THE SOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA

“ D o n’ t y o u k n o w t h a t F o l k M u s i c i s i l l e g a l i n L o s A n g e l e s ? ” — W A R R E N C A S E Y o f t h e W i c k e d T i n k e r s

B I - M O N T H LYVolume 4 Number 2

March-April 2004

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C E L T I C M U S I C I S S U E

Platinum Becomes HerMARY BLACK IN CONCERT

BY J.J. RYAN

lthough mysteriously absent from mainstreamAmerican radio airwaves, Mary Black hasbeen a staple of Ireland’s music scene for over20 years. Indeed, as a testament to her longevi-ty as an artist, Black won Irish MusicMagazine’s Irish Music Award 2003 for BestContemporary Female artist.

Mary Black sprang into the Dublin folk scene of the mid-1970’s, along with her three brothers and sister Frances, as amember of The Black Family. From the beginning, Black’svoice had a quality that sounds both plain and elegant, witha rich and satisfying timbre that easily stands by itself acapella. However, when she left The Black Family, shebegan to transition away from traditional Irish singing andtoward popular music with a nonetheless distinctly Celticflavor.

With each album release, her reputation and populationhave grown. Her 1983 debut album Mary Black, producedby Declan Sinnot, earned her a gold album in Ireland. In1983, Anthem, her LP with the legendary Celtic groupDeDannan, won the Irish Album of the Year award. Hersubsequent 1985 release, Without the Fanfare took a dis-tinctly more contemporary musical turn. This further estab-lished her expanding solo career, and led to her departurefrom DeDannan in 1986. Later that year, she receivedIreland’s Entertainer of the Year award.

Her biggest commercial success to date came in 1989’s

AAlso inside:

Learn IrishMusic

A ConversationWith Bess

Lomax Hawespart 3

PLUSKeys to the Highway

CD ReviewsThe Voices in My Head

and much more...

Also inside:Learn Irish

MusicA Conversation

With BessLomax Hawes

part 3

PLUSKeys to the Highway

CD ReviewsThe Voices in My Head

and much more...MARY BLACK page 17

Platinum Becomes HerMARY BLACK IN CONCERT

Page 2 F o l k W o r k s March-April 2004

Welcome to theCeltic issue ofFolkWorks. We are

dedicating this issue to a fellowwho had a great impact on ourlives - Johnny Cunningham,who passed away recently [seepage 26]. We got to knowJohnny’s music in the early1980’s when the group heformed with his brother, SillyWizard, was touring. We wereboth inspired by the freshnessand passion of the band. In themid-1980’s we were fortunate tosee Johnny in what was uninten-tionally a private concert inSanta Monica. He was in townplaying at a bar and no one haddone any publicity. The Larman’s on FolkSceneannounced that there was a rumor that he would beplaying and we followed up on it, told some of ourfriends and there we were, one on one. Johnny took itin stride and played for almost an hour for us and thelocal bar folks.

Johnny and his brother Phil occasionally toured asa duet. Their musicianship was exceptional and theirbrotherly stage banter endlessly amusing. Johnny andPhil had not played together for many years, but thispast summer got together for a reunion. Johnny playedseveral times during the past years at the KennedyPerforming Arts Center in Washington, DC and thereare on-line archives of the shows, including thereunion concert for your free viewing. Johnny will besorely missed.

We at FolkWorks have a deep love of Celtic music.We provide information about the Celtic happeningsin the L.A. area. We often have reviews of Celtic CDsthat we think are exceptional and have produced con-certs of some of our favorite Celtic performers. We aremedia sponsors of concerts at the Skirball CulturalCenter and the Celtic Arts Center. And in this issue,because of St. Paddy’s Day and Johnny, we present

several articles with a Celticfocus. Our lead article is aboutMary Black, the wonderfulsinger who was involved withsome of our favorite Irish bands.We also have an article by one ofL.A.s finest Irish fiddlers as wellas a new friend from the SanFrancisco Bay area. We hope toencourage you to do new things,to listen to new music, to learn aninstrument, to take classes in afolk art, in general to be open tonew things. If you have a musicalbent, try learning to play Irish orScottish music [page 3]. We haveadded a new listing for musicinstruction to get you started[page 8]. Likewise, if you like to

dance, L.A. offers many opportunities for you to learnand participate. We would be amiss not to mention thatseveral of the FolkWorks staff can be found playingregularly at the local sessions (or seisiúns, as the Irishcall them). Check out page 13 to find one close to youand come on down. If you get tired flipping thosepages back and forth, just read the whole issue coverto cover!

Finally, the Internet is a boon to those of us inter-ested in Celtic music and dance. You can find and pur-chase just about any recording that is in currentrelease. Some of these recordings are easily obtained,but there are a few sites that specialize in the moreobscure recordings. If you read music, you can findthe written music for just about any tune that youwould be interested in learning. There are also on-linelessons available. And, for a small price, there is aweekly updated on-line concert. All with your fingers“doing the walking” on your keyboard. Go tohttp://groups.yahoo.com/group/FolkWorks/links andyou will find some of the aforementioned Internetresources, and while you are there, join the FolkWorksGroup and get updated calendar listings and more.

E D I T O R I A LPUBLISHERS & EDITORS

Leda & Steve ShapiroLAYOUT & PRODUCTION

Alan Stone Creative ServicesFEATURE WRITERS

Brooke Alberts, LookaroundRoss Altman

How Can I Keep From TalkingUncle Ruthie Buell

Halfway Down the StairsJoanna Cazden

The Voices in my HeadValerie Cooley, That Reminds Me...Viola Galloway, World Encounters

Gus Garelick, InterviewsRoger Goodman

Keys to the HighwayDennis Roger ReedReed’s Ramblings

Dave Soyars, Dave’s CornerLarry Wines, Tied to the Tracks

EDITORSDavid Ascher • Marie Bruno

Valerie Cooley • Mary Pat CooneyChuck Galt • Stan Kohls

Marcia Michael • Britt Nicole-PetersonDiane Sherman • Joel Shimberg

CONTRIBUTING WRITERS Betto Arcos • Kathy Buys

Cait Reed • J.J.Ryan • Jerry WeinertDISTRIBUTION

Valerie Cooley • Mary DolinskisChuck Galt • Marge GajickiCliff Gilpatric • Scot HickeySue Hunter • Dennis Louie

Nan McKinley • Gretchen NaticchiaMatt Reese • Bea Romano

Daria Simolke • Stan SmithLynn Worrilow • John Wygonski

LOGO DESIGNTim Steinmeier

Thanks to all those who have supported andinspired us, especially Warren Casey of theWicked Tinkers.Published bi-monthly by FolkWorks a 501(c)(3) non-profit organization an affiliate ofCountry Dance and Song Society (CDSS).

BOARD OF DIRECTORSBrooke Alberts • Linda Dewar

Kay Gilpatric • Roger GoodmanDon Kiger • Gitta Morris

Molly Nealson • Colin QuigleySteve Shapiro` • Monika White

Ron YoungLeda Shapiro, Executive Director

ADVISORY BOARDBill Howard • Howard & Roz Larman

Lisa Richardson • Tom Sauber

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March-April 2004 F o l k W o r k s Page 3

“The tune inspires me. It stirs things withinme which I am then compelled to expressthrough that very tune itself. Irish music

contains the inspiration and dreams of gen-erations past and present. The tunes are the

seeds of this great collective...” - Martin Hayes

Ican’t think of a better way to express why Ilove this music and feel so utterly compelledto learn it. Here are some tips that may make

your learning experience more enjoyable andfruitful even if you’ve been playing a long time.First let me say that there really is no right orwrong way to learn any kind of music. Do whatworks best for you in a way that fits with yourown personal learning style, time, resources etc.Keep an open mind, try different things andyou’ll eventually settle into your own way oflearning.

Let’s start then with the question of whether touse written music or “dots”. I learned tunes offsheet music and then tried to memorize them. Ittook forever and when I went to sessions andplayed my new tune, people would look at me asif I wasn’t playing Irish music. Well that’sbecause I really wasn’t.

After realizing that tunes are rarely introducedwith dots, my turning point came during a classwhere dots were frowned upon and the tuneswere taught as a whole, not even section by sec-tion. I resisted, I complained. But the teacherstood his ground and told me to “have faith in theprocess.”

I had no choice but to try it. After about 3 days

and several tunes under my belt, I found myselfreally enjoying learning this way. As I continuedin the months that followed, I found myself get-ting better and better at picking up tunes by earand my playing sounded more authentic.

This music is about fun, community, sharingstories and interacting with others. Learning byear seems congruent with this culture. Dots havetheir place in this learning, i.e. as a reminder ofhow a tune starts and as a skeletal guide to how atune goes. What gives a tune life is the subtletiesof the ornaments, the rhythm, and the articula-tion. These are very hard to communicatethrough sheet music and few sessions look kind-ly upon dot readers. I heard one person say thatreading music at a session is like showing up at aparty with a book.

So to start learning by ear, I would suggest thefollowing:• Take a recording device to sessions and les-

sons. The Marantz tape allows you to slowthings down to half speed and exactly oneoctave lower. Mini disc players or regulartape players are great. Ask someone to playthe tune slowly for you to record.

• Use your computer: Musicmatch Jukeboxallows you to transfer music from a CD ontoyour computer and Transcribe! and theAmazing Slow Downer allow you to thenplay the tune at any speed without changingthe pitch (unless you want to).

• Listen to recordings of people who reallyknow traditional music and have been play-ing a long time. Ask professionals who play

LEARN IRISH MUSIC page 25

So you want to learnIrish music

BY KATHY BUYS

IN THIS ISSUEEDITORIAL................................................................... 2SO YOU WANT TO LEARN IRISH MUSIC.............. 3KEYS TO THE HIGHWAY ......................................... 4How Standard Is Standard Pitch?

BANDS FOR HIRE ...................................................... 5THE VOICES IN MY HEAD ....................................... 5Unnatural Acts or, Why Bother Studying Voice?

TIED TO THE TRACKS .............................................. 6INTERVIEW .................................................................. 7A Conversation with bess lomax hawes - part 3

ON-GOING STORYTELLING EVENTS................... 8DAVE’S CORNER ......................................................... 8CD Reviews

WORLD ENCOUNTERS ............................................. 9CD Reviews

REED'S RAMBLINGS .............................................. 10CD Reviews

A MUSICAL JOURNEY ............................................ 11CD Reviews

IRISH SEISIÚN RULES............................................. 12ON-GOING MUSIC HAPPENINGS......................... 13CALENDAR OF EVENTS ................................... 14-15ON-GOING DANCE HAPPENINGS ........................ 16THAT REMINDS ME... ............................................. 18UNCLE RUTHIE......................................................... 20PASSING THROUGH ON THE PICKET LINE

MUSIC AND MOVEMENT........................................ 22Part Three: Up In Arms About Wrist Pain

LOOKAROUND ......................................................... 23What's Happening in L.A.

HOW CAN I KEEP FROM TALKING..................... 25Phil Ochs: Folk Singer at the Barricades

FOLKWORKS PICKS................................................ 27SPECIAL EVENTS ..................................................... 28

L to RTop row:True Thomas Storyteller,Irish stepdancing, IrishButton accordian and uillean pipes,Middle row:Tony Cuff Scottish singer,Celtic banner, MollyBennett stepdancer,Bottom row:Bodhran player, Gatheringof the Clans, Breton pipes

TheCelticSpirit

Page 4 F o l k W o r k s March-April 2004

Most musicians today use electronic tuners to make suretheir instruments are “in tune.” Electronic tuners arebased on the “standard pitch” of A-440, meaning

that the A above middle C vibrates at 440 Hz (Hertz) or cps(cycles per second). The pitch pipes and tuning forks thatpreceded electronic tuners were also based on the A-440standard. Have you ever wondered about A-440? What’sso special about A-440? Or, who got to decide that it wasthe magic number? Or why do we need to have a stan-dard pitch anyway? Hopefully, you’ll find the answers tothese questions as fascinating as I do because in thisissue, we are taking a little side road on the MusicalHighway to learn about something we simply take forgranted.

Humans have probably been communicating with musiclonger than they have with language. When they first discoveredmusic it is likely that one person at a time created unaccompaniedmelodies. There was no need to standardize pitch—people just sangwhere it felt comfortable. When people began to sing with others they still did-n’t need a standard pitch because a group tends to reach a consensus just bysinging together. Even when singing became more complex and methodicalas, for example, when the monks developed the liturgical chant or plainsong,there was still no standard pitch. By the time Pope Gregory codified the rulesof notation for the chant, some monasteries seemed to center on a particularpitch range but it varied from one monastery to the next.

With the advent of musical instruments, pitch became more importantbecause of the instrument’s physical constraints but it remained quite random.Even when voice and instruments were combined it varied widely from placeto place. Then came the pipe organ and with it a compulsory pitch. This meantthat, if one was to sing or play with a pipe organ, there was no choice but toagree with the pitch chosen by the organ maker. Still, pitch differed from townto town and from church to church. Pitch even varied on the same organ with-in a church. That’s because organs that had metal pipes were often tuned byhammering in the ends of the pipe to raise the pitch or flaring them out tolower the pitch. After a few dozen rounds of this the ends would becomefrayed. The easiest way to fix this was to trim the ends off all of the pipes. Thiswould make the pipes tunable again but raised the overall pitch of the instru-ment. The older the organ, the higher the pitch. Well, during the 16th & 17thCenturies most of the organs were in churches and it was commonly believedthat the higher the music, the closer it was to God. So, the pitch was allowedto creep gradually higher.

Another era of pitch-raising began after the Napoleonic wars when, duringthe Congress of Vienna (1814-1815), the Czar of Russia, Alexander I, pre-sented the Austrian regiment bands with a full set of beautiful Russian-madeinstruments. These instruments were in the “higher German pitch” whichmade the bands sound brighter and more brilliant. The new instruments werevery popular, especially since they were better able to fill larger and largervenues with sound. The higher A-440 pitch quickly replaced the older A-430.5, which had by then been the official pitch of Europe for over 100 years.As a result, manufacturers started tuning their instruments slightly higher tomake them sound brighter than their competitors. Other companies were thencompelled to make theirs even brighter, and the pitch kept floating upward.

But there were problems with the new higher pitch. Violinists were break-ing strings as they kept increasing the tension to reach the climbing pitch of

the new wind instruments. The traditional gut strings wereimproved and the high E was eventually replaced with a metal

string. Then opera singers began to complain and rightfullyso. The rising pitch stretched the singer’s range to the pointof damage and vocal chords, unlike gut strings, could notbe replaced. Something had to be done. In 1859, theFrench put their collective foot down and came up witha compromise pitch of A-435, right between A-430.5and A-440 and actually passed legislation to mandate itsuse. At the time when the French set this pitch the typi-cal ambient temperature was usually about 15 degreesCelsius (59 degrees Fahrenheit). As concert halls began

using steam heat, the standard temperature became a morecomfortable 20 degrees Celsius (68 degrees Fahrenheit). It

has since been argued by London’s Royal PhilharmonicSociety that the oboe (the wind instrument that sets the pitch

standard for the orchestra) tuned to A-435 at 59 degrees Fahrenheitwill raise to a pitch of A-439 at 68 degrees Fahrenheit. Thus, in 1896

A-439 became the standard pitch in Britain. Elsewhere, including the UnitedStates, pitch was still creeping upward.

The arrival of radio brought together music and musicians from all over theworld. The lack of a worldwide standard pitch was now an obvious problem.In the 1930’s there was a great effort by the broadcasting industry for stan-dardization of concert pitch in North America and Europe, and, in 1939, thiswas achieved at an international conference in London. The original intentwas to use the Royal Philharmonic’s A-439. The BBC decided to begin regu-lar broadcasts of an electronically produced reference tone. To produce thenote, they used an oscillator controlled by a piezio-electric crystal vibrating at1 MHz. This was reduced to a frequency of 1 KHz by electronic dividers. Itwas then electronically multiplied 11 times and divided by 25 producing thefrequency of 440 Hz. It turns out that the desired target of 439 is a prime num-ber and as such cannot be reached by dividing and multiplying. So the BBCbegan broadcasting a reference tone of 440 Hz. This is how we arrived at themagic number of 440 Hz.

If you had assumed it to be a spiritual number that vibrated in resonancewith the Universe and was delivered by the hand of God, my deepest apolo-gies. As we have seen it was the result of various science, pseudo-science andpractical considerations and is at best a necessary compromise. For the timebeing the pitch of A-440 is a globally accepted standard pitch but not withoutongoing dissention, most notably from those who play and study historicalmusic. Placed in the current context of our rapidly changing world of tech-nology, A-440 begins to feel like an immutable constant and I have no doubtthat it will remain as such — but know that, in any particular span of time,local conventions for standard pitch have moved up and down without anyapparent scheme. So get out your pitch pipe, tuning fork or electronic tuner,listen for that 440 Hz and, of course, stay tuned.

Roger Goodman is a musician, mathematician, punster, reader of esoteric booksand sometime writer, none of which pays the mortgage. For that, he is a comput-er network guy for a law firm. He has been part of the L. A. old-time & con-tradance music community for over thirty years. While not a dancer, he does playfiddle, guitar, harmonica, mandolin, banjo & spoons. Roger has a penchant fortrivia and obscura and sometimes tries to explain how the clock works when askedonly for the time. He lives with his wife, Monika White, in Santa Monica, CA.

B YRO G E R

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GRAPHIC & WEB DESIGNART DIRECTION

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How Standard IsStandard Pitch?BY ROGER GOODMAN

March-April 2004 F o l k W o r k s Page 5

Unnatural ActsOR, WHY BOTHER STUDYING VOICE?

In early and mid-January I had the great good fortune to meet two out-standing voice instructors. First, I spent a week with singing teacher andvoice scientist Jo Estill. Trained from an early age in bel canto (classi-

cal art songs), she spent decades measuring how sound waves change whenthe muscles of the mouth and throat are used in different configurations.

Ultimately, Estill developed a highly unique system of voice trainingbased on what she terms “compulsory figures” – tiny isolated movementsthat, once mastered, allow a singer to produce any style of singing, fromopera to bluegrass to “belting” to wispy jazz. Now 82 and nearing retire-ment, Estill is passing her pioneer’s torch on to a few younger teachersaround the country. As I honored vintage singers in my last column, I musthere pay homage to teachers, and Jo Estill is certainly one who deservesgreat appreciation.

One of her slogans—which I’ve long had pinned up in my office, forshock value if nothing else—is that SINGING IS AN UNNATURAL ACT.Before the folk police start beating on me with vehement “how dare you/everyone can sing/ don’t be a stupid elitist” brickbats, let me hasten toexplain!

Singing IS natural as an activity enjoyed since the earliest days of evolu-tion of the human family and tribe. Absolutely. It is found in nearly everyculture, and is typically learned by osmosis or community experience ratherthan as a formal practice. Lullabies, work songs, healing chants, courtshipsongs, and bardic ballads are valued within the folk tradition because oftheir organic expression of indigenous identity and style.

But singing as a performance form, done for extended periods of time,at high volume, and/or with elaborate ornamentation, does not come natu-rally to every human being. From the lumber camps of the Northeast USAto the healing ceremonies of the Navajo, and in other non-commercial orpre-commercial settings, certain people have been recognized as having spe-cial vocal abilities. When labor becomes specialized, singing emerges as adiscreet skill, something to practice with conscious intent and discipline—asomewhat UNnatural act.

Estill’s training system, not surprisingly, felt extremely unnatural at first.It was like learning to dance by practicing 15 rigorous, individual steps toperfect mastery, except harder of course because of the difficulty of seeingwhat’s going on inside the teacher’s throat, let alone one’s own.

I got the hang of some of it, heard other students master the bits I could-n’t, and was humbled by the entire experience. But Estill’s wisdom and humorbalanced her high standards, and during informal singing sessions there weremoments of drama and deep magic that made the work worthwhile.

The following week, I met a very different voice expert: CatherineFitzmaurice, whose theater-based method uses dramatic body positions andpowerful transformations of breath to release muscle tension. This “de-structuring” of habitual patterns throughout the entire body results inincreased freedom of sound. The sound is then “re-structured” for perform-ance: energy circuits from deep in the pelvis are connected to the language-filled mind, creating a spontaneous, organic, yet highly-charged and skillfulvocal expression.

While less musical in orientation than the Estill Voice Training System(EVTS), Fitzmaurice Voicework addresses the concerns of many folksingersI’ve met who “just want to feel free and open, not trained.” Although as yetI’ve only glimpsed Fitzmaurice’s work, my years of studying other theatermethods contributed as much as formal music training, to my singing, song-writing, and teaching.

If you, as a folk-oriented singer, still lived in a small, culturally-cohesiveand physically-active tribe, where everybody sang the same songs the sameway during the same basic-life activities, you probably wouldn’t need to domuch more than mimic your elders. But in a sedentary, post-industriallifestyle where everyone who hears you has also heard highly processed,ferociously amplified singers in a dozen styles, just following your instinctsand copying a few old recordings may not be enough.

Especially if you perform professionally, for hours at a stretch and fordays/ weeks/ months on tour, an everyday level of vocal technique won’tprotect you from strain. It is natural to worry about a voice teacher chang-ing your style. But if you’re clever, you can learn basic techniques and thenuse them your way. That too is part of the tradition of folk arts.

For more information on the two methods I’ve mentioned here, checkout www.EVTS.com and www.fitzmauricevoice.com.

Finally, a correction and profound apology for misnomers in my last col-umn: I managed to mangle both the spelling of Buck Page’s name, and thetitle of his band, Riders of the Purple Sage. Such errors may be human and“natural,” but in journalism as in singing, getting things right sometimestakes effort. Carry it on.

Joanna Cazden is a singer-songwriter and licensed speech pathologist.Find her online at www.voiceofyourlife.com

THE VOICESIN MY HEADBY JOANNA CAZDEN

BANDS FOR HIRE BLUE GHILLIES Blue Ghillies play traditional Irish music atits finest! The rhythmic combination of fid-dle, banjo, mandolin, bodhran and guitarwill get you movin’ and groovin’. Jigs,reels, hornpipes, songs... Bookings for con-certs, festivals, parties, dances, weddings orother special events: 818-785-3839 - email:ledas@pacbell.net

BUZZWORLDSouthern California’s premiere Celtic-based acoustic / eclectic band. A uniqueblend of exuberant Irish dance music withclassic jazz, surf, and spy music of the1960’s. You’ve heard them on projects asvaried as James Cameron’s Titanic toaccompanying performers like Ray Charles, David Byrne and Brian Eno.Booking now: concerts, corporate events, private parties, weddings. 818-904-0101 • buzzworld@adelphia.net •http://users.adelphia.net/~grlockwood/BUZZWORLD/INDEX.html

CLADDAGH, an Irish folk music band, isa lively quintet noted for outstandingvocals, harmonies and a hefty dash ofhumor. Instrumentation consists of: aguitar,banjo, bass, pennywhistle, bodhran and oth-ers... Bookings for concerts, weddings andany other special event. 818-363-1526(Creative Spark) www.claddaghband.net

OLD #7Mississippi native, Cliff Wagner and hisband, “The Old #7” are entrenched inpreserving Appalachian Bluegrass, thevery same music played by The StanleyBrothers, Jimmy Martin, and LarrySparks to name a few. Old #7’s soundincorporates traditional three part har-monies and excellent instrumentals influenced by The Delta Bluesand Honky Tonk which gives Cliff Wagner & The Old #7 their uniquesound. 310-831-0055 • cliff@old number 7.net www.oldnumber7.net

THE PRATIESThe Praties are a high-energy Irish band,possessing versatility with a sense of whim-sy, serving up an assortment of jigs, reels,polkas, and evocative ballads and bar songs(with the occasional Beatles song or seashanty/Pirate tune thrown in for good meas-ure.) The Praties line-up features tin whis-tles, fiddle and flute, acoustic guitar,bodhran, hand drums and percussion, andvocal harmonies, sprinkled with bits ofaccordion, harmonica, and the occasionalmetal kazoo.Contact: Steve O’Loughlin @ 310-641-6971, or via e-mail:oloughlin@pacbell.net

G I G B O X

Your band can be listed here!$30/1x • $75/3x • $125/6x • mail@FolkWorks.org • 818-785-3839

NicolasBuckmelter:IRISH FLUTE,TIN WHISTLE,LOW WHISTLE.Nick has been playing and teaching Irish flute and whistle for more thanten years. In 2003 he toured Japan as a traditional musician under theauspices of the Irish Embassy in Tokyo. Over the years he's had thegood fortune to perform with some of the most respected musicians inthe Celtic world, including the Chieftains, Dale Russ, Pat O'Connor andthe Black Family. He hosts a regular session at Finn McCool's in SantaMonica.

760-935-4812 or nbuckmelter@hotmail.com

M U S I C I N S T R U C T I O N

Perhaps it’s because the first feature filmwas a Western. Perhaps it’s because theSouthern Pacific Railroad arrived from

Louisiana and Texas. But the music of the LoneStar State has always been well received here,and its multiple influences are strong. Just asklocal band Border Radio.

You see the influence in traditional Westernmusic, and in the traditional and new folksounds of Texas musicians, gifted singer-song-writers like Willie Nelson, Tom Russell, GuyClark, the late Townes Van Zandt, and thoseremarkably gifted women, Tish Hinojosa andMichelle Shocked.

We’ll look at both these expressions of Texasinfluences, in music you can enjoy live and ownon CD. First is traditional Western music, andthe local festival that celebrates it, then we’ll getto the new folk sound of East Texas refugeeMichelle Shocked.

The 11th annual Santa Clarita Cowboy Poetryand Music Festival, held March 26-28 in andaround the movie-set Cowtown at Gene Autry’sold Melody Ranch Motion Picture Studio, is amust-do. Like all good music and folk festivals,it’s the place to explore and discover performers,genres and styles, enjoy old favorites, find newones, and savor the prevailing spirit. This onehas the best ambiance anywhere, with riders onhorseback and narrow, dusty streets of a WesternBrigadoon, reborn for the weekend, as eachbuilding’s interior come to life.

This year’s performers include, naturally,some Texans. Don Edwards is a festival favorite,playing one of the premium-ticket concerts. Hewas nominated for a Grammy with Peter Rowan,Tony Rice and Norman Blake for their 2002 CD,High Lonesome Cowboy.

Katy Moffatt is a world-traveled folk singer-songwriter and recording artist with Texas roots.She delights audiences with storytelling, fineguitar work, and abiding passion in her music.

All around, it’s an “A” list of entertainers allweekend, including musicians R.W. Hampton,Sourdough Slim and Dave Stamey and 2001’sbest-in-the-nation cowboy poet Larry Maurice -all folks with CDs that we’ve favorably reviewedhere.

Simultaneous shows are the rule. You can’tsee everybody, so here are a few suggestions.Each has released CD(s) with fine musicianshipand plays just as well live. Joni Harms writescharming ballads and has a children’s album.And see Wylie and the Wild West, he of theYahoo Internet yodel, the band a high-energyfavorite of western swing dancers. New West, atrio of innovative musicians, is award-winningsongwriter Mike Fleming, talented standup bassplayer David Jackson, and renowned lead gui-tarist Raul Reynoso. Raul has solo CDs andappears on other CDs, including ChristinaOrtega’s Vaquero Song, reviewed here last issue.New West won the Will Rogers Award for bestWestern group.

The Lost Canyon Rangers are completing aCD in time for their gigs at the festival. Theysent a disc with the first nine tracks, still beingmixed; the musicianship is there, so make apoint to hear them perform.

Belinda Gail will share the Festival’s prestigeshow with Curly Musgrave. They are theWestern Music Association’s female and malevocalists of the year. Each is a solo act, but their2003 duet CD, When Trails Meet, was quicklyacclaimed. The two teamed again for a travellingcowboy Christmas show. Each released a soloCD last year, as well. Musgrave’s is TheHeritage and Gail’s is Blessed Trails. To hearthem this time, it’s a $70 ticket for a step intohistory, a show in cowboy movie star William S.Hart’s living room.

David Wilkie & Cowboy Celtic, from Calgary,feature a harpist. Their niche delivers surprisesand charm, combining traditional cowboy bal-lads with ancient Celtic roots.

Credit where it’s due, though. Don Edwardshas, for years, performed Streets of Laredo,weaving the song’s original Scottish lyrics about

the bard of Armaugh. Others, like Ken Graydon,a singer-songwriter, recording artist and musicalhistorian, weaves Spanish and Mexican rootsinto his Western music shows. Paying musicalhomage to their origins, each one demonstrates150 years of the “folk process” that produceddozens of favorite cowboy songs. It’s the roots ofroots music, often an ocean away.

Festival admission includes dozens of per-formances. Two evenings and two full days ofreserved seat shows require additional ticketpurchases. Classic Western films are screened.A banquet for inductees to the Western Walk ofStars and a special train on the Fillmore &Western Railway also feature music. Call theCity of Santa Clarita for information and ticketstoll free hotline is 1-800-305-0755, or call theFestival ticket office: 661-286-4021.

On to our second theme, a notable exampleof Texas influence in new folk music.

Michelle Shocked might seem to be at oppo-site poles from the lone prairie, but only to thosewho haven’t treated themselves to a tour of herrich and, yes, often eclectic music. Sometimes,she’s on the cutting edge of new folk, sometimesso steeped in traditional roots that a new songsounds ancient, or from some other genre alto-gether.

Most often, her music is marinated in EastTexas-Arkansas-Louisiana influences. But hermusic invites mixed metaphors, and the trackson her CDs are as fluid as where land and watermeet in the piney wood swamps, unpredictablefrom one place to the next. That’s apparent in her2002 CD package, Deep Natural. It includes asecond disc, Dub Natural, with her sometimesinspired alternative instrumental improvisationson the first disc’s main titles.

You hear lots of influences in her work. Anabundance of blues flows smoothly in and out ofstrummed string and bowed fiddle themes, asLouisiana jazz and Cajun accents push and pull.There’s plenty of Western Swing in there, andwhen she blends the horns on the latest augment-ed re-release, her Captain Swing CD, it’s onlysurprising because the world abandoned brass inthis genre decades ago. You simply need toremember that in Texas, all music is dance music.Most of her work is driven by her own acousticguitar, which she plays with energy, skill andoften brilliance, on her compositions and cowboystandards, like (Goodbye) Old Paint.

She says her biggest influences are Clarence“Gatemouth” Brown, Doc Watson and NormanBlake. Her web site includes a map of the land-scape of her childhood, with built-in bios andhometowns of 22 of her nearby musical heroes,including Willie Nelson, Leadbelly, BlindLemon Jefferson, Lightnin’ Hopkins, T-BoneWalker, Lefty Frizzell, and the East TexasSerenaders.

To explain it better, you need to know thatMichelle Shocked, born Michelle Johnson, wasdragged all over the world as an army brat in abig and poor family, until she left home at age16. Living like a female Jack Kerouac eventual-ly led her back to Texas, where she put herselfthrough the University in Austin. Her degree isin interpretation of literature, a kind of rebellionagainst the materialism of the Reagan years.There are tales of her sleeping each night in anAustin bookstore after it closed. She’s known thevagabond life on two continents, homelessness,living on a houseboat, and one authoritative

music biography source saying her life storymust be fiction.

Michelle Shocked’s days on the punk sceneare behind her, as is the exploitation she experi-enced when her first hit record was a piratedfield recording made at a Kerrville Folk Festivalcampfire in the late 1980’s. That was released inEngland and played heavily on the BBC with amishmash of her song titles, as the TexasCampfire Tapes, off-speed because the cassetterecorder’s batteries were low.

At the time, she hadn’t dreamed of becominga performing musician, despite some brilliantsongwriting. But the experience led directly toher first stage show, ever, at London’s QueenElizabeth Hall. Then came her life as a travellingminstrel, more exploitation, more songwriting,more experience, and eventually to a determina-tion to take on the record companies. She won alandmark case against Mercury Records, byinvoking the 13th Amendment’s protectionagainst slavery. It brought profound implicationsfor countless artists caught in contract limbo.Today, she is the only major artist to own herentire catalogue of songs.

Protest activism that once drove everything isstill at the core of her social consciousness.Witty and passionate commentary is as much apart of her live performance as sharply cogentlyrics in the best folk tradition, delivered withpowerful acoustic guitar statements and a freshfusion of Western and blues styles.

Headlining a benefit at Kulak’s Woodshed inNorth Hollywood for striking grocery workerscame three days after sharing a stage in Austinwith Willie Nelson and some all-star friends.That was a benefit for Democratic Presidentialcandidate Dennis Kucinich. There, Nelsondebuted his protest song, Whatever Happened toPeace on Earth, and Michelle joined TishHinojosa for a duet of the latter’s poignant,Something in the Rain, about the tragic conse-quences for farm workers of prolonged pesticideexposure. Each was cited in the magazine, TheNation, for their sharp social and political musicand commentary. It’s Michelle Shocked in herelement.

Lately, she’s been adjusting to a divorce, andbusy reengineering, remixing, adding songsomitted at the time, and re-releasing each of herprevious albums. Many had been scarce orunavailable for years. The new packagingincludes artsy booklets that reveal additionaldimensions of her highly creative mind. The newrelease of the Texas Campfire Takes (the lastword subtly changed) is a must for everyonewho enjoys great guitar al fresco (here, it’s com-plete with crickets and popping fire) and thesongs are delightful. It’s a two disc set, onereengineered with amazing sound clarity; theother the complete original field tape with pre-viously unreleased songs and original tape hiss.

Aficionados of new folk with a bluesy edgeshould go for the expanded re-release of ShortSharp Shocked. Much of what’s here is brilliantand retains its social relevance. And it includesher trademark, Memories of East Texas.

The entire catalogue is available on her website: www.michelleshocked.com. Those wantingto explore the life and career of this fascinatingwoman and artistic genius can read an extensivebiography and countless news stories at an unof-ficial site: glimbo.cjb.net.

Larry Wines is a writer, songwriter, journalist andcolumnist, mountain climber, museum founderand former political pundit. He has restored steamlocomotives and enjoys long train rides, goodmusic festivals, moonlight on water, riverboats,Shakespeare and great songwriters. His work hasappeared “in lots of obscure places” throughoutAmerica. He writes a column with weekly entertainment picks and concert and CD reviews,including lots of acoustic music offerings, available www.medianetworkgroup.com/index.html.You can e-mail him at larrywines@hotmail.com.

Page 6 F o l k W o r k s March-April 2004

TIEDT O T H ETRACKSB Y L A R R Y W I N E S

[For those of you who would like to know moreabout Bess's work as a folklorist, there is a newDVD entitled, The Films of Bess Lomax Hawes,available for $24.95 plus $6.00 shipping fromwww.media-generation.com. You will discoverthat, even in this longish interview, looking backmore than half a century, we have only scratchedthe surface].

FW: I know you’ve been asked this a thousandtimes and you can just tell me to bugger off. Whatis your definition of a folksong? With the emphasison “your.” I’m not asking you to recite the aca-demic definitions in the American HeritageDictionary, but as you see it.

BLH: I would probably come closer to thatthan to some of the more folky ones. I think thatfolksongs have to have a history, that they haveto have some past. You can have a song that’sprobably going to be a folksong.You can bet onit. I mean I hear something every once in awhileand say “That’s going to make it.” I do thinkthat one of the important things about a folk-song is that it has proved itself through time asto having some kind of real importance to thehuman spectrum. I don’t know. It’s memorable,because nobody ever teaches you these things.They just sing them to you. Then you learnthem if you want to. That to me is an essential.The topical song I think often becomes a folk-song, but an awful lot of them don’t. Woody, forexample, I think his only song that’s become afolksong in any sense is This Land is Your Landand Union Maid the chorus. Everybody on thepicket line sings Union Maid. They don’t knowthe rest of the words at all and they don’t knowwhoever wrote it either. But the others haven'tgone into the public domain in the way that Iwould have thought, myself. I would havethought So Long, It’s Been Good to Know Youwould have got it, but it didn’t quite. It maycome back.

FW: Well, it’s hard to compare other songs to ThisLand is Your Land . . .

BLH: That’s right. That was taken over.

FW: . . . because that’s close to a national anthem.

BLH: Yeah.

FW: But Sam Hinton did collect different versionsof Talking Dustbowl some years ago.

BLH: I wouldn’t be surprised.

FW: In California, I mean. Well, that’s interesting.It shows you how hard it is to write a folksong,because if Woody only got one or two, or one anda half, what chance do the rest of us have?

BLH: I think it’s terribly hard. I think it does-n’t much matter. You’re writing a song andyou’re writing a song for people to sing it.That’s a little bit different from writing a songfor a rock group or a hip group of some kind.That’s written for commercial purposes. Thatsong that you’re writing is because you want tosay something. I think those are for me justsongs. I think a lot of people write songs all thetime. I wrote songs for my kids when I was rais-ing them, when they were babies. No one willever sing them but me.

FW: Would you consider singing one of them here?Or the part that you remember?

BLH: They’re kind of silly.

FW: Well, but kid songs are supposed to be silly.“You stick out your little hand at every woman,kid, and man, and you shake it up and down, how’dyou do, how’d you do howja, hojee, heegee, higee,

howjado”—it doesn’t get sillier than that.

BLH: That’s right. Mine were mostly pop songparodies.

FW: Oh really?

BLH:Yeah. Just whatever occurred to me. I wasjust amusing myself. I ran into so many peoplewho had written poetry and songs of their own,and had them in their own equivalent to a bal-lad book that they were saving. I think it’ssomething that Americans do very easily. Ithink that’s what most of the cowboy songswere too. They were songs about what the guyswere doing and they were written to keep themfrom being bored, to pass the time, and becausethey had something they wanted to say.

FW: What were some of the earliest songs that youactually learned from, that you would still sing,that meant something to you?

BLH: “Old Chisholm Trail” was one. We usedto sing that in the car, ‘cause that went on for-ever.

FW: [laughs] ‘Cause it was long, as long as thetrip.

BLH: Yeah, yeah. That’s right. In fact, that’swhat an old cowboy told father about. He saidthat song is as long as the trail from here toKansas.

FW: I see.

BLH: And you don’t ever get through with it.He was absolutely right. That’s what they did.They just went on and on and on, piling upthings. It was boring being a cowboy, you know.

FW: Would you sing just a verse or two?

BLH: [singing] Come along boys and listen tomy tale, tell you of my troubles on the oldChisholm trail. Coma ti yi yippy, yippy yea,yippy yea; ti yi yippy, yippy yea. I started up thetrail October 23rd, started up the trail with atwo ewe herd. Coma ti yi yippy, yippy yea, yippyyea; ti yi yippy, yippy yea. Stray in the herd andthe boss said kill it, so we landed that stray inthe bottom of a skillet. Coma ti yi yippy, yippyyea, yippy yea; ti yi yippy, yippy yea. [notsinging] I don’t have any voice anymore, butthat’s the way it goes.

FW: That’s wonderful.

BLH: It’s just a little verse here and a littleverse there.

FW: It’s a little more of a minor key than I heard itoff of the record. That’s lovely. Okay. Let me askyou about winning the National Gold Medal of theArts in 1993. You went to Washington. What wasthat like? This was during Clinton’s administra-tion.

BLH: Yeah. How did you hear about that? Itwas in my vita?

FW: It mentioned it in passing, yeah.

BLH: Oh well. What I had been doing after Ihad finished with the Festival on the Mall, Iwent and got a job over at the office at theNational Endowment for the Arts, which wasset up by Congress with a specific job of sup-porting art forms. They were not supposed todo it themselves, but they were supposed to getmoney to people who were doing good art.There had been a great deal of uproar in thefolklore community about there should be somefolksongs in there, there would be some folklorematerial in there, there should be somefolksingers. It hadn't happened. They finallyput somebody in there. Alan Jabbour got the

first job there. Then he went to the Library ofCongress and they hired me. I was there forabout 20 years. I was there a long time. It was avery fascinating job, because technically speak-ing what I was supposed to do was to, in thefirst place, take care of every folk group in thecountry that was doing something that neededsome money. Well, you know, I could maybe geta half a cent out to them. It didn’t make muchsense in those terms. I also was supposed to takecare of all of the kinds of art. Visual art, dance,storytelling, music, songs, the whole works.

FW: Folk arts in the broadest sense.

BLH:Yeah.We spent ten years working terriblyhard on trying to figure out any way to do it atall. We had only a small budget and one of thefellows who ran the endowment said one time,“Every time I sign off on a grant, I know I ammaking one friend and two hundred enemies.”I always had this sense that when you workedfor the government you were working for thepeople, and you were supposed to take care ofthe people. I didn’t like to tell people no. I final-ly, I finally worked out, by the way, a kind of afolky description of what we were doing thatsatisfied a lot of people. I said, “You know, yousent us this application for money, becauseyou’re going to do this nice thing.” We get anumber of people together- we get ten, twelvepeople together and they all look at all of thethings that come in. I said it’s begun to remindme of a potluck supper. Everybody has broughtin the very nicest thing they know how to make.They make their special chili or their specialturkey or their whatever. And then the staffcomes in and we fix it all up so it was like theparsley and the decoration. Then the peoplewho are on the board have to come in and say,“What am I going to eat for supper?”

FW: Oh, I see.

BLH: “Am I going to have turkey or going tohave ham? I can’t eat both of them. I’m goingto have to pick the things that seem to me likefood that would be a good reason for picking.”They began to kind of catch on to the fact thatthey weren't being disgraced when they gotturned down. They weren't being turned down,they just didn’t make it that time. They mighthave had a perfectly wonderful thing thateverybody felt was great, but we didn’t have themoney.

FW: So was the medal that was- winning the goldmedal- was that in recognition of your work on

March-April 2004 F o l k W o r k s Page 7

A Conversation with bess lomax hawes - part 3INTERVIEWED BY ROSS ALTMAN JULY 10, 2003

BESS LOMAX HAWES page 24

I N T E R V I E W

Page 8 F o l k W o r k s March-April 2004

This is going to be the debut of my new columnformat, the first in which I shift the emphasisover to fewer, but longer, reviews. As such I’m

going to focus on three releases, all Irish, all with 2003release dates and all on the same label. Since they allreceive the same basic rating, I’m going to list them inorder, from least favorite to favorite. The order will sur-prise some people who have read this column for awhile.

The Road Less Traveled, the new one by Danú,[Shanachie] (!) probably falls under the category of‘mild disappointment.’ Not that it’s a bad record at all,the instrumental tunes still have plenty of fire and newsinger Muireann Nic Amhlaoibh has a lovely low altovoice (although I do miss the even lovelier tenor voiceof departed singer Ciaran O’Gealbhain). The songselection, however, is not the equal of their previous releases. Tommy Sands’Co. Down is probably the best of the lot, and the two Irish-language ones arequite pretty, but the American traditional Peg and Awl is taken too slowly,and their version of Fairport Convention’s Farewell, Farewell is playedpretty straight—it’s a great song, they just don’t do anything unique or excit-ing with it. That said, this is still a band of great young players and theinstrumental sets are well arranged, including a march/jig featuring piperDonnchadh Gough and a great set of hornpipes featuring guest fiddler JohnSheahan. In fact, the final track, a set of reels, is as exciting as anythingthey’ve ever done. It’s not fair to expect them to be brilliant every time andfortunately this is still plenty good. One other change has been made, gui-tarist Noel Ryan has left the band, and is replaced here by Donal Clancy.

On the other hand, the new one by Solas, Another Day [Shanachie] (!) isgoing to please plenty of people disappointed that their last release featuredso few traditional sounds. As a band they have long had a desire to exploreother, non-Irish and non-traditional forms of music, and it’s hard to reallyblame them. I imagine being masters of the form that they are, it’s naturalfor them to want to seek a new challenge. Hence the contemporary sound oftheir last CD, which was actually quite tasteful, but disappointed many asthe first Solas record ever without that familiar writing credit: “traditionalarrangement.” But here they’re back to their roots, at least to some degree.The best track on it is the first one, the driving reel set Bird in the Tree, prov-ing that even after their side trips into contemporary song, they are stillsupreme traditional players. This is, unfortunately, the only track on whichSeamus Egan plays flute, but his fine whistle and guitar playing elsewherealmost makes up for it. There are a few contemporary songs here as well,and those are chosen wisely, with one each by Dougie MacLean, KieranGoss, Dan Fogelberg (Scarecrow’s Dream, one of his better songs) and newguitarist Eamon McElholm. But it’s undeniable that instrumental tunes arestill where they truly excel. Better than anyone had a right to expect it wouldbe, and their best recording so far this millennium.

The best of the lot, however, is the solo album by the accordion player inSolas, Mick McAuley, An Ocean’s Breadth [Shanachie] (!). First off, whileit’s all fairly traditionally styled, it is also tastefully contemporized, withextra richness coming from the standup bass of Steve Beskrone and the verysubtle touch of synthesizer programming (by Seamus Egan!). Also,McAuley is not just a box player who sings- he’s really good at both. His

syncopated rhythms on accordion are great for listeningor dancing. As the lead male voice in Solas he usuallyonly sings a song or two per set, here he sings four, allbeautifully. He is only the secondary singer in Solasonly because their singer Dierdre Scanlan is so good,not because McAuley isn’t up to being a lead singer.The songs are mostly American and English, and theversion of The House Carpenter is haunting, and com-pletely different from other versions that have beenreleased lately, like the one by ex-Solas singer KaranCasey. It does have a bit of the feel of a Solas record,particularly with four past and present members guest-ing, but that’s not a bad thing. The original tunes aregreat also, with plenty of diversity, from the Gallicianstyled Colito Fortuso to The Maritime Waltz. It’s theshortest of the three, but also the most consistentlypleasing.

So that’s it until next time. I’m not sure what I’llcover next time, but I do think I’ll stick with this newformat, unless I hear from readers that they liked the oldway better. As such and as always, I’d love to know whatyou think. Feel free to contact me.

RATING SCALE:[!!!] Classic, sure to be looked back on as such for gen-erations to come.

[!!] Great, one of the year’s finest. If you have even a vague interest in theartist, consider this my whole-hearted recommendation that you go outand purchase it immediately.

[!] Very good, with considerable appeal for a fan of the artist(s). If youpurchase it, you likely won’t be disappointed.

[--] Good/solid, what you would expect.[X] Avoid. Either ill-conceived, or artistically inept in some way.

DAVE’SCORNER

PH

OTO

BY

MA

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ATZ

On-going Storytelling EventsGREATER LOS ANGELES

LOS ANGELES COMMUNITYSTORYTELLERS2nd Thursdays • 7:30 pm Temple Beth Torah11827 Venice Blvd., Mar VistaAudrey Kopp • 310-823 7482 • astory@utla.net

FAMILY STORYTELLINGSaturdays/Sundays11:00 am, noon, 1:00 am • FreeStorytelling in Spanish on alternating Saturdays. Getty Center Family Room1200 Getty Center Drive, L.A. 310-440-7300

LEIMERT PARK GRIOT WORKSHOP3rd Wednesdays • 7:00 pm 3335 43rd Place, across from Leimert Park310-677-8099

SAN GABRIEL VALLEY STORYTELLERS3rd Tuesdays • 7:30 pm Hill Ave. Branch Library55 S. Hill Ave., Pasadena626-792-8512

LONG BEACH STORYTELLERS1st Thursdays • 7:00 pm Long Beach Storytellers will be meeting in anew location Los Altos United Methodist Church at 5950 EWillow , Long Beach. New contact number:562.961.9366

SUNLAND-TUJUNGA STORYSWAP2nd Saturdays • 8:00 pmSunland-Tujunga Library Storytelling Group7771 Foothill Blvd. • 818-541-9449

STORYTELLING & PERFOMING ARTSTOASTMASTERSA Toastmasters Storytelling Group2nd Mondays, 7:00pmCoCo’s Restaurant15701 Roscoe Blvd., North Hills818-541-0950 • rudeutsh@earthlink.net

ORANGE COUNTYCOSTA MESA SOUTH COAST STORYTELLERS GUILD3rd Thursdays • 7:00 pmPiecemakers Village2845 Mesa Verde E. • 909-496-1960

SOUTH COAST STORYTELLERSSaturdays & Sundays • 2:00-3:00 pmBowers Kidseum1802 North Main St., Santa Ana714-480-1520 • www.bowers.org/link3c.htm

MISSION VIEJO STORYTELLINGWednesdays • 7:00 to 8:00pmBorders Books and Music25222 El Paseo • 949-496-1960

COSTA MESA STORYTELLING BY LAURA BEASLEYWednesdays • 10:00 amSouth Coast Plaza • 949-496-1960

Dave Soyars is a bass player and guitarist, a singer/song-writer, and a print journalist with over fifteen years expe-rience. His column features happenings on the folk musicscene both locally and nationally, with commentary onrecordings, as well as live shows, and occasionally filmsand books. Please feel free to e-mail him atdave@soyars.com or write him c/o FolkWorks.

P R E S E N T S

AN EASTERN EUROPEAN MONTAGEF E A T U R I N G

NEVENKA & BAKSHEESH BOYSC O N C E R T • C D R E L E A S E PA R T Y • D A N C E

SATURDAY - APRIL 17, 2004 – 8:00 pmUnitarian Church of Santa Monica • 1260 18th Street, Santa Monica

TICKETS: $15 ($13 FolkWorks members/students)SASE to FolkWorks, PO Box 55051, Sherman Oaks, CA 91413 • On-Line: www.FolkWorks.org

For Information: Mail@FolkWorks.org • 818-785-3839

ScottishBagpipe

Tamburitza

March-April 2004 F o l k W o r k s Page 9

Artist: USTAD NUSRAT FATEH ALI KHAN & PARTY: PUKAARTitle: THE ECHOLabel: NAVRAS

Why this one, you may wonder? It is not a new release but I was com-pletely enraptured listening to this CD again. Having seen and experiencedNusrat several times performing to an almost exclusively Pakistani crowdwhich hardly ever stopped dancing, it conveys so magically what ecstaticsufi (Muslim mysticism) singing really means. There are not any of the laterfusion elements to be found here, just two singers: Nusrat, with Ustad SultanKhan (from Rajasthan, on sarangi) and with Ustad Abdul Sattar Tari (ontabla). Although they met, the two singers never actually performed togeth-er live. Nusrat died in 1997 and the recording is actually the result of mod-ern technology. Here they alternate in a seamless blend, starting withNusrat’s signature song, Allah-hoo, Allah-hoo, Allah-hoo in an emotionalversion. There is only one other song you have to hear in order to understandthe Nusrat magic: Ali Ali Ali Maula Ali Ali, Haq!

Artist: VARIOUSTitle: TRADITIONAL INDIALabel: NAVRAS

One of the few Indian CDs you’ll ever need and one I can listen to everyday: Soul, sufi, classical, and lots of ghazals (poetry)– it’s all here on 2 CDsin a really great compilation. There are outstanding tracks by Anup Jalota(bhajans), Shweta Javeri (performing a track from the movie Dance Withthe Wind), the great Lakshmi Shankar, Rajasthani gypsy music, AbidaParween (the only female qawwalli singer),, and, of course, the master him-self, Nusrat Fateh Ali Khan, plus many pleasant surprises by lesser knownartists.

Artist: SUPER RAIL BAND DE BAMAKOTitle: KONGO SIGUILabel: INDIGO

This recording is not groundbreaking but a continuation of their previouswork. The official train station band of the capital of Mali, this is a groupwhich has survived since the 1970’s, mostly thanks to their guitaristDjelimady Tounkara, who has been called Africa’s greatest one. Try the titletrack to see whether you agree. This style of music has been called“Manding swing,” and it now incorporates elements of rock, blues, Cuban,reggae, and other types of music. The title track, for example, with itssweeping, hypnotic sound, makes for great driving music.

Artist: FAUDELTitle: ANOTHER SUNLabel: WRASSEAttention: Pop album!

A few years back Faudel was the wunderkind of rai, the successor of theVoice, Khaled. This is Faudel’s first release in a long time and a fun, panEuropean release, full of flamenco and reggae influences. Purists will snubthis one but if you want to feel like stopping in Paris and Sevilla, this is foryou. All songs are smartly translated into English and there is Faudel’s warmvoice, of course.

Artist: MARCOS VALLETitle: CONTRASTSLabel: FAR OUT

Marcos Valle is still one of the innovators of Brazilian music: How aboutthe sound of Nêga do balaio? Like his previous recording on this label, thisone is firmly based in his past and not related to the current sounds we areused to hearing from that country. Just in case, there are a few remixes for DJs.

Artist: IDRISSA SOUMAOROTitle: KÖTELabel: WRASSE

He’s the guy who was left behind. While the Super Rail Band andBoubacar Traore (from Bamako) worked on their careers, IdrissaSoumaoro stayed behind and taught music to the visually impaired andsupported his family. The result is that nobody outside Mali knew abouthim. That is changing now thanks to a new recording that starts out on avery sweet note. By the second track we know that his groove means busi-ness. The music is laid back and an unusual touch is the added percussion,harmonica, flute and accordion. Idrissa Soumaoro sings, and plays guitarand ngoni for his people, the Bambara.

Artist: VARIOUSTitle: ROUGH GUIDE TO EGYPTLabel: ROUGH GUIDE

Ever since the great Oum Kalsoum, Egypt has been the center of theArab music (and film) industry. It was inevitabe that the Rough Guide folkswould come up with their own compilation, one conceived for the ears of thewestern listener (meaning that one would hear a different sound in thestreets of Cairo). There are plenty of old and new vibes, performed by AmrDiab, the superstar of the Arab world, from Nubia, Hamza el Din and thesadly underrated Mohamed Mounir (on a very hypnotic track with a drumand bass undercurrent). And yes, there are a couple of classical tracks byWarda, Abdel Halim Hafez, and Mohamed Abdel Wahab, plus a fair meas-ure of new, interesting voices with contemporary instrumentation, such asNagat El Saghira, and Angham.

Artist: ZARSANGATitle: SONGS OF THE PASHTULabel: LONG DISTANCE

The Pashtu are mountain people in Pakistan and Afghanistan – thinkPeshawar that we have heard much about! Their language is of Iranian ori-gin and is spoken by about half of the population of Afghanistan. Accordingto the liner notes this recording features Zarsanga, the voice of a people, afemale one no less, a shepherdess and mother of many children, whosesongs are love poems. The sound is related to folk music from India orRajasthan, with the main instrument a sort of metallic-sounding lute and adrum (dholak or tabla).

Artist: TERUHISA FUKUDA:SHAKUHACHITitle: KINKO SCHOOLLabel: OCORA

The shakuhachi is a very difficult to play bamboo flute with six aper-tures. It was originally used for court music in Japan and later by Zen monksfor spiritual research, thereby equating the practice of the instrument asmeditation, such as the Kino School. Teruhisa Fukuda has widely collabo-rated with western musicians and therefore this recording differs from tra-ditional shakuhachi players.

Artist: VARIOUSTitle: MUSIC OF INDONESIA - MALUKU AND NORTH MALAKULabel: CELESTIAL HARMONIES

If you have been following the news you may realize that themusic on this recording from 1989 may not exist any more due to

recent problems in Indonesia (religious fighting, etc). Aformer Portuguese, Spanish, and Dutch province, thearea consists of many former spice islands.

As local religions were Catholic, Protestant,Muslim, and nature-spirit based, the music becamean interesting mix of content and instrumentation. As to beexpected by this label, this double CD comes packed withinformative liner notes and most of all, absolutely interesting

and unusual music: Bamboo flutes orchestras with brass trombones andtuba, performing at rice-stamping or weaving dances, martialdance songs, “peace-restoring blood-drinking ceremonialdances,” songs of praise, etc.

Also recommended:BARBAROS ERKÖSE ENSEMBLE and DEEPAKRAM (Indian crossover flutist) (both on Golden HornRecords).

Thai Zilophone

Gadulka

Zulu Drum

Vietnamese Banjo

Djembe

Sitar

ThaiFolkFiddle

WORLD ENCOUNTERSBY VIOLA GALLOWAY

VIOLA’S RESOURCE LISTBook: World Music, a Very Short Introduction by Philip V. Bohlman Magazines:The Beat (American), Songlines (from the UK), and fRoots (formerly Folkroots) Websites:www.sternsmusic.com (mostly African music) www.mondomix.org (all aspects and types of world music)www.bbc.co.uk (serious musicology plus world music links)www.afropop.org (NY-based radio show with links, information on concerts etc.)www.maqam.com (Arab music)www.greekmusic.com (Greek music)www.piranha.de (WOMEX, world music conference)www.canzone-online.de (labels and releases not available in U.S.)

Page 10 F o l k W o r k s March-April 2004

Release Date: DECEMBER 2003Okay, first let’s get some history and politics

out of the way. It starts in 1997, with ColdMountain by Charles Frazier. Frazier’s first noveltells the tale of a Confederate soldier in the CivilWar. After being seriously wounded, he decides todesert rather than be sent back to the front duringthe last days of the war. He ventures through theruined South to return to his beloved on her farmin North Carolina. The book is based on local his-tory and stories told by Frazier’s great-great-grandfather.

Roots musicians John Hermann, Dirk Powelland Tim O’Brien were moved enough by the bookto record Songs from the Mountain in 1998.Comprised primarily of their recordings of CivilWar era songs, the disk is a strong project and wellworth seeking out. Some of the same songs areshared, including Wayfaring Stranger and FairMargaret and Sweet William, included on ColdMountain as Lady Margaret.

Late in 2003 noted the arrival of a major studiofilm of Cold Mountain, and a major label sound-track CD produced by T Bone Burnett, the manbehind the O Brother soundtrack. Expectationswere high, and the good news is that they have, forthe most part, been met.

When the average folk aficionado thinks aboutold timey music, it’s unlikely that too many of theCold Mountain performers come to mind. There’sno Mike Seeger, no Doc Watson, no David Holt, novintage Clarence Ashley or Dock Boggs. TimO’Brien does one number in congress with TimEriksen and Riley Baugus, and Dirk Powell is all

over the record. A few ofthe folks from O Brothersoundtrack return,including NormanBlake, Mike Compton,Stuart Duncan, Alison Krauss and Cheryl White.The Cold Mountain CD features a rich and variedcast of performers and material.

The primary vocalist on the soundtrack is JackWhite, of the blues/rock/alternative band theWhite Stripes. Not exactly a name that leaps to theforefront of traditional singers, but somewhat sur-prisingly, he does perform the tunes quite well, andalso plays a role in the film. The White Stripeshave included traditional blues material in theirrepertoire, but his ability with traditional folkmaterial comes as a pleasant surprise.

The project opens with Wayfaring Stranger,and White’s craggy vocal suits the arrangementwell. Thankfully, no banks of strings or horns areincluded. The continued sensitive backing ofmusicians like Blake, Duncan and Powell through-out the disk is probably the overall strongest partof the soundtrack.

Next up is Like a Songbird has Fallen by theReeltime Travelers. Although this is a new songwritten by Burnett and the project’s AssociateMusic Producer Bob Neuwirth, it blends into theold time milieu quite well, and this young groupdoes a fine rendition. Watch for the Travelers,they’re an exceptional band with tons of talent.

Cut 3 is the number by O’Brien, Eriksen andBaugus, I Wish My Baby Was Born, and it strikes aresonant chord. Backing by Duncan and Powell is

understated yet stunning. Cut 4 is Krauss doingThe Scarlet Tide, a new number written by Burnettand Elvis Costello. This tune doesn’t fit the oldtime mold nearly as well as Songbird, but Krauss’s

REED’S RAMBLINGSCD REVIEWS BY DENNIS ROGER REED

Dennis Roger Reed is a musician based inSan Clemente, CA. He’s performed andrecorded bluegrass, blues, folk and rock;writes songs; and plays guitar, bass and man-dolin. He’s also written about music for fiveyears for the OC Weekly, and has been pub-lished in a variety of publications includingInTune and MOJO. He is not humble.

Artist:VARIOUSTitle: COLD MOUNTAIN

(MUSIC FROM THE MIRAMAX MOTION PICTURE)Label: DMZ/COLUMBIA/SONY MUSIC SOUNDTRACK

REED’S RAMBLINGS page 26

C D R E V I E W S

Artist: ORVILLE JOHNSONTitle: FREEHANDLabel: ORVILLE JOHNSON MUSIC OJM 003Release Date: JULY 2003

Orville Johnson is a Seattle based multi-instru-mentalist with a staggeringly expressive singingvoice, and incredible chops on guitar, Dobro™,mandolin, banjo and several other instruments. He’shalf of the Kings of Mongrel Folk duo with MarkGraham, and does session work, movie work andguitar instruction.

Orville’s done a few solo recordings, 1997’sOrville Johnson & Scott Weiskopf, 1998’s Blueprintfor the Blues, and Slide and Joy, in 1999. Last sum-mer brought Freehand, and this one comes closestto fully capturing his eclectic taste and talent.Freehand features five vocal numbers and fiveinstrumental pieces. Special guests include hisDobro™ dueting buddies Mike Auldridge andStacy Phillips and harmony vocals by Laura Love.

Johnson was born in 1953 in Edwardsville,Illinois. He had begun singing in the Pentecostalchurch as a young boy, and backslid directly intorock and roll as a teen. He picked up the guitar at 17,

drawing from his love of Doc Watson, Rev. GaryDavis, Mississippi John Hurt, and Chuck Berry.

Johnson moved to Seattle, Washington in 1978.His strong vocals, and his abilities on a variety ofstringed instruments have led him to perform onover 100 albums, appear on Garrison Keillor's APrairie Home Companion® and a featured role inthe 1997 film Georgia with Mare Winningham.

Freehand had a fairly casual gestation. SaysJohnson “I hadn't put anything out in a while, so Ibooked some studio time and started cutting songsI love.” The CD opens with a driving take on PatBrayer’s Imitation of the Blues, including a nicevibraphone break by Susan Pascal. One of the moreunusual cuts is Somewhere, Johnson’s instrumentaltake on the West Side Story chest-nut. Somewhere features not onlyJohnson tuneful resophonic workbut subtle and compelling guitar.Johnson notes “That’s the song I'vegotten the most reaction to: I didn'texpect that. It’s one of my all-timefavorite melodies and I loved whatJohn Knowles played on guitar,

but I didn't think it would be as well-received as ithas. I think it's gotten the most airplay so far.”There’s a hot bluegrass/swing take on Rocky RoadBlues with Johnson trading solos with one of hisidols, Mike Auldridge. The Rolling Stones As TearsGo By is a laid-back instrumental with Johnsonplaying Dobro™, 12 string guitar, organ and bass, averitable one man band.

There’s a subtle Latin flavor to some of therecording. “The Latin vibe developed as I pickedthe tunes that flowed together well,” says Johnson.“I love the way A Lua do Amazonia came out, andI attribute the success of that tune to my getting theright guys to play with me on it.” Jovino SantosNeto plays piano, Guil Guimares is on bass and

Mark Ivester does the drums on that cut.“They did a great job of creating an authen-tic rhythm for me to play off of,” explainsJohnson.

Freehand is a superior recording, notonly capturing Johnson’s skills on stringedinstruments, but on tracks like his sensitivetake on John Hartford’s Today, showcasingone of the finest vocalists recording today.

Artist:TOM CORBETTTitle: CLOUDLESS BLUE SKYLabel: ROUNDHOLE RECORDS RHR - 51262Release Date: JANUARY 2004

Multi-instrumentalist Tom Corbett is a prettyubiquitous kind of guy in the Southern Californiaacoustic music scene. He cut his teeth in several ofthe mandatory bluegrass hotbeds including SeaWorld and Disneyland, did stints in theAcousticats, John McEuen’s String Wizards,Border Radio and more. Tom’s commandingheight, grinning visage and seemingly mind-bog-gling chops make him a memorable presence. Hisexpertise with guitar and mandolin have made hima sought after sideman.

Tom’s debut solo recording, Upstairs atCharlie's was his announcement that he was able tostep into the center of the spotlight quite capably.He returns strongly with Cloudless Blue Sky, atwelve song example of his eclectic taste, song-writing ability, vocals, and seamless instrumentalbacking. He’s got a Who’s Who of top flightaccompanists, including Tom Ball, Victor Bisetti,Bill Bryson, David Ferguson, David Hidalgo, Bill

Knopf, Greg Leisz, Jonathon McEuen, HerbPedersen, Phil Salazar, Randy Tico, and Robin andLinda Williams.

Like Upstairs, Corbett’s compositions onCloudless Blue Sky mix bluegrass, country, folkand swing, then tip them on their sides a bit.There’s a small town, nostalgic feel to much ofCorbett’s work. This is a dangerous road to tread,since one false step can slip into themaudlin. Thankfully, Corbett never ven-tures into that territory. Not only doesCorbett have a star-studded cast, he’s agenerous host, allowing his guests toshine. He delivers twelve tunes, but halftotal over four minutes in length.Something ‘Bout the Blues runs beyondseven minutes, showcasing SantaBarbara harp master Tom Ball and “accompanist tothe stars” Greg Leisz’s National slide guitar as wellas Corbett’s vocals and guitar. It’s important to notethat “Blues” doesn’t overstay its welcome.

The kick off track When I Get My Wheels is aclever story based on man’s desire to roll. PhilSalazar’s fiddle and David Hidalgo’s accordion add

a nice Cajun flavor behind Tom’s warm vocal. Thetitle track is appealing, noting the beauty of the dayin a simple, sweet ballad. Tom’s homespun vocalsare particularly appropriate, with Robin and LindaWilliams’ harmonies. Tom plays guitar and man-dolin, and his sympathetic backing contributes tothe soothing, laidback quality of the tune. Mary’sKissin’ the Quaker is the only instrumental on the

record, and showcases Tom’s guitar,mandolin and tenor banjo chops.

Art design is a peripheral item onCDs, but in Cloudless Blue Sky’s case,it’s a welcome addition to a fine proj-ect. Jean Kirkorian is to be applaudedfor an uncluttered, professional look tothe project, and Dennis Keely’s photoscapture the playful, boyish charm that

Tom conveys. Additionally, Tom lists the variousinstruments involved in the recording. All this con-tributes to the polished look of the project.

An excellent down-to-earth CD, but down-to-earth with quite a professional sheen.

March-April 2004 F o l k W o r k s Page 11

Cuban sacred drums, Peruvian roots music, Venezuelan music, Fadomeets Brazilian and Flamenco. One of the things I enjoy the mostabout this column, is the opportunity to share music with a larger

audience. For this issue, I have selected 10 titles of Latin music that havecome my way in the last couple of months. There’s music here for every-one?s taste: Cuban sacred and roots music, Mexican boleros, Afro-Peruvianrhythms, Venezuelan country music, Fado meets Brazilian music, and thelatest recording by Flamenco giant Paco de Lucia.Wemilere: Santeria-Sacred Drums (Long Distance). Wemilere is a sacred

Yoruban word which means “party,” and this ensemble brings all theelements of a Rumba party into this recording of sacred music. Underthe leadership of Roman Diaz, one of Cuba’s finest rumberos, Wemileretakes you right into the heart of this centuries-old music tradition andproves that the African roots continue to thrive to this day in Cuba. Atthe center of this music are three sacred Bata drums, called Okonkolo,Itotele and Iya. The Bata are double-headed drums considered sacredinstruments and played at many of the rituals of the Yoruba religion. Thepiece that stands out is a rare and gorgeous version of the classicBoleros Pensamiento and Obsesion performed as a “Bata Bolero.” Bothof these pieces are considered standards and have been recorded overand over by all the great bolero singers, but Wemilere’s treatment makesus re-imagine the songs, offering us the beauty and simplicity of themelody.

Pancho Quinto: Rumba Sin Fronteras(Riverboat/World Music Network). The sec-ond recording by one of Cuba’s master percus-sionists is an exploration of Rumba and jazz.This fusion of traditions is backed by noneother than Cuba’s Omar Sosa on piano andmarimba, Octavio Rodriguez and John Santoson percussion, and Enrique Fernandez on sax-ophone, among others. Unlike Wemilere,which is all about preserving the Yoruba tradition, Pancho Quinto?salbum is all about the driving force of improvisation and opening up theRumba to create a new sound, as the title suggests, a Rumba withoutborders.

El Son de Cuba: various artists (Iris Musique). Cuban music compilationsabound and you probably don’t need another one in your collection. Butif you?re interested in listening and dancing to the many styles of Cubanson, this could be for you. Son is the foundation of all Cuban music,from son came most everything that we know today as Cuban music,including Salsa. This collection has some very good selections and afew classics. Among the artists included in this 2 CD set are the leg-endary Septeto Nacional de Ignacio Pineiro, Guillermo Portabales andCompay Segundo; the classic Cuban orchestras of Cheo Marquetti,Orquesta Aragon and Beny More; and a few of the bands that helped torevitalize son in the last two decades, Elio Reve y su Charangon,Adalberto Alvarez y su Son, and Irakere. There are a few songs by fourartists of the Nueva Trova Cubana that do not fit in the son category butyou get the sense that their style is certainly influenced by the Son tra-dition. [Editor’s note: see FolkWorks Nov/Dec issue for more history on“son” by Enrico Del Zotto.]

El Bolero Mexicano: Humanidad-1931-45, various artists (Iris Musique).The Bolero style began in Cuba over a century ago. When it came toMexico years later, it was transformed into a very popular style, espe-cially during the early radio days of the 1930’s and 1940’s. Boleros arethe equivalent of American standards and like its US counterpart thereis a sort of “Bolero songbook” from which hundreds of artists draw fortheir recordings and performances. There are many styles of accompa-nying Boleros, with guitars and small percussion; with a small ensem-ble; and with a big orchestra. This recording is a rare collection ofBoleros that give you an idea of the popularity of this music and itsmajor figures. The period covered here, 1931-1945, highlights the bigorchestras and some of the great singers of this romantic era: PedroVargas, Toña La Negra, Hermanas Hernandez, Amparo Montes, LupitaPalomera and Juan Arvizu.

The Rough Guide to Venezuela: various artists(World Music Network). Venezuela has one ofthe most diverse musical cultures in theAmericas. With a large and varied landscapeof Andean mountains, the Caribbean coast andthe Amazon jungle, Venezuelan music is richin folk traditions and hundreds of musicalstyles. This recording is an exceptional intro-duction to the “musica llanera ‘ or music of theplains, Afro-Venezuelan music, and the many ensembles and artists thathave popularized it at home and abroad. Some of my favorite selectionsare Anselmo Lopez and Saul Vera’s Las Tres Damas; harpist HugoBlanco’s Moliendo Café; the legendary Simon Diaz and his classicCaballo Viejo, and the genius Cheo Hurtado y Bandolas de Venezuela’sPajarillo Revuelto. One added incentive: you can never go wrong withthe Rough Guide, they know how to find good music and how to pres-ent it.

Peru Negro: Jolgorio (Times Square). [Editor’snote: see FolkWorks Jan/Feb issue for moreabout Peru Negro] Afro-Peruvian music isexperiencing a revival and the new recordingby the leading dance and music ensemble PeruNegro is a fine example of the vibrancy andbeauty of this tradition. Like most of the musi-cal styles of Latin America, Afro-Peruvianmusic is a confluence of Spanish and Africancultures as well as Indigenous. Among the styles of Afro-Peruvianmusic are the Festejo, Lando, Alcatraz and Tondero. This CD includesall of them and more. The highlights include Son de los Diablos, a tra-ditional carnaval dance; Negrito, an Habanera by one of the legends ofAfro-Peruvian music Nicomedes Santa Cruz; and De España, a Tonderoabout the legacy of slavery by the giant of Peruvian song Cesar Calvo.With more than 30 years of performance behind it, Peru Negro hasbecome an institution of music and dance. Under the direction of RonyCampos, son of the founder Ronaldo Campos, this is roots music at itsbest.

Maria Teresa: O Mar (Le Chant Du Monde).The ocean that divides Brazil and Portugalserves as a metaphorical link in the songsof this recording by the Paris-basedPortuguese singer Maria Teresa. Her selec-tion of Portuguese and Brazilian songs,her unique approach in singing them, andthe band?s treatment offer us a glimpse ofthe common thread on both sides of theAtlantic. But besides the sultry voice of Maria Teresa, the most excitingaspect of this recording is the wide array of percussion played by ZeLuis Nascimento. My personal favorites are the Portuguese popularsongs Fadinho da tia Maria Benta and Laurindinha delivered in aBrazilian Forro style and the Chico Buarque classic Fado Tropical, sungin French by Maria Teresa with lyrics by Georges Moustaki.

Paco del Pozo: Vestido de Luces (Harmonia Mundi). Every few years a newflamenco voice emerges, offering a personal approach to this musicaltradition. At the age of 12, Paco del Pozo received his first prize asMejor Cantaor Revelacion of Madrid. Today, at age 30, Paco del Pozosings with the intensity of an old cantaor. In this recording, a tribute tothe Ordoñez dynasty of Andalucian bullfighters, del Pozo covers a widerange of Flamenco Cantes, including Tangos, Alegrias, Fandangos anda Siguiriya. He is accompanied by Jeronimo Maya on guitar; long-timePaco de Lucia collaborators Jorge Pardo on flute and alto sax and CarlesBenavent on bass, and a strong ensemble supporting him on claps, per-cussion and background vocals. This is a remarkable recording ofFlamenco, by a singer who has had a brilliant beginning and promisesto have a bright future ahead.

Fosforito, Paco de Lucia: Seleccion Antologica del Cante Flamenco (IrisMusic). Here’s a welcomed reissue of the legendary recording of thetwo Flamenco giants: singer Antonio Fernandez Diaz, better known asFosforito, and the most important Flamenco guitarist of the second halfof the 20th century, Paco de Lucia. The liner notes offer a good biogra-phy of the masters, but no information on when the music was record-ed, how the artists came together, nor an explanation of the Flamencostyles. Still, the value of this 2 CD set is the rich diversity of Palos orstyles covered in the 48 tracks. Saetas, Martinetes, Seguiriyas,Fandangos, Granainas, Tientos, Soleas, it’s all here. Now, that?s ananthology.

Paco de Lucia: Cositas Buenas (Verve/Blue Thumb). Paco is back. After anumber of recordings focusing on fast arpeggiosand scales demonstrating his technical ability andincredible speed, Paco de Lucia says, “Now, Iwant to go to the essence of my music, and I pre-fer to be less concerned with the appeal that Ihave worldwide and more concerned about beingauthentic to my musical roots.” And his approachis so different in sound that the electric bass andsaxophone and flute are missing entirely fromthis recording. Instead, what he offers is a num-ber of fabulous singers joining him on a numberof Cantes. Singers such as Potito, Diego elCigala, Montse Cortes and a resurrected Camaron de la Isla. Comingfrom such an iconic figure, Cositas Buenas revitalizes and nurtures theFlamenco tradition. But Paco is still interested in fusing common tradi-tions, and he closes this recording with special guest Jerry Gonzalez ontrumpet, perhaps hinting at a future collaboration of Latin jazz andFlamenco.

Betto Arcos is an independent music promoter in Los Angeles. He is a for-mer KPFK music director who conceived and created the daily world musicprogram Global Village.

A MUSICAL JOURNEYBY BETTO ARCOS

C D R E V I E W S

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Page 12 F o l k W o r k s March-April 2004

Irish Seisiún Rules© BY CÁIT REED- 2004

Any complaints and other useful comments can be sent to Cáit at caitreed@aol.com. Please see disclaimer at the bottom.

1. No Whining.2. There is no rule #2.3. If you don’t know the tune, don’t play unless:

a. You can play really, really quietly.b. You can clearly hear the tune being played.c. You respect the music… Otherwise, go feck off.

4. If you play guitar or bodhrán, please re-read rules #1 & #3.5. Flute players, whistle players (and pipers) should refrain from drooling on

the fiddlers and visa versa.6. Fiddle players should only start tunes in the keys of Bb, C, A, F, E and

related minor and modal keys when the woodwind players and/or pipershead off to buy a round or go to the bogs.

7. Punters should pay attention to the music as well as to each other.Dancing, clapping, clogging, hooting (in rhythm) are encouraged, as isputting money in the hat and/or buying drinks for each other and themusicians.

8. Jokes and conversation and good-natured antics, except when someone issinging, are happily tolerated.

9. Fiddlers will please endeavor:a. Not to take over by banding together in large groups and playing end-

less Gm tunes and other obvious fiddle tunes unless they are the onlyones left because they have already alienated the woodwind players insome other fashion. In such a case, they should continue to play untilthey are kicked out or the whisky runs out, whichever comes first.

b. Not to speed up the tune.c. Not to kick over other people’s pints of beer in their haste to get to the bogs.

10. All players should strive to play at a speed at which they can successfullyEXECUTE, as opposed to MURDER, the tune.

11. Guitarists will kindly pay attention and try very hard not tonoodle.[Noodlng- an inedible form of flat, half-baked playing with neitherbeginning nor end]. They do enough of that at home. If they must noodle,they should try to play very quietly, so as not to disturb the delicatesilences between sets of tunes or to confuse other players into thinkingthey have just started a tune they intend to finish.

12. Pipers should try to keep their enthusiasm for pipes, popping straps, boremeasurements, bellows, ivory (and other body parts from endangeredspecies), complicated out-of-rhythm ornamentation and reed-making incheck and should refrain from playing together in groups of one or moreunless:a. Their pipes (and drones) are in tune with each other and themselves,

preferably at A-440 concert pitch. (But then one might be worryingabout the fact that hell has indeed finally frozen over).

b. There are only pipers and/or other deaf people listening.c. Prior arrangements have been made to politely alienate other musi-

cians by playing on flat sets at the other end of the room and thereforehaving at least appeared to have made allowances for non-piper’s sen-sibilities.

13. Pianists, harpists, flautists, and violinists should watch, listen and learn.14. Piano, bodhrán and hammered dulcimer players will be not be tolerated

for long unless:a. Their instrument is in tune.b. The player actually knows and likes the music.c. The player can play quietly and with sensitivity to the fact that they will

most likely be drowning out the other instruments in the session.PLEASE NOTE: On certain rare occasions this may be called for if theband really sucks or if there are severe rhythm or acoustic problems.

15. Accordion and concertina players whoinsist on bringing Eb instruments and whoexpect everyone to tune up a half-step, orto sit there quietly and reverently as theplayer plays tune after tune in a key that noone else (except guitarists with capos) canplay in. In the former case they should buyseveral rounds for the other players tomake up for the wear and tear on strings and causing the whistle playersto have to haul extra whistles in funny keys. In the latter case they shouldjust feck off and play somewhere else.

16. It is appropriate for a singer to offer a few songs during the evening. Thisis a signal:a. For the punters and musicians to quiet down. Shushing can really work

due to the guilt factor, especially if the song is unaccompanied.NOTE: the shushing trick can only work a few times in an eveningand so should be reserved for emergencies only.

b. For the rest of the players to make a mad dash for the bar and thebogs.

17. Guitarists and banjo players should refrain from beating their instrumentsabout the head and shoulders in order to hear themselves, otherwiseknown as Assault and Battery. This type of behavior can be tolerable ifthere is only one guitarist playing, but unfortunately mob rule can takeover when multiple guitarists band together to form a guitar gang.REMINDER: Believe me when I say that everyone else in the room canhear you better than you can hear yourself!

18. BEWARE! Traditional musicians should be on the lookout for counterfeitseisiúin and should make themselves aware of the difference between aseisiún, and a band rehearsal or performance posing as a seisiún. In thecase of it being a band rehearsal or performance posing as a seisiún, thisshould be made clear from the outset to avoid offending even more peoplethan usual.

19. Some tips on taping and other recording etiquette:a. Always ask permission to record, even though most players play much

worse once they know they’re being recorded. Fortunately, they’ll for-get soon enough if the taping is done in a subtle fashion.

b. The use of handheld overhead mic-booms, fancy multitrack digitalprograms and other obtrusive equipment are likely to get one labeledas an “ubergeek,” which is not considered a flattering term amongstIrish traditional musicians.

c. Try not to edit as you go, as this draws attention to the recordingprocess and away from the music. HINT: It is especially offensive tomake a show of starting and stopping recordings mid-set as it mightgive impression that you don’t want to waste tape (or digital space) onsomeone’s heartfelt performance. Really the best way is to carry asmall recording device and a small mic in a bag that is disguised eitheras a purse, a whistle-bag or other fashion accessory.

WARNING: These rules are intended as guidelines and the author is not respon-sible for any fights that might break out in the enforcement of said rules.

Càit has been mad about Irish Traditional Music since she had the good fortune tohear and play with Joe Cooley (of Peterswell, County Galway) and Kevin Keegan(of Galway Town) when they and other distinguished guests would come "up thecountry" to visit her and her friends and coconspirators for weekends at a ranch inCloverdale called Preston. Those were rare seisiúns; lasting entire weekends,played by firelight and kerosene lamp in the old wooden church with the old clockbeating out the hour and the half-hour. Cáit has been playing and teaching since1970. Her Web site (www.caitreed.com) is under construction and her first soloalbum, The Rolling Wave will be released any minute now.

March-April 2004 F o l k W o r k s Page 13

HOUSE CONCERTS, etc.These are informal, intimate special events that peoplehold in their homes. Some are listed under SPECIAL EVENTS (Page 28). Call your local hosts for scheduled artists!

CONCERTS AT THE BODIE HOUSEAgoura Hills BodieHouse@aol.comwww.BodieHouse.com

SCOTT DUNCAN’S • Westchester 310-410-4642

NOBLE HOUSE CONCERTS5705 Noble Ave., Van Nuys 818-780-5979

MARIE AND KEN’S Beverlywood 310-836-0779

RUSS & JULIE’S HOUSE CONCERTSAgoura Hills / Westlake Villagewww.jrp-graphics.com/houseconcerts.htmlhouseconcerts@jrp-graphics.com

RYAN GUITAR’S • Westminster 714-894-0590

THE TEDROW’S • Glendora 626-963-2159

KRIS & TERRY VREELAND’SSouth Pasadena • 323-255-1501

BRIGHT MOMENTS IN A COMMON PLACEhosted by David Zink, Altadena 626-794-8588

CONCERT VENUESACOUSTIC MUSIC SERIESr.stockfleth@gte.net • 626-791-0411www.acousticmusicseries.com

THE BARCLAY4255 Campus Drive, Irvinewww.thebarclay.org • 949-854-4646

BOULEVARD MUSIC 4316 Sepulveda Blvd., Culver City310-398-2583 • GMANPROD@aol.comwww.boulevardmusic.com

BLUE RIDGE PICKIN’ PARLOR17828 Chatsworth St., Granada Hillswww.pickinparlor.com • 818-282-9001

CALTECH FOLK MUSIC SOCIETYCalifornia Institute of Technology, Pasadena www.folk-music.caltech.edu • 888-222-5832folkmusic@caltech.edu

CELTIC ARTS CENTER4843 Laurel Canyon Blvd., Valley Village818-760-8322 • www.celticartscenter.com

CERRITOS CENTER FOR THE PERFORMINGARTS12700 Center Court Drive, Cerritos562-916-8501 • www.cerritoscenter.comticket_office@cerritoscenter.com

CTMS CENTER FOR FOLK MUSIC16953 Ventura Blvd., Encino818-817-7756 • www.ctms-folkmusic.org

FIRESIDE CONCERTSCorner of Borchard & Reino, Newbury ParkBob Kroll 805-499-3511 folksgr1@aol.com

FOLK MUSIC CENTER220 Yale Ave., Claremont909-624-2928 • www.folkmusiccenter.com

FOLKWORKS CONCERTS818-785-3839 • www.FolkWorks.orgconcerts@FolkWorks.org

THE FRET HOUSE 309 N. Citrus, Covina818-339-7020 • covina.com/frethouse

GRAND PERFORMANCESCalifornia Plaza, 350 S. Grand Ave., Los Angeles213-687-2159 • www.grandperformances.org

LISTENING ROOM CONCERT SERIESFremont Centre Theatre1000 Fremont, South Pasadena626-441-5977 • www.listeningroomconcerts.comwww.fremontcentretheatre.com/listening-room.htm

THE LIVING TRADITION250 E. Center St., Anaheim949-559-1419 • www.thelivingtradition.org

McCABE’S GUITAR SHOP3101 Pico Boulevard, Santa Monica310-828-4497 • www.mccabesguitar.comConcert Hotline 310-828-4403

SAN JUAN CAPISTRANO COFFEEMULTICULTURAL ARTS SERIESSan Juan Capistrano Public Library 31495 El Camino Real, San Juan Capistrano949-248-7469 • www.musicatthelibrary.com

SKIRBALL CULTURAL CENTER2701 N. Sepulveda Blvd., L.A.310-440-4500 • www.skirball.org

UCLA PERFORMING ARTS CENTERRoyce or Shoenberg Halls, Westwood310-825-4401 • www.performingarts.ucla.edu

COFFEE HOUSES14 BELOW1348 14th St., Santa Monica • 310-451-5040

ANASTASIA’S ASYLUM1028 Wilshire Blvd., Santa Monica • 310-394-7113

BARCLAY’S COFFEE 8976 Tampa Ave., Northridge • 818-885-7744

BEANTOWN45 N. Baldwin Ave., Sierra Madre 626-355-1596

BUSTER’S COFFEE AND ICE CREAM1006 Mission St., South Pasadena 626-441-0744

COFFEE AFFAIR CAFE5726 E. Los Angeles Ave., Simi Valley805-584-2150 • www.coffeeaffaircafe.com

COFFEE CARTEL1820 Catalina Ave., Redondo Beach 310-316-6554

COFFEE GALLERY BACKSTAGE2029 N. Lake, Altadena626-398-7917 • www.coffeegallery.com

COFFEE KLATCH 8916 Foothill Blvd., Rancho Cucamonga909- 944-JAVA

COFFEE KLATCH 806 W. Arrow Hwy., San Dimas 909-599-0452

HALLENBECKS5510 Cahuenga Blvd., North Hollywood818-985-5916 • www.hallenbecks.com

HIGHLAND GROUNDS742 N. Highland Ave., Hollywood323-466-1507 • www.highlandgrounds.com

IT’S A GRIND4245 Atlantic Ave., Long Beach 562-981-0028

IT’S A GRIND5933 E. Spring St., Long Beach 562-497-9848

KULAK'S WOODSHED 5230-1/2 Laurel Canyon Blvd., North Hollywood818-766-9913 • www.kulakswoodshed.com

LU LU’S BEEHIVE13203 Ventura Blvd., Studio City 818-986-2233

MONROVIA COFFEE HOUSE425 S. Myrtle, Monrovia 626-305-1377NOVEL CAFE212 Pier Ave., Santa Monica 310-396-8566

PORTFOLIO CAFE2300 E 4th St., Long Beach 562-434-2486

PRISCILLA’S GOURMET COFFEE4150 Riverside Dr., Burbank 818-843-5707

SACRED GROUNDS COFFEE HOUSE399 W 6th St., San Pedro 310-514-0800

SPONDA MUSIC & ESPRESSO BAR49 Pier Ave., Hermosa Beach 310-798-9204

UN-URBAN COFFEHOUSE3301 Pico Blvd., Santa Monica 310-315-0056

CLUBS/RESTAURANTSCAFE LARGO432 N. Fairfax Ave., Los Angeles 323-852-1073

GENGHIS COHEN740 N. Fairfax Ave., Los Angeles 323-653-0653

CONGA ROOM5364 Wilshire Blvd., Los Angeles 323-930-1696

o n - g o i n g m u s i c h a p p e n i n g sM U S I C , M U S I C a n d m o r e M U S I C

KPFK [North Hollywood] (90.7FM) (98.7FMSanta Barbara) www.kpfk.org

KCSN [Northridge] (88.5FM) www.kcsn.orgKUCR [Riverside] (88.3FM) www.kucr.orgKPCC [Pasadena] (89.3FM) www.kpcc.orgKRLA [Hollywood] (870AM) KXMX [Los Angeles] (1190AM)

THURSDAY7:00-9:00pm Down Home (KCSN)

Chuck Taggart (variety includingCeltic, Cajun, Old-time, New Orleans,Quebecois)

11:00pm-1:00am Blues Power (KPFK)Bobbee Zeno (blues)

FRIDAY9:00-11:00am Midnight Special (KUCR)7:00-9:00pm Tex-Mex (KUCR)

El Guapo Lapo

SATURDAY6:00-7:00am Around the Campfire (KCSN)

Marvin O’Dell (Cowboy and Westernmusic)

6:00-8:00am Wildwood Flower (KPFK)Ben Elder (mostly Bluegrass)

7:00-10:00am Bluegrass Express (KCSN)Marvin O’Dell (Bluegrass)

8:00-10:00am FolkScene (KPFK)Roz and Howard Larman (all folkincluding live interviews, singer-song-writers and Celtic music)

10:00-11:00am Halfway Down the Stairs (KPFK)Uncle Ruthie Buell (Children’s showwith folk music)

3:00-5:00pm Prairie Home Companion® (KPCC)Garrison Keillor (Live - variety show)

5:00-8:00pm Classic Heartland (KCSN)George Fair (vintage country)

6:00-8:00pm Prairie Home Companion® (KPCC)Garrison Keillor (Rebroadcast - varietyshow)

7:00-8:00pm Canto Sin Frontera (KPFK)Tanya Torres (partly acoustic, Latinpolitical)

8:00-10:00pm Canto Tropical (KPFK)Hector Resendez (partly acoustic,bilingual Latin / Carribbean)

SUNDAY6:00-8:00am Gospel Classics (KPFK)

Edna Tatum6:00-10:00am Bluegrass, Etc. (KCSN)

Frank Hoppe (Bluegrass, Old-time,many historical recordings)

2:00-3:00pm The Irish Radio Hour (KXMX)Tom McConville (some Irish music)

11:00am-1:00pm Prairie Home Companion® (KPCC)Garrison Keillor (Rebroadcast - varietyshow)

10:00-11:00pm Sunday Night Folk (KRLA)Jimmy K. (Classic folk music)

MONDAY-FRIDAY10:00am-noon The Global Village (KPFK)

“Music from around the world andaround the block”

ON THE INTERNETThistle & Shamrock

Fiona Ritchie (Celtic Music)www.npr.org/programs/thistle

Driven Bow / Fiddlin’ ZoneGus Garelick (Fiddle Music)www.krcb.org/radio/

Riders Radio TheatreRiders in the Sky (Cowboy varietyshow)www.wvxu.com/html/riders.html

NOTE: NOT ALL SESSIONS AREOPEN, PLEASE ASK SESSIONLEADER IF IT’S OK TO JOIN IN!

BLUEGRASSBAKERS’ SQUARE 3rd Tuesdays 17921 Chatsworth St. (at Zelzah),Granada Hills818-366-7258 or 700-8288Bluegrass Assoc. of Southern Californiamembers.aol.com/intunenews/bsquare.html

BLUE RIDGE PICKIN’ PARLORBluegrass Jam7828 Chatsworth St., Granada Hillswww.pickinparlor.com • 818-282-9001call for schedule

THE CINEMA BAR1st Wednesdays 9:00pmwith Cliff Wagner and Old #73967 Sepulveda Blvd., Culver City310-390-1328

CURLEYS CAFÉ Bluegrass JamMondays 7:00-9:00pm1999 E. Willow (at Cherry), Signal Hill562-424-0018

EL CAMINO COLLEGE Bluegrass Jam1st Sundays 1:00-5:00pm(12:00-4:00pm DST)16007 Crenshaw Blvd., TorranceBill Elliott 909-678-1180 • Ron Walters310-534-1439

ME-N-ED’SSaturdays 6:30-10:30pm 4115 Paramount Blvd. (at Carson),Lakewood • 562-421-8908

TORRANCE ELKS LOUNGEBluegrass Jam4th Sundays 1:00-5:00pm1820 Abalone Ave., Torrance Bill Elliott 909-678-1180 Bob/Lynn Cater 310-678-1180

THE UGLY MUG CAFE Bluegrass Jam3rd Sundays 7:00-9:00pm 261 N. Glassell, Orange714-997-5610 or 714-524-0597

VIVA CANTINAClassic country music throughout theweek. 900 Riverside Dr., Burbank818-845-2425 • www.vivacantina.com

VINCENZO’SSaturdays 7:30-10:30pmGrateful Dudes 24500 Lyons Ave., Newhall661-259-6733

DRUMMINGYORUBA HOUSETuesdays 7:00pm310-475-4440 yorubahouse.net

OPEN MIKESBOULEVARD MUSIC 3rd Sundays - Variety Night4316 Sepulveda Blvd., Culver City310-398-2583 GMANPROD@aol.com

FENDI’S CAFÉFridays 6:00-8:00pm539 East Bixby Rd. (nr. Atlantic), Long Beach • 62-424-4774

FOLK MUSIC CENTER4th Sunday signup 7:00pm, 7:30pm $1220 Yale Ave., Claremont • 909-624-2928

THE FRET HOUSE 1st Saturdays - signup 7:30pm309 N. Citrus, Covina626-339-7020www.covina.com/frethouse

HALLENBECKS Tuesdays - signup 7:30pm - Free5510 Cahuenga Blvd., North Hollywood818-985-5916 • www.hallenbecks.com

HIGHLAND GROUNDSWednesdays - 8:00-11:00pm742 N. Highland Ave., Hollywood213-466-1507 •www.highlandground.com

KULAK'S WOODSHED Mondays - 7:30pm • Freehost Kiki WowSundays Songwriter showcase Mostly singer-songwriters every night5230 1/2 Laurel Canyon Blvd.,North Hollywood818-766-9913 • www.kulakswoodshed.com

McCABE’S GUITAR STOREFirst Sundays - signup 5:45pm • Free 3101 Pico Blvd., Santa Monica310-828-4403 • www.mccabesguitar.com

OLD TIME JAM SESSIONSCAJUN WAYWednesdays - 7:00pm110 E. Colorado Blvd., Monrovia626-574-0292

CTMS CENTER FOR FOLK MUSIC1st Sundays 4:00-8:00pm16953 Ventura Blvd., Encino818-817-7756

IRISH MUSIC SESSIONSCELTIC ARTS CENTERMondays - 9:00pm (1st Mondays @ 8:00pm)Beginners Session: Sundays 4:00-6:00pm4843 Laurel Canyon Blvd, Valley Village818-760-8322 • www.celticartscenter.com

THE HARP INN2nd Sundays 3:00–7:00pm130 E. 17th Street - Costa Mesawww.harpinn.com 949-646-8855

LARRY BANE SEISUN1st Sundays 4:00-6:00pmSet Dance workshop 2:00-3:00pm with Michael Breen of The Los AngelesIrish Set Dancers.The Moose Lodge1901 W. Burbank Blvd., Burbank818-898-2263 • DesRegan@aol.com

FINN McCOOLSundays - 4:00-7:00pm - come listen!Tuesdays - 8:00pm - come play! 2702 Main St., Santa Monica 310-452-1734

GROUP SINGINGSANTA MONICA TRADITIONAL FOLK MUSIC CLUB 1st Saturdays 7:30-11:30pm Sha'Arei Am (Santa Monica Synagogue) 1448 18th St., Santa Monicaaprilstory@aol.comSanta Monica Folk Music Club www.santamonicafolkmusicclub.org

SHAPE NOTE/SACRED HARPSundays - 3:00pm-6:00pmEagle Rock Mary Rose Ogren O’Leary323-354-77073rd Sundays - 3:00-5:30pmWest L.A. Pat Keating 310-557-19272nd Saturdays - 4:00-6:00Santa Monica The Learners Group Laura310-450-3516

SIGNAL HILL HOUSE JAM1st & 3rd Tuesday 6:00pm240 Industry Dr., Signal HillDon Rowan • 562- 961-0277

SONGMAKERSWednesdays Simi Valley HootSimi Valley 7:30-11:30pm 805-583-57771st Mondays Musical 1st MondaySimi Valley 1:00-4:00pm 805-520-10981st Fridays North Country HootNorthridge 8:00pm-Midnight 818-993-84921st Saturdays Orange County HootAnaheim Hills 8:00pm-Midnight 714-282-81122nd Saturdays Camarillo HootCamarillo 8:00pm-Midnight 805-484-75963rd Thursdays Camarillo “Lite” HootCamarillo 7:00-11:00pm 805-482-00293rd Saturdays South Bay HootRedondo Beach 8:00pm-Midnight 310-376-02223rd Sundays East Valley HootVan Nuys 1:00-5:00pm 818-780-59794th Saturdays West Valley HootWoodland Hills 8:00pm-Midnight 818-887-04464th Sundays West L.A. Hoot & PotluckWest L.A. 5:00-9:00pm 310-203-01625th Saturdays Take The Fifth HootSherman Oaks 8:00pm-Midnight 818-761-2766

WELSH CHOIR OF SO.CALIFORNIASundays 1:30pm • Rutthy 818-507-0337

YIDDISH SINGING (HULYANKE)3rd Thursdays, Sherman OaksSholem Community Org.Lenny Potash 323-665-2908

WESTERN MUSIC3rd Sundays – 1:00–3:00pm4700 Western Heritage Way, Griffith Parkwww.museumoftheamericanwest.org323-667-2000Western Music Assoc., So. Cal ChapterMuseum of the American West(formerly Autry Museum)

JAM SESSIONS / OPEN MIKES / SINGS and more

BEFORE ATTENDING ANY EVENTContact the event producer to verify informationbefore attending any event. (Things change!!!)CORRECTIONS FolkWorks attempts to provide current and accurateinformation on all events but this is not always possible.LIST YOUR EVENT!To have your on-going dance event listed in FolkWorksprovide the following information:• Indicate if it’s an on-going or one-time event• Category/Type of Dance (i.e., Cajun, Folk)• Location Name • Event Day(s) and Time• Cost • Event Sponsor or Organization • Location Address and City • Contact Name, Phone and/or Email

Send to: ongoing@FolkWorks.org or 818-785-3839

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

Page 14 F o l k W o r k s March-April 2004

1Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)Group Singing (OGM)

2JACKSON BROWNE (SE)JAN SEIDES, TIM GRIMM (SE)Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Group Singing (OGM)Drumming (OGM)

3ARLO GUTHRIE (SE)ADRIANNE / SABA BERENJI (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)Bluegrass (OGM)

4BHANGRA NIGHT (SE)BUDDY GUY & JACKIE GREEN (SE)African (OGD)Belly Dancing (OGD)English (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

5KINEYA YAKICHI VIII (SE)INTERNATIONAL FOLKDANCE

WEEKEND (SE)SUSIE GLAZE WITH THE EIGHT HAND

STRING BAND (SE)THE LAURA CORTESE BAND (SE)FEIS RINCE CONEJO VALLEY (SE)Contra (OGD)Greek (OGD)International (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)

6INTERNATIONAL FOLKDANCE

WEEKEND (SE)FREEBO AND KENNY EDWARDS (SE)JACKSON BROWNE (SE)JO ELLEN LAPIDUS

plus CYNTIA SMITH (SE)STEVE TROVATO (SE)BUDDY GUY & JACKIE GREEN (SE)FEIS RINCE CONEJO VALLEY (SE)DENNIS ROGER REED

w/BLUE SOMETHING (SE)IRISH SET DANCING WORKSHOP (SE)THE BELIEVERS & RAVEN SADHAKA (SE)Contra (OGD) Bluegrass (OGM)Group Singing (OGM) Open Mike (OGM)

7INTERNATIONAL FOLKDANCE

WEEKEND (SE)GOLDEN BOUGH (SE)CRAICMORE (SE)FEIS RINCE CONEJO VALLEY (SE)IRISH SET DANCING WORKSHOP (SE)RICHARD ESPINOZA &

BUDDY ZAPATA (SE)International (OGD)Polish (OGD)Scottish (OGD)Israeli (OGD)Bluegrass (OGM)Old Time Jam (OGM)Group Singing (OGM)Irish Session (OGM)Open Mike (OGM)

8PACO DE LUCÍA (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

9PACO DE LUCÍA (SE)Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Drumming (OGM)

10GEORGE WINSTON (SE)CHILDREN OF UGANDA (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

11African (OGD)Belly Dancing (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

12MT. BALDY SKIDANCE

CONTRADANCE WEEKEND (SE)CALAVERAS CELTIC FESTIVAL (SE)FLOGGING MOLLY

plus DENVER HARBOR (SE)LUCY KAPLANSKY (SE)CHILDREN OF UGANDA (SE)ST. PATRICK’S DAY

CELEBRATION BANQUET (SE)JANET KLEIN & HER PARLOR BOYS (SE)Cajun (OGD)Contra (OGD)Greek (OGD)Hungarian (OGD)International (OGD)Israeli (OGD) Scottish (OGD)Open Mike (OGM)

13MT. BALDY SKIDANCE CONTRADANCE

WEEKEND (SE)CALAVERAS CELTIC FESTIVAL (SE)LA COUNTY IRISH FAIR

& MUSIC FESTIVAL (SE)WILLY CLAFLIN (SE)VICTORIAN GRAND BALL (SE)SCHWUMP (BARRY SCHWAM) (SE)TOM BALL & KENNY SULTAN (SE)CHRIS STUART & BACKCOUNTRY (SE)SUSIE GLAZE WITH THE EIGHT HAND

STRING BAND (SE)STEVE GILLETTE & CINDY MANGSEN (SE)GEORGE WINSTON (SE)BERNIE PEARL plus BOB JONES &

MR. PETE (SE)Contra (OGD) Bluegrass (OGM)Group Singing (OGM)

14MT. BALDY SKIDANCE CON-

TRADANCE WEEKEND (SE)CALAVERAS CELTIC FESTIVAL (SE)LA COUNTY IRISH FAIR

& MUSIC FESTIVAL (SE)STEVE GILLETTE / CINDY MANGSEN (SE)BARNEY SALTZBERG (SE)JOAN BAEZ (SE)CHRIS STUART /

TOM & PATRICK SAUBER (SE)Contra (OGD)International (OGD)Israeli (OGD) Polish (OGD)Scottish (OGD)Group Singing (OGM)Irish Session (OGM)Open Mike (OGM)

15ANTARA & DELILAH (SE)ST. PATRICK'S DAY

FOLKDANCE PARTY (SE)ST. PATRICK’S DAY FESTIVAL (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

16THE HARRISES (Greg, Jesse and

Graham Harris) (SE)FES FESTIVAL OF WORLD SACRED

MUSIC (SE)Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Bluegrass (OGM)Open Mike (OGM)Irish Session (OGM)Group Singing (OGM)Drumming (OGM)

17ST. PATRICK’S DAY PARADE (SE)ST. PATRICK’S DAY

CELEBRATION DANCE (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

18ST. PATRICK’S DAY INTERNATIONAL

FOLKDANCE PARTY (SE)African (OGD)Belly Dancing (OGD)English (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)Group Singing (OGM)

19JACKSON BROWNE (SE)DANNY O'KEEFE (SE)BORDER RADIO (SE)MERLIN SNIDER with PRETTY

GOOD ACQUAINTANCES (SE)Contra (OGD)Greek (OGD)International (OGD)Scottish (OGD)Open Mike (OGM)

20TEMECULA BLUEGRASS FESTIVAL (SE)KELLY JOE PHELPS (SE)STEVE GILLETTE & CINDY MANGSEN

plus LOU & PETER BERRYMAN (SE)ERIC GARRISON and

ROBERT MORGAN FISHER (SE)BANSHEE IN THE KITCHEN (SE)MIKA'ELE McCLELLAN (SE)PHIL BOROFF plus EVAN MARSHALL (SE)PALM WINE BOYS and BUDDY

GREENBLOOM (SE)CLIFF WAGNER AND OLD # 7 (SE)MARCIA BALL

DENNIS ROGER REED BAND (SE)Contra (OGD) International (OGD)Bluegrass (OGM) Group Singing (OGM)

21STEVE GILLETTE & CINDY MANGSEN (SE)TEMECULA BLUEGRASS FESTIVAL (SE)DAVID KRAKAUER'S

KLEZMER MADNESS (SE)PALM WINE BOYS (SE)LOU AND PETER BERRYMAN (SE)International (OGD)Israeli (OGD)Polish (OGD)Scottish (OGD)Group Singing (OGM)Irish Session (OGM)Western Music (OGM)Bluegrass (OGM)Open Mike (OGM)

22Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

23Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Drumming (OGM)

24Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

25CHRISTENE LEDOUX (SE)MARY BLACK (SE)THE IRISH ROVERS (SE)African (OGD)Belly Dancing (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

26CAMP BON TEMPS ZYDECO DANCE

WEEKEND (SE)SOURDOUGH SLIM

with THE SADDLE PALS (SE)MARY BLACK (SE)BILL MIZE (SE)DENNIS ROGER REED (SE)Greek (OGD)Hungarian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)

27CAMP BON TEMPS ZYDECO DANCE

WEEKEND (SE)SANTA CLARITA COWBOY POETRY &

MUSIC FESTIVAL (SE)WICKED TINKERS (SE)LESLIE PERRY, BLUES MAN BROTHER

YUSEF & THREE PEACE ENSEMBLE (SE)BILL MIZE (SE)STEVE GILLETTE & CINDY MANGSEN (SE)WYLIE & THE WILD WEST SHOW (SE)LAUREL CANYON RAMBLERS with

SUZIE GLAZE and the Eight HandString Band (SE)

TAJENDRA MAJUMDAR (SE)LOS ANGELES CEILI (SE)Contra (OGD) Bluegrass (OGM)Group Singing (OGM)

28CAMP BON TEMPS ZYDECO DANCE

WEEKEND (SE)SANTA CLARITA COWBOY POETRY &

MUSIC FESTIVAL (SE)JUSTIN ROBERTS (SE)STEVE GILLETTE & CINDY MANGSEN (SE)International (OGD)Israeli (OGD)Polish (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Irish Session (OGM)Bluegrass (OGM)Open Mike (OGM)

29CHRISTENE LeDOUX (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

30DAVID CROSBY & CPR (SE)Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Drumming (OGM)

31DAVID CROSBY & CPR (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

FOLK HAPPENINGS AT A GLANCE

M A R C H2 0 0 4

FOLK HAPPENINGS AT A GLANCECheck out details by

following the page references:OGM: On-going Music - page 13OGD: On-going Dance - page 16

SE: Special Events - page 28

March-April 2004 F o l k W o r k s Page 15

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1SHOGHAKEN FOLK ENSEMBLE (SE)African (OGD)Belly Dancing (OGD)English (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

2DAVID WILCOX (SE)MARIZA (SE)NA LEI HULU I KA WEKIU (SE)MUSICàNTICA (SE)Contra (OGD)Greek (OGD)International (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)

3KENNY ENDO AND SEMBA KIYOHIKO

DRUM SUMMIT (SE)NA LEI HULU I KA WEKIU (SE)MUSIC HEALS (SE)CLADDAGH (SE)GRACE plus ANNA VARNON (SE)Contra (OGD)Bluegrass (OGM)Group Singing (OGM)Open Mike (OGM)

4JIM CURRY JOHN DENVER

TRIBUTE SHOW (SE)RICK SHEA & BORDER RADIO (SE)International (OGD)Polish (OGD)Scottish (OGD)Israeli (OGD)Bluegrass (OGM)Old Time Jam (OGM)Group Singing (OGM)Irish Session (OGM)Open Mike (OGM)

5Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)Group Singing (OGM)

6Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Group Singing (OGM)Drumming (OGM)

7Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)Bluegrass (OGM)

8African (OGD)Belly Dancing (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

9COUNTRY JOE BAND (SE)RONNY COX (SE)ADRIAN LEGG (SE)TERRY BAILEY, SHIMMER , DON &

JEANIE, LARRY BULAICH (SE)Cajun (OGD)Contra (OGD)Greek (OGD)Hungarian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)

10COUNTRY JOE BAND (SE)ADRIAN LEGG (SE)LARRY BULAICH (SE)Contra (OGD)Bluegrass (OGM)Group Singing (OGM)

11Contra (OGD)International (OGD)Israeli (OGD)Polish (OGD)Scottish (OGD)Group Singing (OGM)Irish Session (OGM)Open Mike (OGM)

12Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

13RITA CHIARELLI (SE)Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Drumming (OGM)

14KINGSTON TRIO (SE)NERISSA & KATRYNA NIELDS (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

15African (OGD)Belly Dancing (OGD)English (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)Group Singing (OGM)

16STACEY EARLE & MARK STUART (SE)Contra (OGD)Greek (OGD)International (OGD)Scottish (OGD)Open Mike (OGM)

17NEVENKA and

BAKSHEESH BOYS (SE)KATE MacLEOD

plus KAT EGGLESTON (SE)TIM TEDROW &

TERRY VREELAND (SE)STACY EARLE & MARK STUART (SE)DAVE STAMEY (SE)Contra (OGD)International (OGD)Bluegrass (OGM)Group Singing (OGM)

18PURBAYAN CHATTERJEE and

ANEESH PRADHAN (SE)WESTWOOD CO-OP’S

INTERNATIONAL DANCE FESTIVAL (SE)STACEY EARLE & MARK STUART,

DAN JANISCH (SE)International (OGD)Israeli (OGD)Polish (OGD)Scottish (OGD)Group Singing (OGM)Irish Session (OGM)Western Music (OGM)Bluegrass (OGM)Open Mike (OGM)

19Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

20THE SPIKEDRIVERS (SE)Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Bluegrass (OGM)Open Mike (OGM)Irish Session (OGM)Group Singing (OGM)Drumming (OGM)

21ROGER McGUINN (SE)BAABA MAAL (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

22African (OGD)Belly Dancing (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

23TROUT FISHING IN AMERICA (SE)MICHAEL CHAPDELAINE

DANA COOPER (SE)ANNY CELSI (SE)KATHY MATTEA (SE)Greek (OGD)Hungarian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)

24RAMBLIN JACK ELLIOT

and MARIA MULDAUR (SE)SCANDINAVIAN FESTIVAL (SE)TROUT FISHING IN AMERICA (SE)LISA FINNIE AND

THE ATTENTION HOGS (SE)NATHAN JAMES & BEN HERNANDEZ (SE)BAKSHEESH BOYS (SE)BUONG SUONG (SE)ZAKIR HUSSAIN WITH

MASTERS OF PERCUSSION (SE)BRYAN BOWERS (SE)IRISH HOUR RADIO SHOW

FUNDRAISER (SE)Contra (OGD)Bluegrass (OGM)Group Singing (OGM)

25POLKA-PALOOZA/JIMMY STURR

ORCHESTRA (SE)MARTYN JOSEPH (SE)International (OGD)Israeli (OGD)Polish (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Irish Session (OGM)Bluegrass (OGM)Open Mike (OGM)

26Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Morris (OGD)Scandinavian (OGD)Scottish (OGD)Irish Session (OGM)Open Mike (OGM)Bluegrass (OGM)

27Armenian (OGD)International (OGD)Israeli (OGD)Scottish (OGD)Open Mike (OGM)Irish Session (OGM)Drumming (OGM)

28QUETZALCOATL/

BALLET FOLKLORICO DE VERACRUZ (SE)Balkan (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scandinavian (OGD)Scottish (OGD)Group Singing (OGM)Open Mike (OGM)Old Time Jam (OGM)

29VILLAGE OF TALES (SE)African (OGD)Belly Dancing (OGD)International (OGD)Irish (OGD)Israeli (OGD)Scottish (OGD)

30DAVE STAMEY (SE)GREG & STEVE (SE)ORCHESTRA BAOBAB (SE)DENNIS ROGER REED (SE)Greek (OGD)International (OGD)Scottish (OGD)Open Mike (OGM)

FOLK HAPPENINGS AT A GLANCE

A P R I L2 0 0 4

FOLK HAPPENINGS AT A GLANCECheck out details by

following the page references:OGM: On-going Music - page 13OGD: On-going Dance - page 16

SE: Special Events - page 28

Page 16 F o l k W o r k s March-April 2004

O N - G O I N G D A N C E H A P P E N I N G SDANCING, DANCING and more DANCING

AFRICAN DANCINGYORUBA HOUSE310-475-4440yoruba@primenet.com • yorubahouse.net

ARMENIAN DANCINGOUNJIAN’S ARMENIAN DANCE CLASS Tuesdays 7:45-10:00pm17231 Sherman Way, Van NuysSusan Ounjian 818-845-7555

BALKAN DANCINGCAFE DANSSA11533 W. Pico Blvd., Los AngelesWednesdays 7:30-10:30pmSherrie Cochran Worldance1@aol.com626-293-8523hometown.aol.com/worldance1/CafeDanssaHomePagephoto.html

SAN PEDRO BALKAN FOLK DANCERS Mondays 7:30-9:30pmDalmatian American Club17th & Palos Verdes, San PedroDorothy Daw (562) 924-4922

BELLY DANCINGCall for schedule/locationsMésmera, (323) 669-0333 • www.mesmera.com

CAJUN DANCING2nd Fridays - Lesson 7:30 Dance 8:00-11:00pmSouth Pasadena War Memorial Hall 435 S. Fair Oaks Ave., South Pasadena2nd Sundays except April, May, October 3rd Sundays 5:00-9:00pmVFW Hall1822 W. 162nd St., Gardena562-427-8834

LALA LINE (626) 441-7333 For additional Cajun/Zydeco dancing:users.aol.com/zydecobrad/zydeco.html

CONTRA DANCINGCALIFORNIA DANCE CO-OPERATIVEwww.CalDanceCoop.org • Hotline 818-951-2003

1st Fridays - Lesson 8:00 Dance 8:30-11:30pmSouth Pasadena War Memorial Hall 435 S. Fair Oaks Ave., South PasadenaDennis 626-282-5850 • dennis@southpasadenacontra.org

1st Saturdays - Lesson 7:30 Dance 8:00-11:00pmBrentwood Youth House731 So. Bundy, BrentwoodJeff 310-396-3322 • mail@jeffandgigi.com

1st Saturdays - Lesson 7:30 Dance 8:00-11:00pmAll Saints Epoiscopal Church3847 Terracina Drive, RiversideMeg 909-359-6984 • rdhoyt@juno.com

2nd Saturdays - Lesson 7:30 Dance 8:00-11:00pmSierra Madre Masonic Temple 33 E. Sierra Madre Blvd., Sierra MadreFrank 818-951-4482 • fhoppe@attbi.com

2nd SundaysSlow Jam 2:00pm Lesson 3:30 Dance 4:00-7:00pm La Verne Veteran’s Hall, 1550 Bonita Ave., La VerneGretchen 909-624-7511• gretchen.naticchia@att.net

3rd Fridays - Lesson 8:00 Dance 7:30-11:30pmSouth Pasadena War Memorial Hall 435 S. Fair Oaks Ave., South PasadenaMarie 626-284-2394 • marie@southpasadenacontra.org

3rd SaturdaysThroop Memorial Church 300 S. Los Robles Ave, PasadenaBarbara 310-957-8255 • stewart@baumhedlundlaw.com

4th Saturdays - Lesson 7:30 Dance 8:00-11:00pmBrentwood Youth House731 South Bundy DrivePeter 562-428-6904 • pbergonzi@rocketmail.com

5th Saturday - Dance 7:00-11:00pm (Experienced)Throop Memorial Church 300 S. Los Robles Ave, Pasadena Chuck 562-483-6925 • cgalt@gte.net

THE LIVING TRADITIONwww.thelivingtradition.org

2nd Fridays - Lesson 7:30 Dance 8:00-11:00pmRebekah Hall, 406 East Grand Ave., El SegundoDiane 310-322-0322 • diane_gould@yahoo.com

4th Saturdays - Lesson 7:30 Dance 8:00-11:00pmDowntown Community Center250 E. Center St.@Philadelphia, AnaheimBea 562-861-7049 bearomano@yahoo.com

ENGLISH COUNTRY DANCINGCALIFORNIA DANCE CO-OPERATIVEwww.CalDanceCoop.org

1st & 3rd Thursdays 8:00-10:00pmFirst United Methodist Church1551 El Prado, TorranceGiovanni 310-793-7499 • sbecd@yahoo.0.com

FLAMENCO DANCING POINT BY POINT DANCE STUDIO1315 Fair Oaks, Suite #104, South PasadenaKaterina Tomás 626-403-7489katerinatomas@earthlink.net

LE STUDIO100 W. Villa, PasadenaTuesdays 6:30pmMarcellina de Luna 626-524-6363 lamarcellina@yahoo.com

GREEK DANCINGKYPSELI GREEK DANCE CENTERFridays 8:00-11:30pm $5.00 Skandia Hall 2031 E. Villa St., Pasadena Dalia Miller818-990-5542 • demotika@earthlink.netanne.ags@verizon.netJoyce Helfand: 626-446-1346Louise Bilman: 323-660-1030

HUNGARIAN DANCINGHUNGARIAN CLASS (BEGINNING)2nd & 4th Fridays 8:30-10:30pm $7.00 Gypsy Camp 3265 Motor Ave., Los AngelesJon Rand 310-202-9024 • jdrand@attbi.com

INTERNATIONAL FOLK DANCINGALTADENA FOLK DANCERSWednesdays 10:30-11:30am Thursdays 3:00-4:00pm Altadena Senior Center • 560 E Mariposa St., AltadenaKarila 818-957-3383

ANAHEIM INTERNATIONALFOLKDANCERSWednesdays 7:30-9:30pm • 511 S. Harbor, Anaheim

CALTECH FOLK DANCERS Tuesdays 8:00-11:55pmThroop Memorial Church 300 S. Los Robles, PasadenaNancy Milligan 626-797-5157franprevas@yahoo.com

CONEJO VALLEY FOLK DANCERS Wednesdays 7:30-9:30pm $1-2 Hillcrest Center (Small Rehearsal Room)403 West Hillcrest Drive, Thousand Oaks Jill Lundgren 805-497-1957 • jill.ron@adelphia.com

DUNAJ INT’L DANCE ENSEMBLEWednesdays 7:30-10:00pmWiseplace 1411 N. Broadway, Santa Anadancetraditions@msn.comRichard Duree 714-641-7450

FOLK DANCE FUN3rd Saturdays 7:30-9:30 pm8648 Woodman Ave., Van NuysRuth Gore 818-349-0877

INTERNATIONAL FOLK DANCE CLUBAT UCLAMondays 9:00-11:00 pm FreeUCLA Ackerman Student Union Building Room 2414 • 2nd Floor Lounge Westwood310-284-3636 • UniversityDanceClubs@yahoo.com

LA CANADA FOLKDANCERSMondays 7:30-9:30 pmLa Canada Elementary School4540 De Nova St., La CanadaLila Moore 818-790-5893

LAGUNA FOLK DANCERSWednesdays 8:00-10:00pm Sundays 8:00-10:00pmLaguna Community Center384 Legion Ave & Glenneyre, LagunaRichard Duree 714-641-7450dancetraditions@msn.com

LEISURE WORLD FOLK DANCERSTuesdays 8:30-11:00am Saturdays 8:30-11:00amClub House 1, Leisure World, Laguna HillsFlorence Kanderer 949-425-8456

MOUNTAIN DANCERSTuesdays 7:00-9:30pmOneyonta Congregational Church 1515 Garfield Ave., South PasadenaRick Daenitz 626-797-16191

NARODNI FOLKDANCERS Thursdays 7:30-10:30pm $3 Dance America, 12405 Woodruff Ave., Downey John Matthews 562-424-6377 • john@narodni.org

PASADENA FOLKDANCE CO-OP Fridays 7:45-11pm Teaching to 9pm $2 Throop Unitarian Church 300 S. Los Robles, Pasadena Marshall Cates 626-792-9118mcates@calstatela.edu

RESEDA INT’L FOLK DANCERSThursdays 3:00-4:45pm Reseda Senior Center • 18255 Victory Blvd., ResedaJoAnne McColloch 818-340-6432

ROBERTSON FOLK DANCEMondays 10:00-11:30am1641 Preuss Rd., Los Angeles 310-278-5383

SIERRA MADRE FOLK DANCE CLASS Mondays 8:00-9:30pmSierra Madre Recreation Building 611 E. Sierra Madre Blvd., Sierra MadreAnn Armstrong 626-358-5942

SOUTH BAY FOLK DANCERS 2nd Fridays 7:45-9:45pmTorrance Cultural Center 3330 Civic Center Dr., TorranceBeth Steckler 310-372-8040

TUESDAY GYPSIESTuesdays 7:30-10:30pm $7.50 Culver City Masonic Lodge 9635 Venice Blvd., Culver City Gerda Ben-Zeev 310-474-1232 benzeev@ucla.eduMillicent Stein 310-390-1069

TROUPE MOSAICTuesdays 6:30-8:30pmGottlieb Dance Studio • 9743 Noble Ave., North HillsMara Johnson 818-831-1854

VESELO SELO FOLK DANCERSThursdays, Fridays 7:30-10:30pm (intermediate class)Saturdays 8:00-11:00pmHillcrest Park Recreation Center1155 North Lemon & Valley View, FullertonLorraine Rothman 714-680-4356

WESTCHESTER LARIATS (Youth Group)Mondays 3:30-9:30pm $30 or $40/10-wk session Westchester United Methodist Church8065 Emerson Ave., Los AngelesDiane Winthrop 310-376-8756 wclariats@aol.com

WEST HOLLYWOOD FOLK DANCERS Wednesday 10:15-11:45amWest Hollywood Park, San Vicente & MelroseWest Hollywood • Tikva Mason 310-652-8706

WEST L.A. FOLK DANCERS Mondays Lesson 7:45-10:45pm Fridays 7:45-10:45pmBrockton School • 1309 Armacost Ave., West L.ABeverly Barr 310-202-6166dancingbarrs@earthlink.net

WESTWOOD CO-OP FOLK DANCERSThursdays 7:30-10:45pm $4 Felicia Mahood Senior Club11338 Santa Monica Blvd. (at Corinth), L.A.Tom Trilling • 310-391-4062

WEST VALLEY FOLK DANCERSFridays 7:30-10:15pm $4 Canoga Park Sr. Ctr., 7326 Jordan Ave., Canoga ParkJay Michtom 818-368-1957 • JayMichtom@juno.com

IRISH DANCINGCLEARY SCHOOL OF IRISH DANCEwww.irish-dance.net • 818-503-4577

CELTIC ARTS CENTERIrish CeiliMondays 8:00-9:00pm (ex. 1st Mondays)Wednesdays - 7:30-9:00pm4843 Laurel Canyon Blvd., Valley Village

818-752-3488

LOS ANGELES IRISH SET DANCERSMondays 7:30 - 9:30pmThe Burbank Moose Lodge1901 W. Burbank Blvd., Burbank Thursdays 7:30 - 9:30pm The Columbian Fathers2600 North Vermont Ave., Los Angeles

MARTIN MORRISEY SCHOOL OF IRISH DANCE818-343-1151

O’CONNOR-KENNEDY SCHOOL OF IRISH DANCE818-773-3633 • katekennedy@irishdancing.net

THOMPSON SCHOOL OF IRISH DANCECecily Thompson 562-867-5166 • rince@celtic.org

ISRAELI DANCINGARCADIA FOLK DANCERS Tuesdays 7:30-9:00pm Shaarei Torah, 550 N 2 St., Arcadia David Edery 310-275-6847

COSTA MESA ISRAELI DANCERSWednesdays 7:00-11:30pmJCC of Orange County • 250 Baker St., Costa MesaYoni Carr 760-631-0802 yonic@earthlink.net

LA CRESCENTA DANCERSWednesdays 7:00-8:30pmChurch of Religious Science 4845 Dunsmore Ave., La CrescentaKarila 818-957-3383

ISRAELI FOLK DANCING AT UCLAMondays 9:00pm UCLA Ackerman Union 2414James Zimmer IsraeliDance@yahoo.com • 310-284-3636

ISRAELI DANCE WITH JAMES ZIMMERTuesdays 8:00-11:00pmWest Valley JCC, Ferne Milken Sports Center22622 Vanowen Street, West HillsThursdays 8:00-9:30pmSundays 2:00-3:00pmEncino Community Center, LA Recreation & Parks4935 Balboa Blvd, Encino 818-995-16902nd Fridays 9pm Free4th Fridays 9 pm FreeMaltz Center, Temple Emanuel-Beverly Hills8844 Burton Way, Beverly Hills IsraeliDance@yahoo.com 310-284-3638

UNIVERSITY OF JUDAISMWednesdays 7:30-10pm5600 Mulholland Dr., Los AngelesNatalie Stern 818-343-8009

VINTAGE ISRAELIAnisa’s School of Dance14252 Ventura Blvd., Sherman OaksDovByrd@aol.com

MORRIS DANCINGPENNYROYAL MORRISMondays 7:00pmDebi Shakti & Ed Vargo 818-892-4491Sunset Morris • Santa MonicaJim Cochrane 310-533-8468 jimc3@idt.net

SUNSET MORRISClive Henrick 310-839-7827 CliveGH@aol.com

WILD WOOD MORRIS6270 E. Los Santos Drive, Long Beach Julie James 562-493-7151wildwoodmorris@aol.com • wildwoodmorris.com

POLISH DANCINGGORALE POLISH FOLK DANCERSSundays 6:00-8:00pmPope John Paul Polish Center 3999 Rose Dr., Yorba LindaRick Kobzi 714-774-3569 • rickkobzi@worldnet.att.net

PERSIAN DANCINGSHIDA PEGAHITuesdays 6:00pm • 310-287-1017

SCANDINAVIAN DANCINGSKANDIA DANCE CLUB Wednesdays 7:30-10:00pm $5 Lindberg Park • 5401 Rhoda Way, Culver CitySparky 310-827-3618Ted Martin tedmart@juno.com led by Cameron Flanders & John Chittum

SKANDIA SOUTHMondays 7:30-10:30pmDowntown Community Center250 E. Center, AnaheimTed Martin 714-533-8667 tedmart@juno.com

SCOTTISH DANCINGAMERICAN LEGION HALLSundays Highland - 5:00-7:00pm

Advanced - 7:30 - 9:30pm412 South Camino Real, Redondo BeachFred DeMarse 310-791-7471 fwde@chevron.com

SAN GABRIEL BRANCH - RSCDSWednesdays Beginner/Intermediate - 8:00-10:30pmSt. Luke's Episcopal Church122 S. California Ave., MonroviaDoug MacDonald 909-624-9496 damacdonald@juno.com

COLUMBUS-TUSTIN GYMWednesdays Beginner - 7:00-8:30pm

Intermediate - 8:30-10:00pm17522 Beneta Way, TustinShirley Saturensky 949-851-5060

DANCE STUDIO, VALLEY COLLEGEMondays Beginner - 7:00-8:30pm

Intermediate - 8:00-10:00pmEthel at Hatteras St., Van NuysAase Hansen 818-845-5726 • AaseHansen@aol.com

EDISON COMMUNITY CENTERThursdays Beginner - 7:30-9:00pm

Intermediate - 7:30-9:30pmRenee Boblette Bob Patterson 714-731-2363

GOTTA DANCE II DANCE STUDIOThursdays - Intermediate/Advanced - 8:00-10:00pmSonia’s Dance Center8664 Lindley Ave., NorthridgeDeanna St. Amand 818-761-4750 • dgsa@pacbell.net

LINDBERG PARK RECREATION BUILDING Tuesdays 6:30-7:30pm children; 7:30-10:15pm adults5041 Rhoda Way, Culver City • 310-820-1181

LUTHERAN CHURCH OF THE MASTER1st & 3rd Fridays Beginner/Intermediate 7:00-9:00pm725 East Ave J LancasterAase Hansen 818-845-5726

NEWPORT-MESA BALLET STUDIOFridays Beginner - 7:30-9:30pm

Intermediate - 7:30-9:30pmShirley Saturensky 714-557-4662

RANCHO SANTA SUSANA COMM. CTR.MondaysChildren - 6:30-7:30pm Kathy Higgins 805-581-7185Beginners - 7:30-9:00pm Mary Lund 818-996-50595005-C Los Angeles Ave., Simi Valley

ROYAL SCOTTISH COUNTRY DNC. SOC.Knights of Columbus HallTuesdays Beginner - 7:00pm Intermediate - 8:15pm224-1/2 S. Sepulveda Blvd., Manhattan Beach Wilma Fee 310-546-2005 310-378-0039 feewilma@mattel.com

SCOTTISH COUNTRY DANCE Wednesdays 562-916-8470Jack Rennie • JackRennie@aol.com

SOUTH PASADENA WAR MEMORIALSundays Beginner - 7:00-9:00pm435 Fair Oaks Ave., South PasadenaAlfred McDonald 626-836-0902 dbbrand@attglobal.net

ST. PAUL’S EPISCOPAL CHURCHThursdays Beginner - 7:30-9:30pm

Intermediate - 7:30-9:30pmDon Karwelis 714-730-8124

THE DANCE ACADEMYMondays Intermed - 8:00-10:00pm24705 Narbonne at 247th St., LomitaJack Rennie 310-377-1675 jackrennie@aol.com

TORRANCE CULTURAL CENTERFridays Beginner - 7:00-8:30pm

Intermediate - 8:00-10:00pmBetween Torrance & Madrona, TorranceJack Rennie 310-377-1675 jackrennie@aol.com

VENTURA COLLEGE DANCE STUDIOFridays Beginner - 7:00-8:30pm

Intermediate - 8:00-10:00pm4667 Telegraph Road, VenturaMary Brandon 818-222-4584

BEFORE ATTENDINGANY EVENT

Contact the event producer to verify informationbefore attending any event. (Things change!!!)CORRECTIONS FolkWorks attempts to provide current and accu-rate information on all events but this is notalways possible.

Please send corrections to: ongoing@FolkWorks.org or 818-785-3839LIST YOUR EVENT!To have your on-going dance event listed inFolkWorks provide the following information:• Indicate if it’s an on-going or one-time event• Category/Type of Dance (i.e., Cajun, Folk)• Location Name • Event Day(s) and Time• Cost • Event Sponsor or Organization • Location Address and City • Contact Name, Phone and/or e-mail

Send to: ongoing@FolkWorks.org or 818-785-3839

March-April 2004 F o l k W o r k s Page 17

No Frontiers, which went tripleplatinum. It is an artistic tour deforce, with arresting instrumenta-tion and crisp production emphasiz-ing the well-chosen and beautifullydelivered lyrics. The exceptionalWaiting for Columbus, written bymaster lyricist Noel Brazil, show-cases Black’s stunninglycontrolled and impas-sioned voice. Like JoanBaez, she has a long,cello-like vibrato endingher lines like a last longdraw across the stringsof a violin. Also highlysuccessful, Black’s nextalbum, Babes in theWoods came two yearslater, with several beauti-ful songs by Australianpoet Howard Shane, andthe title track by NoelBrazil. It was Ireland’snumber one album forsix weeks that summer.

With Black’s 1993release, The HolyGround, Billboard fea-tured her on the cover,hailing her as “a firm favorite tojoin the heavy-hitting ranks of suchartists as Enya, Sinead O’Connorand Clannad’s Maire Brennan inthe international marketplace.”

Unfortunately, none of the songsreceived much airplay, as they nevergot onto the ever-elusive Abramstop-play rotation (a fate so manyfine folk artists have long endured).Mary Black did, however, receiveawards for Best Irish FemaleVocalist and Best Irish Album thatyear at the Irish Recorded MusicAwards.

In 1994, she was featured in thegroundbreaking women’s compila-tion A Woman’s Heart, which alsoincluded performances by MaireBrennan, Eleanor McEvoy, DoloresKeane, Sharon Shannon, and hersister, Frances Black. The albumwas a huge success, and sales werestrong – enough for each householdin Ireland to own at least one copy.

Mary Black has worked veryhard to not be described as a Celticor Irish singer. On her websitewww.mary-black.net, she is quotedas saying, “I started in folk music,but never felt there should be anyboundaries in music. Fortunately,here in Ireland there’s an opennessabout music that allows you to stepoutside the categories.” Indeed,

some of her songs almost seem likea musical missing link, a perfectblend between Celtic and Americanfolk, with more than a nod toAmerican country and swing.Perhaps the nearest term you coulduse is Pan Celtic.

Her songs do, however, often

deal with traditionally Celticthemes like mysticism and themagic found in nature. For exam-ple, in Bright Blue Rose, the JimmyMcCarthy song on Babes in theWoods, she sings:

And it is a holy thing, and it isa precious time

And it is the only way.Forget-me-nots in the snow,It’s always been and so it goesTo ponder his death and his life

eternally.

This lovely delicate dirge, partjazz and part Celt in flavor, is nothaunting in the Celtic sense.However it stays with you, and youfind yourself thinking about it longafterwards. It’s not surprising thatBabes in the Woods was voted oneof the top 10 albums of the year byBritain’s Today Newspaper. What issurprising is that such an excellentwork received so little airplay in theUnited States.

Throughout her career, MaryBlack has drawn from a pool ofamazing lyricists, including NoelBrazil, Thom Moore, JimmyMcCarthy, and Howard Shane. Herchoice of covers encompasses aneclectic range of female songwrit-ers, and includes Joni Mitchell’sUrge for Going, and Mary Chapin

Carpenter’s Moon and St.Christopher. She has joined JoanBaez for Ring Them Bells, whichthey performed together live at NewYork’s Bottom Line Club.

The topics addressed on Black’ssongs tend toward the intellectual.Some are political, others heartfelt.She broaches difficult subjects witha straightforward delivery. Much to

her credit, the choice ofsongs expresses a polit-ically active sensibility,and in the folk tradi-tion, strives to educateby the lyrics she sings.What sets her apart isthat she does so with-out seeming preachy orheavy. On songs likeThe Shadow, whichlaments the horror andwaste of religiousentanglements inNorthern Ireland, Maryavoids any overt dra-matics. Instead, herdelivery is straightfor-ward and expository. Itis annunciated calmlyand directly to the lis-

tener, so that you are free to deriveany meaning and conclusion onyour own. A key element of MaryBlack’s success is her ability to findthe heart of the song, that elusivequality of making you feel it just byclosing your eyes and listening.

Mary Black has 18 solo albums— 9 platinum — and has performedwith the groups DeDannan, TheBlack Family, Arcady andGeneral Humbert. Her albumstypically borrow from diversesources and rhythms, with some

surprising use of salsa, Breton folkcadences, and even American coun-try. Her influences range fromFairport Convention to BillieHoliday and the Beatles. Theinstrumentation she employs isrefreshing and unique, with simplebodhran and a light folk guitar,often synthesized with whimsicalclarinet and sparingly used Celticfiddles in the background.

Mary Black’s current tour bringsher to Los Angeles for two shows inMarch. So, open your daytimer, andcircle March 25th for CarpenterCenter in Long Beach and March26th for UCLA’s Royce Hall.Whether or not you’re familiar withMary Black’s work, seeing her per-form live is sure to be a satisfyingexperience.

If you can’t go to her shows, goto www.mary-black.net and checkout last year’s Mary Black Live foran excellent overview of her career.Along with the CD, you receivevideo clips on VHS or DVD. Alsoavailable at the website is a limitededition of Women’s Heart Trilogy. Anice feature of this website is that atcheckout, there is a space providedfor the purchaser to choose whetheror not they would like Ms. Black toautograph their purchase.

J.J. Ryan has been a features writerfor 30 years and has been publishedin Little Bit Magazine, The Reader,City Pages, Mpls./St Paul magazineand Sweet Potato Magazine inMinneapolis. She has also performedas lyricist and lead singer for herown band.

MARY BLACK continued from page 1

Page 18 F o l k W o r k s March-April 2004

Years ago, at my third or fourth con-tradance, a man approached me smilingand holding out his hand. He said

something, too, but, with all the between-dancechatter and tuning noises, I couldn’t hear it. “It’sokay,” I thought, “he’s obviously asking me todance” so I smiled brightly and said “Yes.”

His hand dropped and his smile faded. “Toobad,” he said, and walked away.

I was stunned – was it my sweaty tee shirt? Mypeach shampoo? The garlic? Could he tell I wasdirectionally disabled? I knew instinctively I shouldhave taken that proffered hand though, so, when thenext man appeared and shouted “Wanna dance?” Isnatched up his hand lest he, too, be a tease.

We joined a set just one couple away from thefirst man. That was bad, but it got worse. The dancehad a shadow swing and my shadow was this manwho had so clearly found me unacceptable at closerange. We swung silently, inexorably, once a meas-ure, he eyeing me sternly and I wondering how hewas dealing with the garlic.

Afterwards he took me aside and said “I knowyou’re new so you probably don’t know that it’sconsidered rude to refuse one person and thendance with another.”

“But I said ‘yes’,” I protested, “and you walkedaway. I call that rude.”

He looked a little puzzled, then asked, “Whatdid you think I said?”

“Do you want to dance?’ What else?”“I asked ‘do you have a partner?’You said ‘yes’

so I left.”We laughed and became friends, but it was a

near thing. I’d always thought that communicationwas just about words but now it seemed that indancing, with all the motion and ambient noise,body language was as powerful as words and oftenmore so.

I was astounded by the art of leading and to thisday can’t fathom how men work their magic without

words. I have caught onto a lot of other non-verbalcues, though. I’ve learned, for instance, to snag apartner at thirty feet just by catching his eye. It does-n’t matter who’s got a hand on him, if your eyesmeet, he’s yours; it’s that simple. Conversely, if youdon’t make eye contact, you may not be invited todance at all, a fact equally worth remembering.

We get things going with the smile and theinviting hand, then keep them going with othersimple, wordless signals: the slightly tilted headindicating the passing side, the receptive handraised and waiting in contra corners, and, of course,giving weight. We trust these signals so well that, ifwe reach for a chain instead of going into a hey, wecreate chaos because everyone will follow us.

More esoteric gestures can be misconstrued ifnot augmented with words. For example, whiledancing a schottische to painfully lethargic music,I saw the dancer in front of me make what lookedlike a rude thumb gesture to the fiddler.

“What’s that about?” I asked my partner.“He thinks he’s telling them ‘faster’, but he’s

actually saying ‘louder’. Watch.”Sure enough, the musicians leaned earnestly

into their instruments, the music got louder but nofaster, and the now irate dancer stomped off thefloor, tired of trying to do the fast turn in slowmotion. Had he called out ‘faster’ with his garbledsignal, he could have kept dancing.

Then, too, sometimes nothing works and it’s

time for more education. My partner in a livelyScandinavian dance kept a good tempo through-out but finally began slowing down. I stepped outfirmly to keep up the speed. He dragged. Itugged. He muttered something that sounded like‘retarded!’ so I turned on him furiously and said,“I’m not quick but I’m certainly not retarded!”

“True,” he said, smoothly and unapologeti-cally, “you’re just ignorant. Ritard is an Italianmusical term meaning ‘slow down at the end ofa piece’.”Scandinavian dancers, even though the normal

hold allows comfortable conversation, usuallydance silently, concentrating on technique and onthe elusive beat. Contra dancers, however, changepositions often and would do well to maintain asimilar silence, but conversation’s so tempting.Besides, it’s a challenge to read lips that twirl awayin mid-sentence and to reconstruct mangled phras-es. I met this challenge on a recent Saturday night.

“How have you been?” [allemande left]“Chicago; did you miss me?” [ladies’ chain]“Why Mississippi?” [hey for four]“Hip’s better but no hikes for awhile.” [swing]“Four miles? Good news.” [circle left]“Yeah, great musicians.” [final swing]“Nice dance!”“Thanks, [music stops; silence] I got them at

Walmart.”“Huh?”But the basics were there – eye contact, warm

smiles, love of the dance – so who’s to say we didn’t understand each other?

Valerie Cooley lives in West Los Angeles and lovesfolk music, dancing, and crafts. She co-chairs theBanner Committee for the CTMS Summer SolsticeFestival where she is able to indulge her love ofpretty colors, fabrics, and the enthusiasm of thepeople who put them together

WHAT YOU SAY IS WHAT YOU GET

New Album from Kathy Buys!Dragonsdance Records proudly announces thedebut release of San Francisco fiddler, Kathy Buys.Mapless Journey combines tradition with cuttingedge arrangements and the artist’s unique andfiery style. Enjoy many favorite tunes, lesserknown gems from the traditional repertoire andoriginal tunes, all arranged creatively and withvariety. The album features such musicians MarlaFibish on mandolin, Tim Hart on Irish whistlesand bodhran, Calvin Lai on didgeridoo and Debbie Shaeffer on piano as well as severalother talented friends.

Order direct from www.dragonsdance.net for the best price of $15.00.Also available at Tower Records in the Castro district of San Francisco

advantage@amazon.com and www.cdbaby.com

March-April 2004 F o l k W o r k s Page 19

FOLKWORKS FOLKAS OF JANUARY, 2004

ANGELAnonymous

BENEFACTORRuth C. Greenberg • Kathy Qualey • Dave Stambaugh

PATRONFrieda & Bob Brown • Christa BurchScott Duncan • Kay & Cliff Gilpatric

Don Green/Barbara Weismann • Chris GruberAleta Hancock • Dorian Keyser • Sheila Mann

Mary Anne McCarthy • Santa Monica Folk Music Club • Jim Westbrook

FRIENDSAnonymous

Robin & Tom AxworthyCarvel Bass

Aubyn & Doug BieryHenrietta BemisBarbara Brooks

Doug BrownValerie Brown/Jerry Grabel

Bob & Melody BurnsCoffee Affair Café

Chris CooperJim Cope

Darrell CozenLisa Davis

Winifred DavisEnrico Del ZottoDave DempseyMary DolinskisBonita Edelberg

Joy FeltJoel Garfield

John & Judy GlassRoger Goodman/Monika White

Diane GouldAlan & Shirley Hansen

Jim HamiltonChris Hendershot

Fron Heller/Bill MasonSue Hunter

Trudy & Peter IsraelDodi & Marty Kennerly

Ann & Jim KosinskiBrian McKibbin

Nancy MacMillan

James Morgenstern/Linda Dow

Gitta Morris/Gee MartinRex Mayreis

Judy & Jay MessingerGretchen & Chris Naticchia

Molly NealsonMelanie Nolley

Norma NordstromDave Ogden

Gabrielle O’NeillStephen/Susan Parker

Peter ParrishLenny Potash

Mattias F. ReeseBarbara Richer

Suzie RichmondSteve Rosenwasser

/Kelli SagerTom Schulte

Diane ShermanMiriam & Jim Sidanius

Mark S. SiegelJeff Spero/Gigi DeMarrais

Fred StarnerMimi TanakaBarry Tavlin

Doug ThomasVivian VinbergKen WaldmanDonald Wood

John Wygonski/Mary CynarRon Young/Linda Dewar

AUDITIONS for NEW VOCAL-BASEDGROUP – I seek two to three SUPERB,UNUSUAL VOCALISTS (Male or Female)who know world-music or folk-musicstylings, are able to sight read, sing right-onharmony, and like to move. It is importantthat each vocalist knows how to be part of acreative team, as well as a strong soloist. Alsoseeking a BANJO player who is willing to dounusual styles.Also seeking a CELLIST orACOUSTIC BASS player. I AM A VERSA-TILE, DYNAMIC VOCALIST/COMPOS-ER who puts together incredible vocals, andwrites music that is deeply informed by Irish,Balkan and Appalachian traditional singingstyles - as well as old Gospel, old Countryand Southern African vocal traditions. I'vetoured extensively with world-class ensem-bles, and led my a cappella group, VIDA intothe top performing circuits - Lincoln Center,UCLA Live, Knitting Factory, and criticalacclaim (Billboard, Village Voice, DirtyLinen). THE ESSENTIAL SOUNDS of thisgroup: complex and playful rhythm, vocalgrit as well as polish, humor, and lyrics thatmean it! I want this group to move people.This group will tour. A few influences I seecoming out in this group: Bobby McFerrin,Zap Mama, Ani Difranco, Steve Reich, BillyHoliday, Bjork, Baaba Maal, Gillian WelchThis is posted as of February, 2004 Pleasecontact: 818-985-0331, 818-259-4460moira_smiley@yahoo.com

PIANO FOR SALE 1923 Schulz Uprightwith bench. Good condition. Recently tuned.Call Terry at 818-908-8902

FOR SALE OLD VIOLIN with followingprinted inside Violin “Antonius StradiuriusCremonensis-Facisisbat -Anno 1774” -Caseholds rosin box with Inscription”Caldophane Number 5131” Asking $1,500.Given as gift 50 years ago in Argentinaadvised probably was made in Germany.Serious Buyers Only. 310-276 5547

ARGENTINIAN SINGER-SONG-WRITER Professional Singer-Songwriterseeking musicians from different musicalbackgrounds (guitar, percussion, bass, accor-dian or any other instrument) to create aunique music project to record and perform(L.A. and O.C.). Have original songs andarrangements. My background: Jazz, Pop,Tango, Brasilian & South American. E-mail:lvsinging@yahoo.com

GUITARISTS WANTED Mandolin player— mostly Irish — hoping to find guitar play-er(s) for occasional get togethers and learn-ing new tunes. In North Orange County,Irvine area. Call Tavo at 714-731-7080, oremail at positiveimagephoto@yahoo.com

NEVENKA FOLK CHORUS SEEKINGSOPRANO Nevenka, a L.A.-basedwomen’s folk chorus, is seeking a soprano.Previous experience and familiarity withEastern European folk music and vocal styleis preferred.

To audition, call Trudy Israel at 818-907-7340 or trudyisrael@earthlink.net

BUL L E T IN BOARDSend us your community news, musical instruments for sale, non profit organizationannouncements, weddings, births, etc. May be edited for space available.

“I saw Adam leave the garden with an apple in his hand,I said, ’Now you’re out, what are you gonna do?’

‘Plant my crop and pray for rain, maybe raise a little Cain.I’m an orphan now, and I’m only passing through!’”

There’s a phone message from Eric Gordon, the dynamic director ofThe Workmen’s Circle, on Robertson Boulevard, right here in ourneighborhood. The Workmen’s Circle is a cultural Jewish organiza-

tion, focusing on the arts, political issues, and always, social action.This call is definitely for social action.“We want you to bring your guitar to Pico and Fairfax on Monday night

from six to seven, and sing with the grocery strikers, while we bring themsandwiches, and picket with them.”

“Sing what?”“Those old union songs you know so many of….You know—Roll the

Union On, Union Maid…you know—we’ll sing with you!”“But the strikers won’t. They’ll think I’m nuts!”“No, they won’t. They’ll love it! See you there!”So here I am, at six o’clock walking around the entrance of Vons, play-

ing my guitar, and singing.“Passing through…passing through,Sometimes happy, sometimes blue,Sure glad I ran into you,Tell the people that you saw me passing through!”As I feared, most of the strikers are chewing away on their sandwiches

and starring at me. Eric is singing with me, and two other members of theWorkmen’s Circle are singing with me. My husband, Stan, is many feet awayfrom me, holding a picket sign and pretending not to see me.

I try another verse and chorus.“Oh, I spent the night with GeorgeAnd his boys at Valley Forge,“Why do the men all shiver like they do?”He said, “Folks will freeze and fight,Even die for what is right,Even though they know they’re only passing through!”I have been adapting and changing the words to folk and political songs

since I was sixteen…I have just changed “men” to “folks,” and it is the firstof many, many Monday night musical modifications!

Two lovely young strikers comeup to me, smiling.

“Join in on the chorus,” I beg,and they do!

I sing a verse about Jesus hav-ing no time to hate because there isso little time and he’s only passingthrough. The chorus has grown toseven, and Stan has joined us and Ican actually hear him singing!

Then we sing a favorite oldstrike song.

“If you want a raise in pay, allyou have to do

Is go and ask the boss for it, and he will give it to you……”I sing all the verses—everyone joins in on the chorus!“Put it on the ground, spread it all around,Dig it with a hoe—it will make your flowers grow!”We sing Roll the Union On. We sing We Shall Not be Moved in English

and Spanish…and when it’s time to leave, they invite me to come back nextMonday and sing. I promise I will, but I still think they are just being friend-ly and polite, and appreciative of the sandwiches.

The next week I am silenced by laryngitis. Eric tells me everyone wasasking for me. I can’t believe it, but when I show up the following MondayI am greeted by cheers from a huge group of the strikers.

I launch right into Union Maid…oops! a problem! One verse tells the“girls” to “marry a man with a union card and join the Ladies Auxiliary.” Imake the world’s fastest change:

“Now, sisters , if you wanna be free,Just take a tip from me.Get yourself a union card‘Cause there’s no more Ladies Auxiilary!”Eric sings The International and the growing group asks for song sheets

next time. We print them and after a few weeks we have a real informal cho-rus that sounds great. Shoppers who support the strike are joining us. Onehas a singing dog that joins in.

We talk to shoppers who are about to enter the store. We ask them not tocross the picket line and a few actually turn and leave, accompanied by ourcheers. By now I am writing new verses to all the old songs:

“I used to shop at Vons a lot, but lately I do not,They don’t treat their workers in a way I like—So, if you’re a friend of mine, you won’t cross that picket line,Until these strikers all have won their fight!”The strikers give us hugs and home -made cookies. The song sheets have

over twenty songs, including a round written by Eric. When was the last timeyou heard strikers singing three part rounds! When we leave each week atseven, they all thank us. “We thank you, too,” we reply, “It is an honor forus to be here with you.”

We are singing old folk songs with new words, old hymns with newwords and updated union songs of the thirties and forties. All are welcometo join us every Monday evening from six to seven at Pico and Fairfax.

“Passing through, passing through, Sometimes happy, sometimes blue,Sure glad I ran into you!Tell the people that you saw me passing through!”

Uncle Ruthie is a singer, songwriter, storyteller, recording artist, SpecialEducation music teacher for blind children and a poet. Her radio showHalfway Down The Stairs can be heard every Sunday morning at 10:00 am onKPFK 90.7 FM. In her spare time she will be writing this column and sharingher thoughts on music and life with our readers.

UNCLE RUTHIE

Page 20 F o l k W o r k s March-April 2004

PASSING THROUGHON THE PICKET LINE

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March-April 2004 F o l k W o r k s Page 21

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ALTAN, ERIC ANDERSON, ARA G, FRANKIE ARMSTRONG, ASHA'S BABA, BABES WITH AXES, REX MAYREIS, BAKSHEESH BOYS, JIM COPE, JOAN BAEZ, TONY BARRAND, BARTON AND SWEENEY, BARRA MACNEILS, BATTLEFIELD BAND, CATHY BARTON AND DAVE PARA, BATTLEFIELD BAND, LOU AND PETER BERRYMAN, FRANCES BLACK, TOM SAUBER, MARY BLACK, LUKA BLOOM, EVO BLUESTEIN, ERIC BOGLE, KARLA BONOFF, ROY BOOKBINDER, BOTHY BAND, BOB BOVEE AND GAIL HEIL, BOYS OF THE LOUGH, GREG BROWN, JACKSON BROWNE, DAVID ASCHER, BRYNDLE, KEVIN BURKE, CAPERCAILLIE, ROSS ALTMAN, LIZ CARROLL, TURLOUGH CAROLAN, DAVE CARTER AND TRACY GRAMMER, PETER CASE, JOANNA CAZDEN, CHERISH THE LADIES, STEVE SHAPIRO, CHIEFTAINS, CHRISTY MOORE, CLANNAD, BRUCE COCKBURN, LEONARD COHEN, JUDY COLLINS, SHAWN COLVIN, CORDELIA'S DAD, JOE CRAVEN, BARBARA DANE, DE DANNAN, ERIK DARLING, KRIS DELMHORST, STAN SMITH, SANDY DENNY, JOHN DENVER, ANI DIFRANCO, STEVE EARLE, RAMBLIN' JACK ELLIOTT, NORMA NORDSTROM, FERRON, BELA FLECK, FLOOK, FOR OLD TIMES SAKE, FOUR MEN AND A DOG, KAY & CLIFF GILPATRIC, BOB FRANKE, FUGS, BEPPE GAMBETTA, DICK GAUGHAN, MATT REESE, VANCE GILBERT, STEVE GILLETTE & CINDY MANGSEN, JIMMIE DALE GILMORE, CHRIS HENDERSHOT, JOHN GORKA, GREEN MAN, GREAT BIG SEA, CHRIS COOPER, SARA GREY, NANCI GRIFFITH, ARLO GUTHRIE, TIM HARDIN, RICHIE HAVENS, SCOTT DUNCAN, MARTIN HAYES, BOB BOVEE AND GAIL HEIL, JOHN HERRMANN, MONIKA WHITE, CAROLYN HESTER, JOHN HIATT, DAN HICKS, DARRELL COZEN, HORSE FLIES, THE HOUSE BAND, MICHAEL HURLEY, JANIS IAN, LISA RICHARDSON, TOM SCHULTE, MARGIE ADAM, INDIGO GIRLS, SUE HUNTER, ANDY IRVINE, BERT JANSCH, LUCY KAPLANSKY, PATRICK MCSWYNEY, PAT KILBRIDE, LOUIS KILLEN, SCOT HICKEY, THE KINGSTON TRIO, SPIDER JOHN KOERNER, PATTY LARKIN, LAUREL CANYON RAMBLERS, CHRISTINE LAVIN, ROBIN & TOM AXWORTHY, LEADBELLY, LEFTOVER SALMON, LAURIE LEWIS, SUZIE RICHMOND, GORDON LIGHTFOOT, THE LIMELITERS, JOHN & JUDY GLASS, JEZ LOWE, DOUGIE MACLEAN, MANDO MAFIA, CINDY MANGSEN, DAVID MASSENGILL, GITTA MORRIS/GEE MARTIN, MARLEY'S GHOST, LENNY POTASH, MARY MCCASLIN, JOHN MCCUTCHEON, LEDA SHAPIRO, KATE & ANNA MCGARRIGLE, ROGER MCGUINN, DON MCLEAN, LOREENA MCKENNITT, MICHAEL MENDELSON, MILLADOIRO, JONI MITCHELL, KATY MOFFATT, BRUCE MOLSKY, VALERIE COOLEY, BILL MORRISSEY, MIKE TACKETT, ALAN MUNDE & JOE CARR, MUSTARD'S RETREAT, TRACY NELSON, HOLLY NEAR, BOB NORMAN, PHIL OCHS, ROBBIE O'CONNELL, RON YOUNG/LINDA DEWAR, ODETTA, OLD BLIND DOGS, JOY FELT, KRISTINA OLSEN, TOM PAXTON, THE POGUES, THE POOZIES, DAVE SOYARS, MADDY PRIOR, THE PRIVY TIPPERS, CHUCK PYLE, QUICKSILVER, STAN KOHLS, RANKIN FAMILY, TOSHI REAGON, HARVEY REID, JOHN RENBOURN, MALVINA REYNOLDS, JEAN RITCHIE, JOHN WYGONSKI/MARY CYNAR, JOHN ROBERTS AND TONY BARRAND, THE ROCHES, GARNET ROGERS, DODI & MARTY KENNERLY, SALLY ROGERS, STAN ROGERS, ROUND THE HOUSE, RUNRIG, KATE RUSBY, BRIAN MCKIBBIN, TOM RUSH, CLAUDIA RUSSELL, TOM RUSSELL, BUFFY SAINTE-MARIE, TRUDY & PETER ISRAEL, MARC & ANN SAVOY, PEGGY SEEGER, MARY DOLINSKIS, PETE SEEGER, SHARON SHANNON, SHANTALLA, RICHARD SHINDELL, SIMON AND GARFUNKEL, GRETCHEN & CHRIS NATICCHIA, FRED SMALL, JUDY SMALL, CHRIS SMITHER, ANN & JIM KOSINSKI, BILL STAINES, MIRIAM & JIM SIDANIUS, STEELEYE SPAN, STINKEYE, ALAN STIVELL, LISA DAVIS, JUNE TABOR, TAJ MAHAL, DIANE SHERMAN, TAIKO CENTER OF L.A., TANNAHILL WEAVERS, UNCLE RUTHIE BUELL, RICHARD THOMPSON, THE TINKER'S OWN, TOUCHSTONE, BALFA TOUJOURS, TROUT FISHING IN AMERICA, JAY UNGAR AND MOLLY MASON, LARRY UNGER, MARY PAT COONEY, TOWNES VAN ZANDT, SUZANNE VEGA, DAVE VAN RONK, V«STKOPA FOLKLORISTI, PETER PARRISH, VIVA QUETZAL, LOUDON WAINWRIGHT III, FRANK WAKEFIELD, WENDY WALDMAN, JERRY JEFF WALKER, JUDY NAHMAN-STOUFFER, JEFF WARNER, WATERSONS, MARGE GAJICKI, DOC WATSON, BOB WEBB, CHERYL WHEELER, WHIRLIGIG, DARIA SIMOLKE, WICKED TINKERS, DAVID WILCOX, DAR WILLIAMS, ROBIN AND LINDA WILLIAMS, ROBIN WILLIAMSON, THE WITCHER BROTHERS, CHRISTA BURCH, KATE WOLF, WOLFSTONE, NEIL YOUNG, APPLESEED RECORDS, FOLK-LEGACY RECORDS, GREEN LINNET RECORDS, PUTUMAYO WORLD MUSIC, RED HOUSE RECORDS, ROUNDER RECORDS, TARA MUSIC, LARK IN THE MORNING, ROOTSWORLD, STEVE ROSENWASSER/KELLI SAGER, SHANACHIE, THIRTY BELOW, SCOTT DUNCAN'S, NOBLE HOUSE CONCERTS, VALERIE BROWN/JERRY GRABEL, MARIE AND KEN'S, RUSS & JULIE'S, RYAN GUITAR'S, LARRY WINES, THE TEDROW'S, KRIS & TERRY VREELAND'S, BRIGHT MOMENTS IN A COMMON PLACE, ACOUSTIC MUSIC SERIES, ROGER GOODMAN, THE BARCLAY, BOULEVARD MUSIC, FRIEDA & BOB BROWN, BLUE RIDGE PICKIN' PARLOR, CALTECH FOLK MUSIC SOCIETY, CELTIC ARTS CENTER, CERRITOS CENTER FOR THE PERFORMING ARTS, GUS GARELICK, CTMS CENTER FOR FOLK MUSIC, FIRESIDE CONCERTS, FOLK MUSIC CENTER, SANDRA ARVELO, FOLKWORKS CONCERTS, THE FRET HOUSE, GRAND PERFORMANCES, LISTENING ROOM CONCERT SERIES, CHUCK GALT, THE LIVING TRADITION, MCCABE'S GUITAR SHOP, SAN JUAN CAPISTRANO MULTICULTURAL ARTS SERIES, SHADE TREE STRINGED INSTRUMENTS, SKIRBALL CULTURAL CENTER, AUBYN & DOUG BIERY, UCLA PERFORMING ARTS CENTER, 14 BELOW, ANASTASIA'S ASYLUM, BARCLAY'S COFFEE, LYNN WORRILOW, BEANTOWN, BUSTER'S, VIOLA GALLOWAY, COFFEE AFFAIR CAFE, HENRIETTA BEMIS, COFFEE CARTEL, COFFEE GALLERY BACKSTAGE, COFFEE KLATCH, HALLENBECKS, BILL HOWARD, HIGHLAND GROUNDS, IT'S A GRIND, DON GREEN/BARBARA WEISMANN, KULAK'S WOODSHED, LU LU'S BEEHIVE, ALETA HANCOCK, MONROVIA COFFEE HOUSE, NOVEL CAFE, PORTFOLIO CAFE, PRISCILLA'S GOURMET COFFEE, SACRED GROUNDS, SPONDA MUSIC & ESPRESSO BAR, UN-URBAN COFFEHOUSE, CAFE LARGO, JOEL SHIMBERG, GENGHIS COHEN, CONGA ROOM, KPFK, KCSN, BROOKE ALBERTS, KPCC, DOWN HOME, MIDNIGHT SPECIAL, AROUND THE CAMPFIRE, JUDY & JAY MESSINGER, WILDWOOD FLOWER, BLUEGRASS EXPRESS, FOLKSCENE, HALFWAY DOWN THE STAIRS, PRAIRIE HOME COMPANION(R), CLASSIC HEARTLAND, CANTO SIN FRONTERAS, CANTO TROPICAL, BEA ROMANO, GOSPEL CLASSICS, DENNIS ROGER REED, BLUEGRASS,ETC., THE IRISH RADIO HOUR, SUNDAY NIGHT FOLK, THE GLOBAL VILLAGE, BONITA EDELBERG, THISTLE & SHAMROCK, BRITT NICOLE-PETERSON, DRIVEN BOW / FIDDLIN' ZONE, DAVE DEMPSEY, RIDERS RADIO THEATRE, BAKERS' SQUARE, CAMILLE DULL, CAJUN WAY, BARBARA BROOKS, LARRY BANE SEISUN, BARBARA RICHER, CURLEYS CAFE, CTMS CENTER FOR FOLK MUSIC, FENDI'S CAFE, FINN MCCOOL, DIANE GOULD, LAMPOST PIZZA, ME-N-ED'S, HOWARD & ROZ LARMAN, SONGMAKERS, COLIN QUIGLEY, SANTA MONICA TRADITIONAL FOLK MUSIC CLUB, ENRICO DEL ZOTTO, THE UGLY MUG CAFE, DENNIS LOUIE, VIVA FRESH RESTAURANT, VINCENZO'S, WELSH CHOIR OF SO. CALIFORNIA, TIM STEINMEIER, YIDDISH SINGING (HULYANKE), JEFF SPERO/GIGI DEMARRAIS, L. A. COMMUNITY STORYTELLERS, FAMILY STORYTELLING, LEIMERT PARK GRIOT WORKSHOP, ALAN & SHIRLEY HANSEN, SAN GABRIEL VALLEY STORYTELLERS, JAMES MORGENSTERN/LINDA DOW, LONG BEACH STORYTELLERS, NANCY MACMILLAN, SUNLAND-TUJUNGA STORYSWAP, BARRY TAVLIN, COSTA MESA SOUTH COAST STORYTELLERS GUILD, RUTH C. GREENBERG, SOUTH COAST STORYTELLERS, MISSION VIEJO STORYTELLING, YORUBA HOUSE, DAVE STAMBAUGH, OUNJIAN'S ARMENIAN DANCE CLASS, ALAN STONE, CAFE DANSSA, SAN PEDRO BALKAN FOLK DANCERS, CALIFORNIA DANCE CO-OPERATIVE, DORIAN KEYSER, THE LIVING TRADITION, KYPSELI GREEK DANCE CENTER, ALTADENA FOLK DANCERS, GABRIELLE O'NEILL, ANAHEIM INTERNATIONAL FOLKDANCERS, CAL TECH FOLK DANCERS, CONEJO VALLEY FOLK DANCERS, MARY ANNE MCCARTHY, DUNAJ INT'L DANCE ENSEMBLE, FOLK DANCE FUN, HOLLYWOOD PEASANTS OF CULVER CITY, INTERNATIONAL FOLK DANCE CLUB AT UCLA, MARIE BRUNO, LA CANADA FOLKDANCERS, LAGUNA FOLK DANCERS, LEISURE WORLD FOLK DANCERS, MARK S. SIEGEL, MOUNTAIN DANCERS, NARODNI FOLKDANCERS, PASADENA FOLKDANCE CO-OP, RESEDA INT'L FOLK DANCERS, ROBERTSON FOLK DANCE, FRED STARNER, SIERRA MADRE FOLK DANCE CLASS, SOUTH BAY FOLK DANCERS, TUESDAY GYPSIES, JIM HAMILTON, TROUPE MOSAIC, VESELO SELO FOLK DANCERS, WESTCHESTER LARIATS, WEST HOLLYWOOD FOLK DANCERS, WEST L.A. FOLK DANCERS, WESTWOOD CO-OP FOLK DANCERS, WEST VALLEY FOLK DANCERS, JIM WESTBROOK, CLEARY SCHOOL OF IRISH DANCE, LOS ANGELES IRISH SET DANCERS, SHEILA MANN, MARTIN MORRISEY SCHOOL OF IRISH DANCE, O'CONNOR-KENNEDY SCHOOL OF IRISH DANCE, THOMPSON SCHOOL OF IRISH DANCE, ARCADIA FOLK DANCERS, COSTA MESA ISRAELI DANCERS, NAN MCKINLEY, LA CRESCENTA DANCERS, ISRAELI FOLK DANCING AT UCLA, DONALD WOOD, ISRAELI DANCE WITH JAMES ZIMMER, VINTAGE ISRAELI, PENNYROYAL MORRIS, SUNSET MORRIS, WILD WOOD MORRIS, GORALE POLISH FOLK DANCERS, SHIDA PEGAHI, SKANDIA DANCE CLUB, SKANDIA SOUTH, ROYAL SCOTTISH COUNTRY DANCE SOCIETY

FERRON, BELA FLECK, FLOOK, FOR OLD TIMES SAKE, FOUR MEN AND A DOG, KAY & CLIFF GILPATRIC, BOB FRANKE, FUGS, BEPPE GAMBETTA, DICK GAUGHAN, MATT REESE, VANCE GILBSEN, JIMMIE DALE GILMORE, CHRIS HENDERSHOT, JOHN GORKA, GREEN MAN, GREAT BIG SEA, CHRIS COOPER, SARA GREY, NANCI GRIFFITH, ARLO GUTHRIE, TIM HARDIN, RICHIE HAV, BOB BOVEE AND GAIL HEIL, JOHN HERRMANN, MONIKA WHITE, CAROLYN HESTER, JOHN HIATT, DAN HICKS, DARRELL COZEN, HORSE FLIES, THE HOUSE BAND, MICHAEL HURTOM SCHULTE, MARGIE ADAM, INDIGO GIRLS, SUE HUNTER, ANDY IRVINE, BERT JANSCH, LUCY KAPLANSKY, PATRICK MCSWYNEY, PAT KILBRIDE, LOUIS KILLEN, SCOT HICKEY, THE KIN

R, PATTY LARKIN, LAUREL CANYON RAMBLERS, CHRISTINE LAVIN, ROBIN & TOM AXWORTHY, LEADBELLY, LEFTOVER SALMON, LAURIE LEWIS, SUZIE RICHMOND, GORDON LIGHTFOOT, TH, JEZ LOWE, DOUGIE MACLEAN, MANDO MAFIA, CINDY MANGSEN, DAVID MASSENGILL, GITTA MORRIS/GEE MARTIN, MARLEY'S GHOST, LENNY POTASH, MARY MCCASLIN, JOHN & ANNA MCGARRIGLE, ROGER MCGUINN, DON MCLEAN, LOREENA MCKENNITT, MICHAEL MENDELSON, MILLADOIRO, JONI MITCHELL, KATY MOFFATT, BRUCE MOLSKY, VALERIE COOL

ALAN MUNDE & JOE CARR, MUSTARD'S RETREAT, TRACY NELSON, HOLLY NEAR, BOB NORMAN, PHIL OCHS, ROBBIE O'CONNELL, RON YOUNG/LINDA DEWAR, ODETTA, OLD BLIND DOGSAXTON, THE POGUES, THE POOZIES, DAVE SOYARS, MADDY PRIOR, THE PRIVY TIPPERS, CHUCK PYLE, QUICKSILVER, STAN KOHLS, RANKIN FAMILY, TOSHI REAGON, HARVEY REID, JOHN AN RITCHIE, JOHN WYGONSKI/MARY CYNAR, JOHN ROBERTS AND TONY BARRAND, THE ROCHES, GARNET ROGERS, DODI & MARTY KENNERLY, SALLY ROGERS, STAN ROGERS, ROUND RIAN MCKIBBIN, TOM RUSH, CLAUDIA RUSSELL, TOM RUSSELL, BUFFY SAINTE-MARIE, TRUDY & PETER ISRAEL, MARC & ANN SAVOY, PEGGY SEEGER, MARY DOLINSKIS, PETE SEEGERCHARD SHINDELL, SIMON AND GARFUNKEL, GRETCHEN & CHRIS NATICCHIA, FRED SMALL, JUDY SMALL, CHRIS SMITHER, ANN & JIM KOSINSKI, BILL STAINES, MIRIAM & JIM SIDANN STIVELL, LISA DAVIS, JUNE TABOR, TAJ MAHAL, DIANE SHERMAN, TAIKO CENTER OF L.A., TANNAHILL WEAVERS, UNCLE RUTHIE BUELL, RICHARD THOMPSON, THE TINKER'S OWN, OUT FISHING IN AMERICA, JAY UNGAR AND MOLLY MASON, LARRY UNGER, MARY PAT COONEY, TOWNES VAN ZANDT, SUZANNE VEGA, DAVE VAN RONK, V«STKOPA FOLKLORISTI, PDON WAINWRIGHT III, FRANK WAKEFIELD, WENDY WALDMAN, JERRY JEFF WALKER, JUDY NAHMAN-STOUFFER, JEFF WARNER, WATERSONS, MARGE GAJICKI, DOC WATSON, BOB WEBRIA SIMOLKE, WICKED TINKERS, DAVID WILCOX, DAR WILLIAMS, ROBIN AND LINDA WILLIAMS, ROBIN WILLIAMSON, THE WITCHER BROTHERS, CHRISTA BURCH, KATE WOLF, WOLFCORDS, FOLK-LEGACY RECORDS, GREEN LINNET RECORDS, PUTUMAYO WORLD MUSIC, RED HOUSE RECORDS, ROUNDER RECORDS, TARA MUSIC, LARK IN THE MORNING, R/KELLI SAGER, SHANACHIE, THIRTY BELOW, SCOTT DUNCAN'S, NOBLE HOUSE CONCERTS, VALERIE BROWN/JERRY GRABEL, MARIE AND KEN'S, RUSS & JULIE'S, RYAN GUITAR'SIS & TERRY VREELAND'S, BRIGHT MOMENTS IN A COMMON PLACE, ACOUSTIC MUSIC SERIES, ROGER GOODMAN, THE BARCLAY, BOULEVARD MUSIC, FRIEDA & BOB BROWN, BLUE RIMUSIC SOCIETY, CELTIC ARTS CENTER, CERRITOS CENTER FOR THE PERFORMING ARTS, GUS GARELICK, CTMS CENTER FOR FOLK MUSIC, FIRESIDE CONCERTS, FOLK MUSIC CENTE

ONCERTS, THE FRET HOUSE, GRAND PERFORMANCES, LISTENING ROOM CONCERT SERIES, CHUCK GALT, THE LIVING TRADITION, MCCABE'S GUITAR SHOP, SAN JUAN CAPISTRANO ME TREE STRINGED INSTRUMENTS, SKIRBALL CULTURAL CENTER, AUBYN & DOUG BIERY, UCLA PERFORMING ARTS CENTER, 14 BELOW, ANASTASIA'S ASYLUM, BARCLAY'S COFFEUSTER'S, VIOLA GALLOWAY, COFFEE AFFAIR CAFE, HENRIETTA BEMIS, COFFEE CARTEL, COFFEE GALLERY BACKSTAGE, COFFEE KLATCH, HALLENBECKS, BILL HOWARD, HIGHLAND GRORBARA WEISMANN, KULAK'S WOODSHED, LU LU'S BEEHIVE, ALETA HANCOCK, MONROVIA COFFEE HOUSE, NOVEL CAFE, PORTFOLIO CAFE, PRISCILLA'S GOURMET COFFEE, SACRED

ESSO BAR, UN-URBAN COFFEHOUSE, CAFE LARGO, JOEL SHIMBERG, GENGHIS COHEN, CONGA ROOM, KPFK, KCSN, BROOKE ALBERTS, KPCC, DOWN HOME, MIDNIGHT SPECIAL, AROUND GER, WILDWOOD FLOWER, BLUEGRASS EXPRESS, FOLKSCENE, HALFWAY DOWN THE STAIRS, PRAIRIE HOME COMPANION(R), CLASSIC HEARTLAND, CANTO SIN FRONTERAS, CANTO TROICS, DENNIS ROGER REED, BLUEGRASS,ETC., THE IRISH RADIO HOUR, SUNDAY NIGHT FOLK, THE GLOBAL VILLAGE, BONITA EDELBERG, THISTLE & SHAMROCK, BRITT NICOLE-PETER DAVE DEMPSEY, RIDERS RADIO THEATRE, BAKERS' SQUARE, CAMILLE DULL, CAJUN WAY, BARBARA BROOKS, LARRY BANE SEISUN, BARBARA RICHER, CURLEYS CAFE, CTMS CENTFINN MCCOOL, DIANE GOULD, LAMPOST PIZZA, ME-N-ED'S, HOWARD & ROZ LARMAN, SONGMAKERS, COLIN QUIGLEY, SANTA MONICA TRADITIONAL FOLK MUSIC CLUB, ENRICO DEL ZOLOUIE, VIVA FRESH RESTAURANT, VINCENZO'S, WELSH CHOIR OF SO. CALIFORNIA, TIM STEINMEIER, YIDDISH SINGING (HULYANKE), JEFF SPERO/GIGI DEMARRAIS, L. A. COMMUNITY ST, LEIMERT PARK GRIOT WORKSHOP, ALAN & SHIRLEY HANSEN, SAN GABRIEL VALLEY STORYTELLERS, JAMES MORGENSTERN/LINDA DOW, LONG BEACH STORYTELLERS, NANCY MA

RYSWAP, BARRY TAVLIN, COSTA MESA SOUTH COAST STORYTELLERS GUILD, RUTH C. GREENBERG, SOUTH COAST STORYTELLERS, MISSION VIEJO STORYTELLING, YORUBA HOUSEMENIAN DANCE CLASS, ALAN STONE, CAFE DANSSA, SAN PEDRO BALKAN FOLK DANCERS, CALIFORNIA DANCE CO-OPERATIVE, DORIAN KEYSER, THE LIVING TRADITION, KYPSELI GRK DANCERS, GABRIELLE O'NEILL, ANAHEIM INTERNATIONAL FOLKDANCERS, CAL TECH FOLK DANCERS, CONEJO VALLEY FOLK DANCERS, MARY ANNE MCCARTHY, DUNAJ INT'L DANCE ENSOOD PEASANTS OF CULVER CITY INTERNATIONAL FOLK DANCE CLUB AT UCLA MARIE BRUNO LA CANADA FOLKDANCERS LAGUNA FOLK DANCERS LEISURE WORLD FOLK DANCER

Caroline Aiken, UnshakenAra G, Let’s PartyBaksheesh Boys, The Baksheesh BoysRandal Bays, Out of the WoodsBlarney Rubble, Blarney RubbleKathy Buys, Mapless Journey Liz Carroll, Lake EffectRodney Crowell, The Huston KidLila Downs, BorderFolkScene V3For Old Times Sake,

For Old Times SakeGreen Linnet, 25 Years of Celtic MusicGreen Man, Green ManRichard Greene, Hands Across the PondKate and Katy, Sleepless NightsJim Lauderdale & Ralph Stanley,

I Feel Like Singing Today

Michael Mendelson,A Fiddler’s Notebook

Katy Moffatt, Greatest Show on EarthKaty Moffatt, Midnight RadioBruce Molsky, Lost BoyBruce Molsky, Poor Man’s TroubleOld Mother Logo, Branching OutKristina Olsen, The Truth of a WomanThe Privy Tippers,

Under the Crescent MoonDolly Parton, Little SparrowDennis Roger Reed,

Little King of DreamsRound the House, Round the HouseRound the House,

‘til the wee hoursChris Stuart, Angels of Mineral SpringsSol Y Canto, En Todo MomentoYuval Ron Ensemble,

Under the Olive Tree

NEW

Carpal Tunnel Syndrome affects millions ofpeople and it runs close to back pain as oneof the leading causes of lost productivity

and decreased quality of life. It is a totally pre-ventable disorder! Most maladies of thewrist are due to repetitive motion.Vocational and leisure activities bothcontribute to problems of the wrist andhand.

In the last issue we discussed the shoulder.Many problems with the wrist begin with shoulderdysfunction whereby the arm and hand need towork harder when there’s an ailing shoulder. Mostdirectly related, however, is the condition of themuscles of the forearm. Hand movement is con-trolled by the forearm flexors and extensors. Ifthese muscles are tight or over used, then there isgreater stress in the wrist and muscle attachmentsin the hand. The more you repeatedly use yourhand, the tighter your forearm becomes. Inessence, tight forearm muscles compressthe wrist and affect the passage on thepalm side of your wrist where tendons,blood vessels, and the median nervepass. This compression creates friction withrepetitive use and leads to inflammation, whichresults in pain and loss of function.

Musicians are particularly prone to wrist andhand problems because of fine motor movements,holding a pick or bow for prolonged periods, oddhand positions coupled with various forces, andplaying for long periods. Combine this with workrelated activities that stress the arm/hand (com-puter work) and sleeping postures which place thewrist in extreme flexion or extension, and yourwrist will scream that it has had enough abuse.

WHAT TO DO ABOUT ITProbably the easiest and best option is to take frequent

breaks from any sustained activity in order to minimize orprevent wrist discomfort. Remember to keep your wrist ina neutral position whenever possible. Avoid extreme for-ward or backward bending of the wrist, especially withpressure or weight behind it. If a medical practitioner hasprescribed a wrist brace for an overuse injury, it is usuallybetter to wear this while sleeping to avoid extreme posi-tions. There is abundant research that suggests light move-ment involving full range of motion during the day can pre-vent atrophy of the forearm muscles.The following stretches are effective for the prevention ofwrist pain:

In general, repetitive use of the hands and arms createsoverly tight forearm muscles. Once the flexor and extensormuscles of the forearm tighten, there is considerable pullon the fingers and wrist. Daily flexibility exercises before,during, and after the repetitive activity can totally preventand/or rehabilitate most cumulative trauma disorders of thewrist. For example, if you notice that your fingers spendtime in a bent or closed position (as in keyboard work),then do more Wrist Flexor Stretches (see below). If youhold a pick long periods with strong rhythm, then you mayneed to do more of the Wrist Extensor Stretches.Remember, activities and stretches that are a varied oropposite movement patterns from the repetitive movementwill keep you playing and moving with more comfort andease.

Jerry Weinert is a health educator, nurse massage therapistand string bass player from Tucson, AZ. He is co-author oftwo health and wellness books. The stretching illustrationsare from his first book, Head To Toe: A Manual of Wellness &Flexibility. Southwest Wellness Educators: 1-888-527-2200.

Music and MovementPART THREE: UP IN ARMS ABOUT WRIST PAINBY JERRY WEINERT, R.N., NCTMB

Page 22 F o l k W o r k s March-April 2004

PLAY MUSIC WITH MORE COMFORTDANCE WITH MORE VITALITYPREVENT INJURIESS T R E T C H AND RELAX

WITH “HEAD TO TOE”A MANUAL OF WELLNESS & FLEXIBILIT Y

Available for $1500 plus $300 S&HSOUTHWEST WELLNESS EDUCATORS

P.O. BO X 40251 • TU C S O N, AZ 85717-0251

Call Toll Free: 1-888-527-2200

WRIST EXTENSOR STRETCHESStarting Position: Standing straight, let your armshand freely at your sides. Inhale.Action: While exhaling, raise your straight arm for-ward and up to shoulder level, palm down. Move yourfingertips down so the palm faces back. Assist thisstretch by using your opposite hand. Stretch to lightirritation and hold for two seconds. Inhale while youreturn to the starting position. Repeat four to ten times.Repeat for your other arm

WRIST FLEXOR STRETCHESStarting Position: Standing straight, let your armshand freely at your sides. Inhale.Action: While exhaling, raise your straight arm for-ward and up to shoulder level, palm down. Move thehand up into a “stop” position (palm out). Assist thestretch by using your opposite hand. Stretch to lightirritation and hold for two seconds. Inhale while youreturn to the starting position. Repeat four to tentimes. Repeat for other arm.

ADVERTISE IN FolkWorks!It’s Good Business.

March-April 2004 F o l k W o r k s Page 23

The Pacific Asia Museum in Pasadena has ashow opening in March entitled, Kampai! TheArts of Japanese Sake. Sake, brewed from a

special variety of rice, is a 2,000 year-old factor inJapanese social and religious rituals. “Kampai!” is atraditional Japanese toast meaning, “to the bottom ofthe cup,” and the museum will be launching their exhi-bition of sake-related objects and art with a lecture andsake-tasting led by the foremost non-Japanese authori-ty on sake, John Gaunter (who writes a weekly column on sake for the pop-ular Japanese newspaper, Yomuri Shimbun, is the author of several books onthe subject, and runs the website, www.sake-world.com). The exhibit itself(containing items from the collections of the Pacific Asia Museum,LACMA, Scripps College, Claremont, and several local private collections)covers three general themes, according to the curator, Meher McArthur themuseum’s curator of East Asian Art. The first part serves as an introductionto sake - how it is produced, marketed and presented. Brewing sake is a morecomplicated process than making wine or beer in that it employs a doublesystem of breaking down the rice starch into glucose with the use of amicrobe known as koji, as well as fermentation with yeast and water.Traditionally, the process is presided over by a Toji, or brewery master, wholives on-site and manages every area of the process, including the well-beingand morale of the workers. There are some examples of the equipment usedin its production (including a sake bag for squeezing and filtering the mash),and a modern ceramic model illustrating the process of sake production.Additionally, there are shop signs, labels, and other marketing devices. Aspecial feature of the show is the inclusion of Dr. James Roorda’s large pri-vate collection of sake-related ceramics.

The second theme is that of sharing sake, either with gods and supernat-ural beings or with friends. Sake has traditionally been used in Japan as anoffering in household or public shrines, and as a component of ceremonies,celebrations and festivals. This includes weddings, New Year’s, CherryBlossom and Girls’ Dayfestivals to name a few.The New Year’s sake-drinking custominvolves steeping thesake in a mixture ofspecified herbs. Thesake cups for this arestacked in graduatedsize, with smaller oneson top, and everyone inthe family drinks thespecial sake to ensuregood health through thecoming year. Lest youthought that this showwas completely pro-boozing, the last sec-tion is devoted to salu-tary warnings againstoverindulgence. One ofthe images portrays anenergetic demon play-ing the shamisen (a ref-erence to geisha) witha sake cup at its feet,which Ms. McArthurplayfully termed awarning against theevils of “sex, drugsand rock & roll.”

On Saturday, March 13, the curator will be leading an informative walk-through of the galleries, and on Saturday, April 3rd Hollis Goodall, AssociateCurator of Japanese Art at LACMA, will be giving a slide lecture,Introduction to Decorative Arts of Japan.

Now, if you’re more interested in wine tasting andwould like to bid on Navajo rugs, the Southwest Museum’sthird annual Navajo rug auction will be held at the Museumof the American West (formerly the Autry Museum) in Griffith Park onFriday March 26 and Saturday March 27. That Friday, from 5:00 to 7:00pm,there will be previewing of the rugs and memorabilia to be sold and a tast-ing of wine from Fess Parker’s Los Olivos winery. Selected rugs and mem-orabilia will be auctioned from 7:00 to 11:00pm, and then on Saturday, from10:00 to 3:00pm, the remaining rugs will be auctioned. [FolkWorks has alimited number of Museum Passes. Call 818-785-3839 or emailMail@FolkWorks.org to receive your pass for two].

And across town, the Craft and Folk Art Museum) is having two over-lapping shows involving handmade signs. The first, Hand-Painted SignsFrom Ghana begins in February and goes until early May. The actual signsfrom shops in Ghana will be on display and will give the flavor of the streetsof West Africa. The other, Signs of Our Time: Sign Painting of LosAngeles, begins in March and runs until June. This one is a photographexhibit drawing on signs hand-painted on buildings locally. This will pro-vide an interesting comparison.

PACIFIC ASIA MUSEUM46 No. Robles Ave., Pasadena - 626-449-2742Kampai! The Arts of Japanese Sake March 5-June 20.• All About Sake- Friday March 5, 7:00-9:00pm. Reservations ext.40.

Lecture, book signing and sake tasting with John Gauntner $35 ($25 formembers of the Pacific Asia Museum, the Japan America Society and theAsia Society).

• Curator’s Tour- Saturday March 13, 2:00pm. Free with museum admis-sion Reservations ext.19.

• Slide lecture: Introduction to Japanese Decorative Arts- SaturdayApril 10, 11:00am Free with museum admission. Reservations, ext.40.Hollis Goodall, Associate Curator of Japanese Art, LACMA.

MUSEUM OF THE AMERICAN WEST (formerly the AutryMuseum)4700 Western Heritage Way, Los Angeles 323-221-2164 www.museu-moftheamericanwest.orgNavajo Rug Auction Friday March 26 and Saturday March 27 -For infor-mation, contact Jo Valiulis ext.226 -Catalogue available online after Feb. 25at www.southwestmuseum.org.

CRAFT & FOLK ART MUSEUM 5814 Wilshire Blvd., L.A. 323-937-4230 www.cafam.org Open Wed.-Sun. 11:00-5:00 - Ages 12 and under, free -First Wed. of themonth free admission

Brooke Alberts is a member of the Irish band, The Praties, and has a Mastersdegree in Medieval Studies

BY BROOKE ALBERTS

Brooke Alberts is amember of the Irishband, The Praties, andhas a Masters degree inMedieval Studies.

Otsu-e Painting of a Cat and MouseJapan, late 18th-early 19th C.Ink, color on paperPacific Asia Museum CollectionMuseum Purchase, 1997.56.52004 PAM Image

Page 24 F o l k W o r k s March-April 2004

behalf of the endowment, the NEA?

BLH: Uh-huh. It was pretty widespread. Wefunded projects in every state, in every one ofthe islands of Puerto Rico, Hawaii, and all ofthe islands out further in the Pacific that stillhad American interests there or some relation-ship with the government. We figured out onetime that we had funded grants in 282 differentlanguages.

FW: Wow.

BLH: I didn’t think there were that many.

FW: This is all within the continental U.S.?

BLH: Yeah.

FW: Wow. And Alaska?

BLH: Alaska.

FW: And Hawaii.

BLH: Hawaii and so on. People would come into me, come into the office and say, “You know,I’m a ” What were some of the terms they gaveme? I can’t think. “I’m some kind of an Italianand I’m just fed up with being pushed intogether with all of those folks from Napoli. Wedon’t have anything like each other. We’re dif-ferent.We want to have our own thing.We wantto show you what we do.” They had their ownthing, indeed. They wanted to have that record-ed, or they wanted to do it, or they wanted tojust have somebody know it was there. It was afascinating job. I never did anything so interest-ing in my life.

FW: Were the choices that you had, did they reflectsome of your deepest interests as a folklorist? Didyou find people doing stuff out in the country thatyou thought was worth putting money into?

BLH: Oh yeah. Oh yeah. Absolutely. We set upa program called the National HeritageFoundation and gave awards to representativesof all these different kinds of art forms.

FW: They’re still getting awards today.

BLH: Oh yeah.

FW: They were just in the L.A. Times.

BLH: Right. We had…I think I might have abook here that had a little bit on that. I couldshow you if you want to.

FW: Okay.

BLH: Just a second. You can see how compli-cated it all was. Sorry, I’ve been stiff. I have tolean on things. Here we go. [inaudible, not intomicrophone] This is an exhibit of cowboy cul-ture from Hawaii. They have their own cowboyculture, their own songs, their own costumesand things that they use, their own way of mak-ing saddles.

FW: Oh. I see. Oh, gee whiz.

BLH: It’s very complex—sort of flip through it,because it’s got beautiful pictures in it. This wasdone by one of the state programs that we gotgoing.

FW: I see.

BLH: Historical pictures.

FW: This is extraordinary.

BLH: It was—it absolutely knocked my eye outwhen I first saw it. I want you to see the cow-boys. The saddles are beautiful.

FW: Hawaiian cowboys with Hawaiian cowboyhats with leis on them.

BLH: That’s right.

FW: Who would have thunk it?

BLH: Who would have thunk it?

FW: Not in a John Wayne movie.

BLH: That’s right. There was just all this kindof stuff was lying around and they were justdelighted to show it.

FW: Wow.

BLH: Most of us didn’t have any idea it wasthere.

FW: These are beautiful instruments, too.

BLH: Yeah.

FW: This was something that was created andfunded through the NEA while you were workingwith the NEA?

BLH: Yes. Well, the people who put that booktogether.

FW: Oh, I see. Sponsors—National Endowmentfor the Arts. So you must be concerned today aboutthe de-funding of state and federal arts programs.

BLH: I sure am. We’re going to lose a lot. Thisbook is the history of this program.

FW: Oh, I see. Masters of Traditional Arts, volume1, A to J; and Masters of Traditional Arts, volume2, K to Z; a biographical dictionary.

BLH: Yeah.

FW: And these came out of the NEA?

BLH: No. The material came out of the NEA.This was funded by an educational company.They sell it to libraries.

FW: Oh, I see.

BLH: Especially high school libraries, whereit’s apparently been very successful.

FW: It’s beautiful. “To Bess Lomax Hawes, friendand colleague, who encouraged me early on andhas continued to inspire me through the years withimmense gratitude and deep appreciation” – AlGovenar. He’s the author …

BLH: Yeah. He did all the work. Horrible work.Very difficult. If you look, you can just see howmany different kinds of folks there were.

FW: Of art forms.

BLH: And art forms are just endless. You cantell….

FW: Irish-American step dancer. African-American Piedmont blues guitar singer anddancer.

BLH: Yeah. Just on and on and on.

FW: Anglo-American Appalachian musician, sto-ryteller and instrument maker.

BLH: We had the best show in Washington, Ithink.

FW: Anglo-American Ozark fiddler. Asian-American singer. Laotian. Wow, this really is amelting pot when you look at it through these eyeshere.

BLH: That’s right. That’s right. Each one ofthese people are just as different.They get alongbeautifully. They love each other. We have agreat time in Washington when we bring themall in.

FW: When you bring them in. And there’s BessieJones, the last one in the book.

BLH:There is Bessie.We had her the first time.She was one of the first ones. She and SonnyTerry.

FW: Oh, Sonny Terry.

BLH: We managed to get him in it. See. Itcomes with $5,000 so it’s nice to get.

FW: I was just listening to him this morning.

BLH: Yeah.

FW: Did you know him before you met him there?

BLH: Oh yeah.Yeah, I met him. He was in NewYork. He came up to the hoots all the time.

FW: This was during the Almanac days?

BLH: Uh-huh. We had hootenannies, whichwere Sunday afternoon concerts. You paid atthe door a variable amount and you could go inand out.When we got to the end of it, we put allof the money in a bundle and dealt it out to thepeople who had played.

FW: Oh. So you didn’t pay the rent with thatmoney.

BLH: No.

FW: That wasn’t a rent party or something.

BLH: No. Every once in awhile we had to, butmost of the time we tried to get it back to thesingers.

FW: So Sonny and Brownie played there, too.

BLH: Yeah. Josh White had played there, too.Josh was a little sophisticated for us, though. Ithink he thought we could do it a little better.

FW: Was there any connection or association youhad in the late ‘40’s with People’s Songs and theinvestigations coming out of Washington with theHouse Committee on un-American activities? Didthat affect the work going on?

BLH: I was in Boston by that time and then outhere. I was kind of out of the big arenas wherethings were taking place. It’s impossible to sayhow much that affected things. I think it affect-ed things a great deal, because it scared people.It scared people about their kids. They werescared that their kids might suffer. They’vealways kind of tried to keep the kids out ofthings.

FW: I see.

BLH: I don’t think that’s good for children notto be in on everything.

FW: I see.

BLH: But in terms of the specific damages, youknow, different people lost their jobs and somedidn’t. It’s hard to tell on that kind of thing. Itwas a disgraceful period. Absolutely disgrace-ful, because it’s all for money. It wasn’t for any-thing but money.

FW: Oh.

BLH: Nothing but the money. Same thing thatis going on now, frankly.This is all about money,this war.

FW: The war in Iraq?

BLH: Yeah, yeah. We just found out that thepresident lied over and over to tell us we shouldgo in there.And now he’s admitting that he lied.I don’t think he’s going to sleep one bit lesssoundly for it.

End of Part 3

BESS LOMAX HAWES continued from page 7

Family Eventsat the Autry

www.autrynationalcenter.org

Mt. Washington Campus234 Museum Drive

Los Angeles, CA 90065323-221-2164

Griffith Park Campus4700 Western Heritage Way

Los Angeles, CA 90027323-667-2000

The Autry National Center is a multicultural his-tory center that includes the Southwest Museumof the American Indian, the Museum of theAmerican West (formerly the Autry Museum ofWestern Heritage), and the Institute for theStudy of the American West.

SUNDAY, MARCH 21Cradleboard and Ribbon Work Demonstration1:00 p.m.–3:00 p.m., Griffith ParkYvonne Swan, from Washington State'sSinixt/Arrow Lakes Nation, demonstratescradleboard making and ribbon work. Free withmuseum admission.WEDNESDAY APRIL 14Soaring Adventures: Dragonfly's Tale11:00 a.m.–12:00 noon, Mt. WashingtonWe'll read Dragonfly's Tale by KristinaRodanas, a wonderful book that reveals theoriginal Zuni storytellers' kindness and respectfor nature's gifts. Free to the public.SUNDAY, APRIL 18Native Pottery Making Demonstration1:00–3:00 p.m., Griffith ParkMiranda Morales (Laguna) demonstrates the artof Native pottery making. Free with museumadmission.

A LIMITED NUMBER OFFREE MUSEUM PASSES

ARE AVAILABLE TOFolkWorks MEMBERS.

Mail@FolkWorks.org • 818-785-3839

March-April 2004 F o l k W o r k s Page 25

ATexas cowboy in the White Houselaunches a huge military build–up towage an all-out controversial war in a dis-

tant land with no end in sight. The country is divid-ed down the middle, antiwar demonstrations in thestreets, and Russia and China are against us. Weare invading a tiny country ruled by a tin-horn dic-tator we helped install, once supported and havenow decided it is time to depose. We claim to wantto export democracy there, but some of us knowbetter. We are trying to build a democracy here athome.

It is 1965, the war is in Vietnam, and I am inSan Francisco at an antiwar demonstration, listen-ing to Phil Ochs sing I Ain’t Marching Anymore,and Cops of the World. If Dylan was the King ofProtest, Phil Ochs was the Crown Prince, LouGehrig to Bob’s Babe Ruth. We needed both ofthem, and Bob would soon be moving on, reject-ing the “finger-pointing songs” of his WoodyGuthrie period.

Phil became the poet of the antiwar movement,who summed up his aesthetic in one memorablephrase: “Ah, but in such an ugly time, the trueprotest is beauty.” With a gift for melody as well aswords he created songs that both pointed the fin-ger and touched the heart.

When he was writing The Power and the Glory,for example, his sister Sonny overheard him sittingon his bed playing one chord progression over andover—C-Em-Am-G7. “What are you doing?” sheasked. “I’ve just written my greatest song,” heanswered. “What’s it called?” she asked. “I don’tknow yet,” he said, “I haven’t written the words.”

Try to imagine a protest singer-songwritertoday coming up with that answer. I can’t. For Phil,the music was not just the medium for his mes-sage; as McLuhan proclaimed, the medium wasthe message. It was part of the statement—“Thetrue protest is beauty.”

For a time it seemed like he was matchingDylan song for song, like two great home run hit-ters, folk music’s Mantle and Maris, or the afore-mentioned Ruth and Gehrig. Dylan wrote WithGod On Our Side, tracing America’s propensity tocredit God for its wars back to the very beginning:“The history books tell it, they tell it so well/The

cavalry charged, the Indians fell/But I learned toaccept it, accept it with pride/Cause you don’tcount the dead when God’s on your side.” Philcame up to the plate and hit I Ain’t MarchingAnymore: “For I killed my share of Injuns in athousand different fights/I was there at the LittleBig Horn/I heard many men a lying, saw manymore a dying/And I ain’t marching anymore.”

When Bob wrote Only a Pawn In Their Gamefor the assassinated civil rights leader MedgarEvers, Phil responded with Too Many Martyrs,and when Blowing In the Wind went sailing out ofthe park, Phil dug in deep and hit What’s That IHear?.

Behind Dylan, though, loomed a larger shad-ow, and Phil kept his eyes on the prize, WoodyGuthrie’s This Land Is Your Land, composed aquarter century before at the tail end of the GreatDepression, “with the wheat fields waving, andthe dust clouds rolling.” That’s the song Phil waschasing when he added the words to the melodySonny had heard him composing on his bed, tocreate The Power and the Glory. “Come and takea walk with me, through this green and growingland…”

Bob had written Song to Woody for his firstalbum; Phil wrote, Bound for Glory, his own trib-ute to Guthrie. Now he wanted a song to matchWoody’s finest: “Here is a land full of power andglory/Beauty that words cannot recall/But herpower shall rest on the strength of herfreedom/Glory shall rest on us all.”

For all the protest songs, however, and a patri-otic anthem that even Anita Bryant would eventu-ally record, Phil never lost sight of his credo: “Thetrue protest is beauty.” His most powerful songsmay ironically be his quiet secular hymns—ThereBut for Fortune, a hymn to compassion, Changes,a hymn to a lost love, and When I’m Gone, a hymnto a committed life in the here and now: “No, andI won’t be laughing at the lies when I’m gone/AndI can’t question how or when or why when I’mgone/Can’t be living proud enough to die whenI’m gone/So I guess I’ll have to do it while I’mhere.”

Phil has been gone now for twenty-seven years,and it’s nearly forty years since I heard him in San

Francisco’s Golden Gate Park, to protest theVietnam War. Of all the words I listened to thatday, including those of Zen philosopher AlanWatts, the only ones I remember are Phil’s plain-tive question: “For it’s always the old to lead us tothe wars/Always the young to fall/Look at allwe’ve won with a saber and a gun/Tell me was itworth it all?”

Forty years later—and there is another Texascowboy in the White House, another war ofaggression with imperial ambitions masked byhumanitarian rhetoric, and we can still turn to PhilOchs’ songs for illumination and inspiration. Forfour decades they have stood like sentinels at thebarricades of struggles for peace and social justicehere and abroad.

When songs really mattered, he told it like itwas, and his songs still tell it like it is. Like theLone Ranger, Phil Ochs rides again.With a word of appreciation to Dorian Keyser, formany years the head of The Topanga Banjo FiddleContest, who called and left me a message that itwas time to start listening to Phil Ochs again.Thanks, Dorian, and I hope you like this column.

Ross Altman has a Ph.D. in English. Before becom-ing a full-time folk singer he taught college Englishand Speech. He now sings around California forlibraries, unions, schools, political groups and folkfestivals.

HOW CAN I KEEPFROM TALKING

B y R o s s A l t m a n

Phil Ochs: FolkSinger at theBarricades

your instrument who they’d recommend.Find recordings with tunes that are beinglearned at the session you aspire to playwith. Listening is half of learning, especiallywith Celtic music.

• Go to or form a slow session where learnersare welcomed and challenged to play by ear.Try to just get a sense of the shape of thetune, when it goes up, when it goes downetc., close your eyes and see how much youcan follow. Once you get centered in the key,you’ll be amazed at how much you can get.Even if you get just one note, that’s great.

• Pick an instrument that fits your abilities.Spend time learning basic technique andposture on the instrument. Get a book ofbasic scales/exercises. This foundation willhelp you tremendously when you try tolearn tunes.

• Dance to the music you want to learn. Yourwhole body needs to learn how to play it!

But most of all have fun! Here’s a list of tunesthat you can use as a starting point:• JIGS

The Cook in the Kitchen • Kesh JigThe Lark in the Morning • My Darling AsleepHumours of Ennistymon • Blarney PilgrimOut On the Ocean

• REELSCastle Kelly • Cup of TeaMaid Behind The Bar • Merry BlacksmithMorning Dew • Sligo Maid • Star of MunsterToss the Feathers • Cooley’s Reel

• WALTZESAshokan Farewell • Sourgrass and GraniteMargaret’s Waltz • Si Beag, Si Mor

• SLIP JIGSThe Butterfly • The Swaggering JigThe Snowy Path

• SET DANCES, SLIDES AND HORNPIPESKing of the Fairies (set dance)Off to California (hornpipe)The Road to Lisdoonvarna (slide)

These should definitely get you started! Goodluck and enjoy!

LEARN IRISH MUSIC continued from page 3 SUPPORTFolkWorksBecome A Member.

Mail@FolkWorks.orgor call 818-785-3839

•www.FolkWorks.org

Kathy Buys is a fiddler and music therapist in San Francisco, CA. She recently released her debut albumentitled, Mapless Journey. To read more about Kathy and to hear samples of the album, visit www.drag-onsdance.net.

Page 26 F o l k W o r k s March-April 2004

P A S S I N G S

Celtic world mourns at passing ofScottish fiddle great

Green Linnet Records joins theCeltic music world in mourning thepassing of Scottish fiddler JohnnyCunningham, who passed away lastnight, December 15, 2003, in NewYork City, of a heart attack. He was46 years old. Johnny leaves behinda great body of work and a hugelegacy in Scottish and Celtic musicof the late 20th century. He was afounding member of many seminalCeltic groups, including Silly

Wizard, Relativity, Nightnoise and The Celtic Fiddle Festival.Johnny played a large role at Green Linnet, appearing on more than adozen albums including his solo Fair Warning (SIF 1047) as well asproducing albums by Cherish the Ladies, Orealis and BrooksWilliams." Johnny was a huge life force, and a brilliant musical intel-ligence," says Green Linnet owner Wendy Newton. "He was a friendfor more than 20 years. A great light has gone from our lives."

Johnny will be remembered for his musicianship, his compositions,and for his larger-than-life personality. He was beloved on both sidesof the Atlantic for his exquisite musicianship as well as for hisrenowned wit and warmth. An outrageously funny man and a giftedstoryteller, he held audiences either rapt in attention at his virtuosicplaying, or falling over in laughter at his stories.

Born in Scotland on August 27, 1957, Johnny began playing fiddleat age seven. He was a founding member of legendary Scottish bandSilly Wizard, along with his brother Phil on accordion and singerAndy M. Stewart. The band is credited with playing a strong role inScotland's traditional music revival. Johnny and Phil also foundedRelativity, an acclaimed group with Irish brother-and-sistermusicians Tríona and Míchaél Ó Domhnaill of The BothyBand. He and the Ó Domhnaills later formed the new age groupNightnoise. Johnny was a member of the renowned CelticFiddle Festival with Irish fiddler Kevin Burke and Bretonmusician Christian Lemaitre, who made three albums together.(The group was scheduled for an American tour in February2004.) Most recently, Johnny had worked with Irish singerSusan McKeown on a seasonal album called A WinterTalisman. The two had just finished an American tour thisweek.

A widely-read man, Johnny's skills and interests werefar-ranging. He wrote the music and lyrics for a theatricalversion of Peter Pan, Peter and Wendy, produced by NewYork City's Mabou Mines Theater Company. The musicalwas a critical and popular success, winning two OBIEawards and touring America as well as Ireland. He founded the rockgroup The Raindogs in the 1980’s, releasing two albums onAtlantic/Atco, and toured with such artists as Bob Dylan, Don Henley,Warren Zevon, Hall & Oates, and Bonnie Raitt. He collaborated withbest-selling author Thomas Moore on a CD and book set, The Soul OfChristmas, a spiritual exploration of Celtic culture and the Christmastradition. He also produced such artists as award-winning Irish bandSolas.

Johnny resided in New Bedford, Mass. He is survived by hismother Mary, his sister Laura, his brother Phil, and his grandmotherMartha Knowles, all of Scotland. Our sympathies are with his familyand loved ones. Remembrances may be sent in care of: Green Linnet Records P.O.Box 1905 Danbury, CT 06813 USA www.johnnycunningham.com www.greenlinnet.com. Contact: JudithJoiner Green Linnet Records Danbury, CT USA 203-730-0333 x15judith@greenlinnet.com

Johnny Cunningham AUGUST 27, 1957 - DECEMBER 15, 2003

JOHNNY CUNNINGHAM REST IN PEACE BY JOHN CUTLIFFE (WWW.JIGTIME.COM)

It was Liverpool in the late 1970’s or early 1980’s and I was ateenager on one of my first voyages abroad. At least it seemedabroad. It was just across the channel to England but for me it wasa huge city and the home of the Beatles and was exciting and won-derful. For March the weather was still cold I remember for St.

Patrick's Day as we headed to the Liverpool Irish center to breakall the rules and listen to some Scottish band with the odd nameSilly Wizard.

That was a show that still sticks in my mind as one of thebest and most exciting things I have ever heard in the

music world. The band was incredible. I had no idea thattraditional music could be played with such fun and fervoror even that music like this came out of Scotland. I was total-

ly blown away. I became a long time fan of Silly Wizard and wassad to see the day they went their separate ways.

Of course I was happy to see that the various members ofthe band went on to wonderful solo careers and the sweet fid-dle sounds of Johnny Cunningham wasn't too far away. He

would pop up in various projects over the years. He touredas a duo with his brother and fellow wizard Phil and theyboth played with the amazing Relativity with MichealO'Domhnaill and Triona Ni Dhomhnaill of The BothyBand.

Johnny was also in great demand as a producer and alsoeven played with such unlikely souls as Hall and Oates. Healso collaborated with bands like Solas and Cherish the

Ladies. In recent years he has been part of the amaz-ing The Celtic Fiddle Festival with fellow fiddlers

Kevin Burke (Ireland) and Christian Le Maitre(Brittany). For many, this is seen as one of the most

important music collaborations in traditional music.The sad news came in today that Johnny passed

away yesterday at his apartment in New York's EastVillage. This is a huge loss to all who loved music. Johnny

was by all accounts was one of the nicest people in the businessand to people like myself a great musical inspiration. He will begreatly missed.

So wherever you are tonight Johnny, we will raise a glass intoast to someone who gave us all so much beautiful music.

Slainte.Thanks to Alice Farrell who also pointed me to these video clips

of Johnny from shows at the Kennedy Center one as recently asDecember 3rd this year.

vocals, with harmony by Cheryl White of thecountry stalwarts the Whites, are fine. Eriksen andBaugus return for cut 5, a nice call and responsetake on the old chestnut The Cuckoo, again withlively backing by Duncan and Powell. Sittin’ onTop of the World is cut 6, with Jack White singing.Part of this tune’s lyrics can arguably be tracedback to a pop tune done by Al Jolson in the 1920s,and the melody to Carr and Blackwell’s How Longfrom 1928. It’s a big stretch to take White’s ver-sion, that owes most to the Mississippi Sheik’s ver-sion from 1930, back to the Civil War, but this isHollywood, not a Lomax field recording docu-mentary.

Cut 7 is a fine duet between Duncan’s fiddleand Eriksen’s voice on Am I Born to Die?. Next upis Sting’s contribution, You Will Be My Ain TrueLove. It’s the least traditional song on the record-ing, both from a compositional sense and fromSting’s jazz-tinged harmonies to Krauss’s leadvocal. Cut 9 is the powerful I’m Going Home by

the Sacred Harp Singers at Liberty Church. Theimpact of shape note singing is amazing, and thissoundtrack will no doubt spur interest in this styleof a cappella vocals. Drawing from a tradition thatdates back to the English parish countryside,shape note’s four part harmony was a part of NewEngland culture in the 1700’s, but the traditiontook hold and rooted in Appalachia, the Piedmontand other parts of the South, where it remainstoday. Largely supplanted by the development ofgospel music, shape note has a haunting, other-worldly quality.

Jack White’s original Never Far Away follows.This doesn’t fit the traditional music boundariestoo well, though it’s not a bad song. It’s not fea-tured in the film, but possibly on the cutting roomfloor. White, Riley Baugus and Brendan Gleesonfollow with Christmas Time Will Soon Be Over,with spirited backing from Powell, Blake andDuncan. Cut 12 is Ruby With The Eyes ThatSparkle, an instrumental duet between Duncan and

Powell, and is followed by a strong a cappella ver-sion of Lady Margaret by Cassie Franklin, anoth-er tune that is missing from the film. White returnswith Great High Mountain, then Gabriel Yared’sfour orchestral pieces from the score, and TheSacred Harp Singers at Liberty Church close outthe CD with Idumea.

It’s a great, sprawling piece of work. Questionsdo arise. Why the dependence on White, why thenew songs when so many excellent period piecesexist? Why Sting? Obviously, the movie business,like the music business, is dependant on sales.Now, the O Brother soundtrack sold well withoutWhite, Sting or tunes by Costello, but perhapsinsurance is in order. The project might have beena bit more rewarding by incorporating the type ofblend Burnett used on O Brother, mixing a fewrecordings from 1920’s and 1930’s. But these areminor criticisms of a recording that utilizes someimportant talents performing traditional and tradi-tional influenced music to a very wide audience.

REED’S RAMBLINGS continued from page 10

SATURDAY APRIL 178:00pm NEVENKA and BAKSHEESH BOYS $15

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7:30pm KATE MacLEOD $12/$10 TLT member[www.waterbug.com/eggleston.html]plus KAT EGGLESTON [www.katemacleod.com]The Living Tradition

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8:00pm STACY EARLE & MARK STUART $15[www.staceyearle.com]Fret House

8:00pm DAVE STAMEY [www.davestamey.com]Altadena House ConcertAcoustic Music Series • www.acousticmusicseries.com

SUNDAY APRIL 1811:00am PURBAYAN CHATTERJEE and ANEESH PRADHAN

Sitar and tablaOccidental College (Herrick Chapel), L.A.Music Circle • 626-449-6987 • info@musiccircle.org

1:30pm WESTWOOD CO-OP’S INTERNATIONAL DANCE FESTIVALCulver City Memorial Auditorium, Culver City

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Traditional food, ethnic merchandise, folk dances, vocalistsCalifornia Lutheran University (Kingsmen Park)60 West Olsen Rd., Thousand Oaks • www.clunet.edu

11:00am & 1:00pm TROUT FISHING IN AMERICA $8see April 23

8:00pm LISA FINNIE and THE ATTENTION HOGSBean Town

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Storytelling Concertwith Bill Harley, Len Cabral, Dovie Thomason and Jim CoganThousand Oaks Civic Arts Center (Fred Kavli Theatre)Performances to Grow On

FRIDAY APRIL 308:00pm & 10:15pm DAVE STAMEY [www.davestamey.com] $18

Coffee Gallery Backstage9:30am & 11:30am GREG & STEVE $7

[www.younghrt.com/gregsteve.html]Conejo Valley Children's Concert SeriesThousand Oaks Civic Arts Center (Janet and Ray Scherr Forum Theatre)Conejo Valley Adult School

8:00pm ORCHESTRA BAOBAB [www.orchestrabaobab.com] $25Fusion of traditional Senegalese music and rhythms with theseductive music of CubaCerritos Center for Performing Arts

8:30 pm DENNIS ROGER REEDAcoustic roots musicAlta Coffee506 31st St., Newport Beach • 949-675-0233

March-April 2004 F o l k W o r k s Page 27

ARLO GUTHRIE • Wednesday March 3Arlo Guthrie's career exploded in 1967 with the release of "Alice's Restaurant,"whose title song premiered at the Newport Folk Festival helped foster a newcommitment among the '60s generation to social consciousness and activism.Arlo went on to star in the 1969 Hollywood film version of "Alice's Restaurant,"directed by Arthur Penn. With songs like "Alice's Restaurant", too long for radioairplay; "Coming into Los Angeles," banned from many radio stations (but afavorite at the 1969 Woodstock Festival); and the definitive rendition of SteveGoodman's "City of New Orleans," Guthrie was no One-Hit-Wonder. An artist ofinternational stature, he has never had a hit in the usual sense.

PACO DE LUCÍA • Monday March 8 & Tuesday March 9For the time being, nobody has surpassed him and today´s guitar-playing wouldbe incomprehensible without him. He revolutionised the way of accompanyingand of understanding flamenco guitar playing -www.esflamenco.com/

FES FESTIVAL OF WORLD SACRED MUSIC • Tuesday March 16Style, creed and era aside, the music presents itself with something that hasalmost disappeared from the arts. Humility before the power of God(s) inspi-ration and time. Even for skeptics, the music itself is something to believe in.-The New York Times

Every spring, the ancient city of Fès, Morocco hosts one of the world’s greatmusical events, a Festival of World Sacred Music featuring an array of the mostrevered artists from around the globe representing myriad musical traditionsincluding Moroccan Sufi, Sephardic Jewish, Gospel, and more. Representedare: Jewish-Algerian singer Françoise Atlan from France, Gospel ensemble theAnointed Jackson Sisters from North Carolina, and an ancient tribal dance andmusic performance by Hadra des Femmes de Taroudant of Morocco.

MARY BLACK • Thursday March 25 & Friday March 26Mary Black has become Ireland’s best-selling pop vocalist, and has crossedinternational borders, gaining legions of fans and performing with the likes ofEmmylou Harris, Mary Chapin Carpenter, Joan Baez and Van Morrison.Mary Black’s distinguished career has spanned over 20 years from her earlydays in Dublin folk clubs through ever-escalating success with nine platinumsolo albums. With “a voice to die for” – New York Post

WICKED TINKERS • Saturday March 27There's something to be said for the approach to Scottish music that consistsof pipes and percussion; it's definitely FHL (Faster Harder Louder), and it'squite listenable… This is not Celtic rock, but rather is pumped up traditionalCeltic music. T. J. McGrath in Dirty Linen said of Hammered that "[there'snothing subtle, or serious, about these guys -- just three smiling lads fromCalifornia with a set of Highland bagpipes and assorted drums, having a lotof fun blasting away on an assortment of traditional and modern Scottish jigs,reels, hornpipes, and marches. -Cat Eldridge, Green Man Review

SANTA CLARITA COWBOY POETRY & MUSIC FESTIVAL • Saturday March 27 &Sunday March 28The 11th annual Santa Clarita Cowboy Poetry and Music Festival, heldMarch 26-28 in and around the movie-set Cowtown at Gene Autry’s oldMelody Ranch Motion Picture Studio, is a must-do. Like all good music andfolk festivals, it’s the place to explore and discover performers, genres andstyles, enjoy old favorites, find new ones, and savor the prevailing spirit. Thisone has the best ambiance anywhere, with riders on horseback and narrow,dusty streets of a Western Brigadoon, reborn for the weekend, as each build-ing’s interior come to life. – Larry Wines, FolkWorks

SHOGHAKEN FOLK ENSEMBLE • Thursday April 1Skirball Cultural Center (Cotsen Auditorium)These are the sounds of a people with great sorrow to be sure, given the mas-sacres they have endured through even recent history, but they are also thesounds of a people determined that their history not be eradicated or disap-pear. Haunting, elegant, deeply spiritual, and moving. - Thom Jurek, All MusicGuide

NEVENKA FOLK ENSEMBLE • Saturday April 17Nevenka's repertoire includes songs from Bulgaria, Macedonia, Croatia,Albania, Russia, Greece, and Georgia, as well as Ladino Sephardic songs.

Like the haunting voices on …"Les Mystere Des Voix Bulgares" (The Mysteryof Bulgarian Voices by the Bulgarian State Radio and Television Female Vocalchoir), this group renders exquisite harmonies and lilting melodies that intox-icate. - Jody Leader, Los Angeles Daily News

BAKSHEESH BOYS Baksheesh is a Persian word used throughout the Balkans to refer to the “tips”that fans give to musicians. Fronted by singer Angela Rodel, The BaksheeshBoys perform traditional songs and dances from the ethnic Slavs and Roma(Gypsies) living in present day Macedonia and Bulgaria as well as from variousethnic groups living in adjacent areas of Greece, Albania, Serbia, Romania, andTurkey. The band performs on a number of traditional Balkan instruments suchas the darabuka (goblet shaped hand drum), tambura (long necked lute) andkaval (end-blown flute) as well as Western instruments such as violin, guitar,and bass.

SPECIAL EVENTS continued from page 28

TOPANGA BANJO • FIDDLE CONTEST & FOLK FESTIVAL

WWW.TOPANGABANJOFIDDLE.ORG

Sunday, May 16 • 2004 • 9:00 a.m. to 6:00 p.m.Paramount Movie Ranch,Agoura Hills

TICKETS: $10CHILDREN UNDER 10 FREE

VOLUNTEERS NEEDED - GET IN FREE!

EMAIL: info@topangabanjofiddle.org

HOTLINE: 818-382-4819

Over 100 Contestants, Folk Singing, International Dancing, FolkArts Booths, Children’s Activities & Jamming Musicians!

• 4 STAGES • WESTERN MOVIE SETS • SINGING/PLAYING CONTESTANTS• 3 PROFESSIONAL BANDS:

KELLY McCUNE & BORDER RADIO (Western String Band)DESERT SAGE (Bluegrass Band)HEART OF ‘GRASS (Bluegrass, that is!)

• INTERNATIONAL DANCING - All live music! Watch or join in?• JAMMING, BRING YOUR INSTRUMENTS! FOOD AVAILABLE OR BRING A PICNIC!

• FREE PARKING AND SHUTTLE BUS

SINCE 1961, SOUTHERN CALIFORNIA’SPREMIER OLD TIME/BLUEGRASS

MUSIC EVENT!

M A R C H A P R I L

FolkWorks PICKS

Page 28 F o l k W o r k s March-April 2004

S P E C I A L E V E N T STUESDAY MARCH 2

8:00pm JACKSON BROWNE [www.jacksonbrowne.com] $45-55Solo acousticThe McCallum Theatre

8:00pm JAN SEIDES, TIM GRIMM $10[www.janseides.com] [www.timgrimm.com]Singer/songwritersCoffee Gallery Backstage

WEDNESDAY MARCH 37:00pm ARLO GUTHRIE [www.arlo.net] $55

Theatre On High Street 8:00pm ADRIANNE / SABA BERENJI [www.adrimusic.com] $5

Genghis Cohen Cantina

THURSDAY MARCH 46:00pm BHANGRA NIGHT free

Northern Indian danceUCLA Fowler Museum • Fowler Out Loud

8:00pm BUDDY GUY $32.50-35ACOUSTIC ENSEMBLE with JACKIE GREENHouse of Blues1530 S. Disneyland Dr., Anaheim • 714-778-BLUE

FRIDAY MARCH 5* GRAND MASTER KINEYA YAKICHI VIII

Shamisen (Japanese traditional three-stringed instrument Workshop)Japanese American Cultural and Community Center310-378-3550 or mikko@jtpao.orgJapanese Traditional Performing Arts Organization (JTPAO)

* INTERNATIONAL FOLKDANCE WEEKENDWestwood Co-op Camp Hess Kramer, Malibu • 310-391-7382

* FEIS RINCE CONEJO VALLEYIrish Dance competition hosted by O’Connor School of Irish DanceGlendale Hilton Hotel 805-278-2472

8:00pm SUSIE GLAZE [www.susieglaze.com] FreeWITH THE EIGHT HAND STRING BANDBean Town

8:00pm THE LAURA CORTESE BAND[www.yellowcarmusic.com/lauracortese]Fiddle, dance, songCoffee Gallery Backstage

SATURDAY MARCH 6* INTERNATIONAL FOLKDANCE WEEKEND

see March 5* FEIS RINCE CONEJO VALLEY

see March 51:00pm IRISH SET DANCING WORKSHOP $15

with PATRICK O’DEA from IRELANDThe Moose Lodge, 1901 W. Burbank Blvd., Burbankwww.IrishDanceLosAngeles.com

2:00pm DENNIS ROGER REED w/BLUE SOMETHINGDANA POINT WHALE FESTIVAL STREET FAIRELa Plaza, Dana Point • 949-496-1555

8:00pm FREEBO AND KENNY EDWARDS $15www.freebo.com www.kennyedwards.comBodie House, Agoura Hills

8:00pm JACKSON BROWNE [www.jacksonbrowne.com] $43-53Solo acousticwith LUZ CASAL [www.luzcasal.es]UCLALive!

8:00pm JO ELLEN LAPIDUS plus CYNTIA SMITHDulcimer greatsBoulevard Music

8:00pm STEVE TROVATO [www.stevetrovato.com]Blues, country, jazz guitarBean Town

8:30pm BUDDY GUY $32.50-35ACOUSTIC ENSEMBLE with JACKIE GREENHouse of Blues8430 Sunset Blvd., West Hollywood • 323-848-5100

7:00pm THE BELIEVERS [www.thebelieversusa.com] $12.50(Craig Aspen and Cynthia Frazzini)with RAVEN SADHAKACoffee Gallery Backstage

SUNDAY MARCH 7* FEIS RINCE CONEJO VALLEY

see March 5* INTERNATIONAL FOLKDANCE WEEKEND

see March 512:00pm IRISH SET DANCING WORKSHOP $15

see March 61:30pm GOLDEN BOUGH [www.goldenboughmusic.com]

Thousand Oaks Library Theatre1401 E. Janss Road, Thousand Oaks • 805-496-3530

7:00pm CRAICMORE [www.craicmore.com] $20Lancaster Performing Arts Center

6:00pm RICHARD ESPINOZA [www.richardespinoza.com] $10with BUDDY ZAPATACoffee Gallery Backstage

MONDAY MARCH 88:00pm PACO DE LUCÍA $28-50 / $20 Students

www.flamenco-world.com/guitar/pacodelucia/pacodelucia.htmUCLALive!

TUESDAY MARCH 98:00pm PACO DE LUCÍA $28-50 / $20

see March 8

WEDNESDAY MARCH 108:00pm GEORGE WINSTON [www.georgewinston.com] $25-40

The McCallum Theatre8:00pm CHILDREN OF UGANDA $35

Pepperdine University Center for the ArtsSmothers Theater, Malibu

FRIDAY MARCH 12* MT. BALDY SKIDANCE CONTRADANCE WEEKEND

Harwood Lodge, San Gabriel MountainsCaller: Warren Blier from MontereyBand: Outre Limitz (Christa Burch, Dave Allen, Jeff Spero, John Light)[www.thelivingtradition.org/SkiDance.html]Barbara 818-951-8255 bstewart@baumhedlundlaw.com Lance 909-624-9185 lawrence.little@gte.net.

* CALAVERAS CELTIC FESTIVAL[www.calaverascelticfaire.com]with Wolfstone, Tempest, Molly's Revenge, Golden Bough,Black Irish BandFrogtown Fairgrounds in Angels CampGun Club Road, off Highway 49 • 209-532-8375

6:00pm ST. PATRICK’S DAY CELEBRATION BANQUET $50Des Regan’s Irish Showband, The Celtic Pipes and DrumsThe Cleary School of Irish Dance, The Los Angeles Irish Set DancersHilton Hotel, 100 W Glenoaks Blvd., Glendale626-337-0075 or 818-238-0445 • www.irishcenter.org

8:00pm FLOGGING MOLLY[www.floggingmolly.com] $20plus DENVER HARBORThe Grove of Anaheim

8:00pm JANET KLEIN & HER PARLOR BOYS $15[www.janetklein.com]Coffee Gallery Backstage

8:00pm LUCY KAPLANSKY [www.lucykaplansky.com] $17.50McCabe's Guitar Shop

8:00pm CHILDREN OF UGANDA $30 adults/$25 sr., Carpenter Performing Arts Center students, CSULB ID.

* MT. BALDY SKIDANCE CONTRADANCE WEEKENDsee March 12

* CALAVERAS CELTIC FESTIVALsee March 12

10:00am L.A. COUNTY IRISH FAIR & $14/$10student/seniorMUSIC FESTIVALDublin Four, Twilight Lords, Des Regan Band, Wrath ofMcGrath, Finn McCool, The Mulligans, Criacmore, Sally’sGap and many more. Irish Dance Performances andWorkshops w/ Michael Patrick Breen and the Los Angeles Irish SetDancers. Royal Scottish Dancers – Cripple Creek Cloggers.Fairplex, Pomonawww.pageantryproductions.com/L.A.%20Irish%20Fair.html310-537-4240

7:00pm WILLY CLAFLIN [willyclaflin.com] adults $14, kids $12Puppeteer, Storyteller, MusicianThousand Oaks Civic Arts Center(Janet and Ray Scherr Forum Theatre)Performance to Grow On • ptgo.org

7:30pm VICTORIAN GRAND BALL $26.50with Philadelphia Quadrille Band; callers: Jeff Bissiri and Athene KovaciPasadena Masonic HallSocial Daunce Irregularswww.lahacal.org/sdi.html or 818-892-3454

8:00pm SCHWUMP (BARRY SCHWAM)Bean Town

8:00pm TOM BALL & KENNY SULTAN $15Acoustic bluesFret House

8:00pm CHRIS STUART [www.chrisstuart.com] $15& BACKCOUNTRY BluegrassBlue Ridge Pickin' Parlor17828 Chatsworth St., Granada Hills • 818-282-9001

8:00pm SUSIE GLAZE [www.susieglaze.com] $12.50with THE EIGHT HAND STRING BANDCoffee Gallery Backstage

8:00pm STEVE GILLETTE & CINDY MANGSEN $15[www.compassrosemusic.com]Russ and Julies House Concerts

8:00pm GEORGE WINSTON [www.georgewinston.com] $40Pepperdine University Center for the Arts

8:00pm BERNIE PEARL plus BOB JONES & MR. PETEBoulevard Music

SUNDAY MARCH 14* MT. BALDY SKIDANCE CONTRADANCE WEEKEND

see March 12* CALAVERAS CELTIC FESTIVAL

see March 12* LA COUNTY IRISH FAIR & MUSIC FESTIVAL

see March 13* ST. PATRICK’S DAY FESTIVAL

7820 Bolsa Avenue, Midway City • 714-897-8181* STEVE GILLETTE & CINDY MANGSEN

[www.compassrosemusic.com]The Russell's, Lucerne Valley • 760-248-2118

10:00am L.A. COUNTY IRISH FAIR & MUSIC FESTIVALsee March 13

11:00am BARNEY SALTZBERG [www.barneysaltzberg.com] $6/$3Matinee Kids' ShowMcCabe’s Guitar Shop

8:00pm JOAN BAEZ [baez.woz.org] $37.50 - $42.50The Grove of Anaheim

7:30pm CHRIS STUART $8 students / $10 general[www.chrisstuart.com]TOM & PATRICK SAUBER[www.tombradalice.com/tom.html]Folk Music Center

MONDAY MARCH 157:30pm ST. PATRICK'S DAY FOLKDANCE PARTY

West L.A. Folk Dancers Brockton School, West L.A • Beverly Barr 310-202-6166

8:00pm ANTARA & DELILAH [www.antdeli.com] $15Bodie House

TUESDAY MARCH 167:00pm THE HARRISES (Greg, Jesse and Graham Harris)

[www.harrismusic.net]The Bluegrass Association of Southern California

8:00pm FES FESTIVAL OF WORLD SACRED MUSICInternational traditions:Moroccan Sufi, Sephardic Jewish,Gospel, and moreUCLALive!

WEDNESDAY MARCH 17* ST. PATRICK’S DAY CELEBRATION DANCE

Music by Des Regan’s Irish American ShowbandIrish Dancers515 N. Vega St., Alhambra • 626-284-6747Ireland’s Own Social Club

11:00am ST. PATRICK’S DAY PARADEDowntown Los Angeles

THURSDAY MARCH 187:30pm ST. PATRICK’S DAY INTERNATIONAL

FOLKDANCE PARTY with Narodni714-932-2513 or sjhansen@rc.org

FRIDAY MARCH 198:00pm JACKSON BROWNE [www.jacksonbrowne.com] $42-72

Thousand Oaks Civic Arts Center (Fred Kavli Theatre)8:00pm DANNY O'KEEFE [www.dannyokeefe.com] $17.50

McCabe’s Guitar Shop8:00pm BORDER RADIO[www.border-radio.com]

Bean Town8:00pm MERLIN SNIDER [www.merlinsnider.com] $12.50

with Pretty Good Acquaintances (Mark Indictor, fiddle, TomCorbett, mandolin, Deborah Snider, backup vocals)Coffee Gallery Backstage

SATURDAY MARCH 2011:00am TEMECULA BLUEGRASS FESTIVAL Free

with Bluegrass Etc., Kanes River, The Silverado BluegrassBand, Grateful Dudes, Witcher Brothers, Lilies of the West,The Andy Rau Band, Lost Canyon Rangers, Older Than Dirt,Susie Glaze and the 8-hand String Band and much more! Old Town Front Street, Temecula909-678-0831 for camping reservations909-678-1456 • melsads@aol.comwww.temeculacalifornia.com

7:00pm PALM WINE BOYS [www.palmwineboys.com] $12.50and BUDDY GREENBLOOMCoffee Gallery Backstage

7:30pm & 9:30pm KELLY JOE PHELPS $17.50[www.kellyjoephelps.com]

McCabe’s Guitar Shop7:30pm STEVE GILLETTE & CINDY MANGSEN

[www.compassrosemusic.com]plus LOU & PETER BERRYMANThe Living Tradition

8:00pm ERIC GARRISON and ROBERT MORGAN FISHER $15Bodie HouseAgoura Hills, California

8:00pm BANSHEE IN THE KITCHEN $15[www.bansheeinthekitchen.com]Traditional Irish musicFret House

8:00pm MIKA'ELE MCCLELLAN $15Hawaiian slack-key guitarBlueridge Pickin’ Parlor17828 Chatsworth St., Granada Hills

8:00pm PHIL BOROFF plus EVAN MARSHALLBoulevard Music

8:00pm CLIFF WAGNER AND OLD # 7 [www.oldnumber7.net]Bean Town

8:00pm MARCIA BALL $16.50 DENNIS ROGER REED BANDAcoustic roots musicCOACH HOUSE33157 Camino Capistrano, San Juan Capistrano949-496-8930UNDAY MARCH 21

SUNDAY MARCH 21* STEVE GILLETTE & CINDY MANGSEN

[www.compassrosemusic.com]Duncan House Concert, Westchester310-410-4642

11:00am TEMECULA BLUEGRASS FESTIVAL Freesee March 20

7:00pm DAVID KRAKAUER'S KLEZMER MADNESS25 /$20 Skirball Members/$15 Students

Skirball Cultural Center (Magnin Auditorium)

7:30pm PALM WINE BOYS $10/$8 studentswww.palmwineboys.comFolk Music Center

7:30pm LOU AND PETER BERRYMAN $12Noble House Concerts

THURSDAY MARCH 25* CHRISTENE LEDOUX [www.christeneledoux.com]

Coffee Gallery Backstage* THE IRISH ROVERS

Downey Theater8345 Firestone Blvd., Downey • 562-861-8211

8:00pm MARY BLACK $25-45 ($20 students)www.mary-black.netUCLALive!

FRIDAY MARCH 26* CAMP BON TEMPS ZYDECO DANCE WEEKEND

Julian (near San Diego)Camp 858-492-8748 jermaxted@yahoo.comPeter Parrish petertor@pobox.com

8:00pm SOURDOUGH SLIM [www.sourdoughslim.com] $15with THE SADDLE PALSCoffee Gallery Backstage

8:00pm MARY BLACK [www.mary-black.net]$100 VIP/$40 adults/$35 for seniors, students, CSULB ID

Carpenter Performing Arts Center8:00pm BILL MIZE [www.billmize.com]

National fingerstyle guitar champBoulevard Music

8:30 pm DENNIS ROGER REEDAcoustic roots musicAlta Coffee506 31st St., Newport Beach • 949-675-0233

SATURDAY MARCH 27* CAMP BON TEMPS ZYDECO DANCE WEEKEND

see March 26* WICKED TINKERS

[www.wickedtinkers.com]J. Paul Getty Museum • www.getty.edu

10:30am- SANTA CLARITA COWBOY POETRY & MUSIC FESTIVALwww.santa-clarita.com/cp/2004/main.asp]Ken & Phee Graydon, Larry Maurice, Prairie Flower &Cactus Bob, Dave Stamey, New West, Katy Moffatt,Sourdough Slim and the Saddle Pals, The Burson Family,David John and the Comstock Cowboys, David Wilkie &Cowboy Celtic , R.W. Hampton, Don Edwards, Joni Harms,Wylie and the Wild West, New West, , Sourdough Slim andthe Saddle Pals! plus poets Doris Daley and Paul Zarzyski.Western Swing Dance featuring the Lucky Stars.800-305-0755 661-286-4021

12:30pm & 3:30pm LESLIE PERRY, BLUES MAN BROTHER YUSEF,AND THREE PEACE ENSEMBLE with Charles Carter, Robert S. Hilton, and Paul Morehousewith Karen Golden StorytellersJ. Paul Getty Museum Lecture Hall • www.getty.edu

7:00pm LOS ANGELES CEILI $10Set, Ceili & Step Dancing, Music and SongThe Moose Lodge1901 W. Burbank Blvd., Burbankwww.IrishDanceLosAngeles.com

8:00pm BILL MIZE [www.billmize.com] $15Finger style GuitarFret House

8:00pm STEVE GILLETTE & CINDY MANGSEN[www.compassrosemusic.com]Beckman Institute Auditorium (Little Beckman)Caltech Folk Music Society

8:00pm WYLIE & THE WILD WEST SHOW[www.wylieww.com]Boulevard Music

8:00pm LAUREL CANYON $15 adv/$18 door/$12 childrenRAMBLERS with SUZIE GLAZE and the Eight Hand String Band.Encino Community Center • 4935 Balboa Blvd.,Encino

8:00pm TAJENDRA MAJUMDARwww.musicalnirvana.com/hindustani/tejendra_majumdar.htmlSHUBHANKAR BANERJEE[www.westbengal.com/shubhankar] Sarod and tabla Occidental College (Herrick Chapel), L.A.Music Circle 626-449-6987 • info@musiccircle.org

SUNDAY MARCH 28* CAMP BON TEMPS ZYDECO DANCE WEEKEND

see March 2610:30am- SANTA CLARITA COWBOY POETRY

& MUSIC FESTIVAL see March 2711:00am JUSTIN ROBERTS $6 / $3

Matinee Kids' ShowMcCabe’s Guitar Shop

7:30pm STEVE GILLETTE & CINDY MANGSEN $12www.compassrosemusic.comNoble House Concerts

MONDAY MARCH 297:00pm CHRISTENE LeDOUX [www.christeneledoux.com]

Genghis Cohen Cantina

TUESDAY MARCH 308:00pm DAVID CROSBY & CPR [www.crosbycpr.com] $35-65

The McCallum Theatre73000 Fred Waring Dr., Palm Desert

WEDNESDAY MARCH 318:00pm DAVID CROSBY & CPR [www.crosbycpr.com] $25-60

Cerritos Center

THURSDAY APRIL 18:00pm SHOGHAKEN FOLK ENSEMBLE

$25/$20 Skirball Members/$15 Students[www.road-to-armenia.com/music/music.html]Folk Music from ArmeniaSkirball Cultural Center (Cotsen Auditorium)

FRIDAY APRIL 28:00pm MUSICàNTICA $12.50

(Roberto Catalano and Enzo Fina)traditional / experimental Folk Music of Mediterranean ItalyCoffee Gallery Backstage

8:00pm DAVID WILCOX $33Pepperdine University Center for the ArtsSmothers Theater, Malibu

8:00pm MARIZA with L.A. PhilharmonicPortuguese FadoWalt Disney Concert Hall

8:00pm NA LEI HULU I KA WEKIU [www.naleihulu.org]$30 adults; $25 seniors, students, CSULB ID

Hula mua traditional & contemporary hulaCarpenter Performing Arts Center

SATURDAY APRIL 3* KENNY ENDO & SEMBA KIYOHIKO DRUM SUMMIT

$25-30, $22 JACCC MembersThe George & Sakaye Aratani Japan America Theatre213-680-3700

8:00pm NA LEI HULU I KA WEKIU see April 2

8:00pm MUSIC HEALS [www.musicheals.tv] $15Benefit concertRuss and Julies House Concerts

8:00pm CLADDAGHBeantown

7:00pm GRACE [www.gracesings.com] $12.504 women a cappellaplus ANNA VARNONCoffee Gallery Backstage

SUNDAY APRIL 46:30pm JIM CURRY JOHN DENVER TRIBUTE SHOW

Candlelight Pavilion455 West Foothill Blvd., Claremont • 909-626-1254Claremont Folk Festival Concert

7:30pm RICK SHEA & BORDER RADIO $10/$8 students[rickshea.net] [www.border-radio.com]Folk Music Center

FRIDAY APRIL 9* ADRIAN LEGG [www.adrianlegg.com]

McCabe's Guitar Shop8:00pm RONNY COX [ronnycox.com] $15

with Matt Margucci and Travis ParkerCoffee Gallery Backstage

8:00pm TERRY BAILEY,SHIMMER , $5DON & JEANIE, LARRY BULAICHBorchard Community Center, Newbury ParkBob Kroll 805-499-3511 • folksgr1@aol.com

8:00pm COUNTRY JOE BAND [www.countryjoe.com](with former members of The Fish) Theater On High Street

SATURDAY APRIL 10* ADRIAN LEGG [www.adrianlegg.com]

San Juan Capistrano Library8:00pm COUNTRY JOE BAND

see April 98:00pm LARRY BULAICH $12

Noble House Concerts

TUESDAY APRIL 137:30pm RITA CHIARELLI [www.ritachiarelli.com] $20

Blues singer/guitarCerritos Center

WEDNESDAY APRIL 147:30pm KINGSTON TRIO [www.kingstontrio.com]

Thousand Oaks Civic Arts Center (Fred Kavli Theatre)8:00pm NERISSA & KATRYNA NIELDS [www.nields.com]

Singer/songwritersHotel Cafe, Hollywood • 323-461-2040

FRIDAY APRIL 16* STACEY EARLE & MARK STUART

[www.staceyearle.com]McCabe's Guitar Shop

FOR UP-TO-DATE INFORMATIONMary Katherine Aldin - Alive and Picking Calendarwww.aliveandpicking.com/calendar.htmlJay and Judy Michtom - Folk Dance Scene Calendar 818-368-1957 • JayMichtom@Juno.comFolkWorks thanks these folks for providing information.

LISTING UPGRADE NOW AVAILABLE

Have your Special Event listed in larger font and highlighted in BOLD FACE.

ONLY $20 per event. Call 818-785-3839

or email - mail@FolkWorks.org for details.

VENUE LOCATIONSACOUSTIC MUSIC SERIES

626-791-0411 • www.acousticmusicseries.comBEAN TOWN

45 N. Baldwin Ave., Sierra Madre626-355-1596

BLUEGRASS ASSOCIATION OF SO. CAL.Baker’s Square Restaurant17921 Chatsworth St. (at Zelzah), Granada Hills818-366-7258 • members.aol.com/intunenews

BODIE HOUSE CONCERTSAgoura Hills • www.jrp-graphics.com/bodiehouse

BOULEVARD MUSIC4316 Sepulveda Blvd., Culver City310-398-2583 • www.boulevardmusic.com

CALTECH FOLK MUSIC SOCIETYCalifornia Institute of TechnologyBeckman Institute (Little Beckman), Pasadena 626-395-4652 • 888-222-5832 www.its.caltech.edu/~folkmusi

CARPENTER PERFORMING ARTS CENTER6200 Atherton St., Cal State Long Beach562-985-7000 • www.carpenterarts.org

THE CELTIC ARTS CENTER4843 Laurel Canyon Blvd., Studio City818-760-8322 www.celticartscenter.com

CERRITOS PERFORMING ARTS CENTER12700 Center Court Dr., Cerritos562 916-8501 or 800- 300-4345www.cerritoscenter.com

COFFEE GALLERY BACKSTAGE2029 N. Lake Ave., Altadena626-398-7917 • bstage@earthlink.netwww.coffeegallery.com

FOLK MUSIC CENTER220 Yale Ave, Claremont909-624- 2928 • www.folkmusiccenter.com

FRET HOUSE309 N. Citrus, Covina626-339-7020 • www.frethouse.com

GHENGHIS COHEN CANTINA740 N. Fairfax Ave., L.A.323-653-0640 • www.genghiscohen.com

THE GROVE OF ANAHEIM2200 East Katella Ave., Anaheim714-712-2700 • www.thegroveofanaheim.com

LANCASTER PERFORMINIG ARTS CENTER750 W. Lancaster Blvd., Lancaster661-723-5950 • www.lpac.org

THE LIVING TRADITIONDowntown Community Center250 E. Center St., Anaheim 949-646-1964 • www.thelivingtradition.org

McCALLUM THEATRE73000 Fred Waring Dr., Palm Desert866-889-ARTS • www.mccallumtheatre.com

McCABE’S GUITAR SHOP3101 Pico Blvd., Santa Monica 310-828-4497 • www.mccabesguitar.com

NOBLE HOUSE CONCERTSVan Nuys 818-780-5979

PEPPERDINE UNIVERSITY CENTER for the ARTSSmothers Theater, Malibu310-506-4522• www.perpperdine.edu/cfa/

RUSS AND JULIE’S HOUSE CONCERTSOak Park (Agoura Hills/Westlake Village area)818-707-2179www.jrp-graphics.com/houseconcerts.html

SKIRBALL CULTURAL CENTER2701 North Sepulveda Blvd., Los Angeles310-440-4578 • www.skirball.org

THEATER ON HIGH STREET45 High St., Moorpark805-529-8700 • www.theateronhighstreet.com

THOUSAND OAKS CIVIC ARTS CENTER2100 Thousand Oaks Blvd.805-449-2787 www.toaks.org/theatre

UCLA FOWLER MUSEUM OF CULTURAL HISTORY310-825-4361 • www,fmch.ucla.edu

UCLA LIVE!UCLA Campus, Royce Hall, Westwood310-825-2101 or 310-825-4401www.uclalive.com

WALT DISNEY CONCERT HALL111 S. Grand Ave., L.A.323-850-2000 • www.musiccenter.org/wdch

SPECIAL EVENTS Continued on page 27