] Will Geer Theatricum Botanicum 8:00pm RIDERS OF THE PURPLE SAGE $20 8:00pm PETER CASE [www.petercase.com] Murphy Day - Cajun / Zydeco Dance The Blue Café 10:00am- ADAMS AVE. STREET FAIR [www.ridersofthepurplesage.com] Elks Lodge see September 23 Coffee Gallery Backstage 210 The Promenade N., Long Beach 1735 W. 162nd St., Gardena 562-983-7111 • www.bluebirdcafe.com 2:00pm SEVERIN BROWNE & FRIENDS TUESDAY SEPTEMBER 5 562-233-5222 • [email protected] 8:00pm ASHLEY MAHER[www.ashleymaher.com] $12 [www.severinbrowne.com] * WESTERN ARTS ALLIANCE CONFERENCE 2:00pm SAMITE OF UGANDA [www.samite.com] $15 Noble House Concerts Coffee Gallery Backstage With Alfredo Rolando Ortiz, Calle Sur, Alpha Yaya Diallo, Coffee Gallery Backstage 8:00pm DESERT SAGE [www.desertsageband.com] Free 3:00pm JACKI BREGER FAMILY SING-A-LONG Free Taikoproject, Mary Jane Lamond, Po’Girl, Los Pinguos, 2:00pm PRIMAL TWANG Bluegrass Grand Performances Ricardo Lemvo & Makina Loca, Claudia Calderon, See September 7 Bean Town Craicmore, Quetzal, Santa Cruz River Band, Sonde Madera, 7:00pm BETH PATTERSON [www.littlebluemen.com/beth.asp] $15 Piano Xarocho, Genticorum, Shidara, Nyaho, Perla Batalla, 3:00pm CATHY FINK & MARCY MARXER 8:00pm ANDY RAU BAND [andyrauband.com] $15 Coffee Gallery Backstage Highland Way, Kate Macleod, On Ensemble, Adaawe, Samite Cerritos Center Fret House 7:00pm HARRY MANX [www.harrymanx.com] Long Beach Convention and Entertainment Center 3:00pm THE STAIRWELL SISTERS Free 8:00pm AL STEWART [www.alstewart.com] $20 Hornbacher House Concerts 300 E. Ocean Blvd., Long Beach Peter Strauss Ranch McCabe’s Guitar Shop 760-941-3253 • www.hornbacherconcerts.com 503.274.4729 • www.westarts.org 818-382-4819 www.topangabanjofiddle.org SUNDAY SEPTEMBER 17 8:00pm CAREN ARMSTRONG [www.carenarmstrong.com] 8:00pm DENNIS ROGER REED Presented by Topanga Banjo Fiddle Concert Trinity Coffeehouse Backstage Acoustic Root Music 3:00pm & 6:30pm PETER OSTROUSHKO $15 * FIDDLIN’ DOWN THE TRACKS CONTEST Alta Coffee [www.peterostroushko.com] with ARKADIY YUSHIN see September 15 TUESDAY SEPTEMBER 26 9:00pm OLD CROW MEDICINE SHOW $23.50 Songtree Concert Series 9:00am- JULIAN BLUEGRASS FESTIVAL 7:30pm JIM CURRY [jimcurrymusic.com] [www.crowmedicine.com] 3:45pm CORNUCOPIA $8 See September 16 Tribute Henry Fonda Theatre Storytelling (adults only) 9:30am & 11:30am PARACHUTE EXPRESS $8 Sunrise Park • Ramon and Sunrise Way, Palm Springs Actors Workout Studio [www.parachuteexpress.com] 8:00pm ROSIE FLORES [www.rosieflores.com] $20 WEDNESDAY SEPTEMBER 6 4735 Lankershim Blvd., North Hollywood • 818-506-3903 Peter Alsop’s Kids Koncerts Coffee Gallery Backstage * WESTERN ARTS ALLIANCE CONFERENCE Will Geer Theatricum Botanicum 7:00pm BONNIE RAITT [www.bonnieraitt.com] $47.50-$87.50 WEDNESDAY SEPTEMBER 27 See September 5 KEB’ MO’ [www.kebmo.com] 10:00am- PLYMOUTH BLUEGRASS FESTIVAL * SEBASTOPOL CELTIC FESTIVAL 8:00pm MARIACHI DIVAS [www.mariachidivas.com] Free Santa Barbara BowlES See September 15 Levitt Pavilion for the Performing Arts With Lunasa, Hayes & Cahill, The Cottars, La Volee 7:30pm BEARFOOT [www.bearfootbluegrass.com] $20/$15 kids 11:00am- SEA SHANTEY FESTIVAL D’Castors, 8:00pm DAN HICKS & THE HOT LICKS [www.danhicks.net] $25 Acoustic Music San Diego With Pint & Dale, Westlin Weavers, Skelpin and more Vasen, Pipeline, Wake the Dead with MICHELLE SHOCKED $27.50 8:00pm PLANET DRUM [www.planetdrum.org] $50-100 Maritime Museum of San Diego 707-829-7067 cumuluspresents.com/celtic/ AND MARY LEE’S CORVETTE Mickey Hart, Zakir Hussain, Giovanni Hidalgo & more 1492 North Harbor Dr., San Diego House of Blues Anaheim Presented by San Diego Folk Heritage Lobero Theatre page 31 9:00pm SLIGO RAGS [www.sligorags.com] 8:30pm WILLIE NELSON [www.willienelson.com] 2:00pm- MILLPOND MUSIC FESTIVAL SPECIAL EVENTS Killarney’s With RYAN ADAMS, NEKO CASE Gospel, Sage Romero & Red Feather Dancers, 209 S. Main Street, Huntington Beach • 714-536-7887 See September 8 Pat Cloud & Shady Brook, Terri Hendrix & Lloyd Maines, Houston Jones, FOR UP-TO-DATE INFORMATION THURSDAY SEPTEMBER 7 WEDNESDAY SEPTEMBER 13 Joe Craven, The Gibson Brothers, Grupo Fantasma Mary Katherine Aldin - Alive and Picking Calendar * WESTERN ARTS ALLIANCE CONFERENCE * WESTERN BEAT Millpond Recreation Area, Bishop See September 5 Highland Grounds www.inyo.org/millpond www.aliveandpicking.com/calendar.html 7:00pm PRIMAL TWANG $29.75 - $49.75 7:30pm BONNIE RAITT [www.bonnieraitt.com] $40-65 7:00pm KELLY JOE PHELPS [www.kellyjoephelps.net] $20 Jay and Judy Michtom - Folk Dance Scene Calendar With DAN CRARY and DOC & RICHARD WATSON, KEB’ MO’ [www.kebmo.com] McCabe’s Guitar Shop 818-368-1957 • [email protected] Mason Williams, Eric Johnson, Albert Lee, Embarcadero Marina Park South, San Diego 7:00pm JOHN McCORMICK [www.mccormickjohn.com] $15 Bliss - American Roots in (and around) L.A. Andrew York, John Doan, Doyle Dykes, Coffee Gallery Backstage www.americanarootsla.net • [email protected] Peter Sprague, Beppe Gambetta 8:00pm AL STEWART [www.alstewart.com] $24 Birch North Park Theatre Humphrey’s Backstage 8:00pm SEVERIN BROWNE [www.severinbrowne.com] FolkWorks thanks these folks for providing information. And JAMES COBERLY [www.jamescoberlysmith.com] 2891 University Ave., San Diego 9:00pm SLIGO RAGS [www.sligorags.com] KEEP UP TO DATE - JOIN the FolkWorks Yahoo Group 619-239-8836 • www.PrimalTwang.com Killarney’s With MICHAEL SCHWARTZ Kulak’s Woodshed Go to - http://groups.yahoo.com/group/FolkWorks/