JIM KWESKIN AND
Sunday, December 4, 2016 - 7:00pm
Four Friends Gallery
1414 E. Thousand Oaks Blvd., Thousand Oaks, CA 91362
Presented by Brogden Bay
While Jim Kweskin and Geoff Muldaur are appearing as a duo, it is important to place them in the context of the Jim Kweskin Jug Band. Jim and Geoff, along with Fritz Richmond, were the constants in the Jug Band. The rock critic Ed Ward once listed the most important bands of the early 1960s as the Rolling Stones, the Beatles, the Byrds, and the Jim Kweskin Jug Band. Apparently thinking that some people might be surprised to find the Kweskin gang on that list, he added: "I'm not kidding." No one who has ever seen the Jug Band would have thought he was.
Read more: JIM KWESKIN AND GEOFF MULDAUR
Wednesday, November 30, 2016 - 8:00pm
Thursday, December 1, 2016 – 8:00pm
SOHo Restaurant and Music Club
1221 State St., Santa Barbara, CA 93101
Friday, December 2, 2016 - 8:00pm
1234 W. 7th St., Los Angeles, CA 90017
Read more: RISING APPALACHIA
TITLE: One Light Many Windows
ARTIST: Merlin Snider
LABEL: Barking Dog Music
RELEASE DATE: November 21, 2016
Years ago I visited painter Friedensreich Hundertwasser in his Venice (Italy) studio. I was surprised to see canvases lining the walls in all sorts of styles – not just the colorful spiral and raindrop paintings he was well known for at the time.
“My gallery owner prefers that I stick to one style. He believes that is what art buyers want from artists: a consistent identity,” he explained to me. “Sadly, I cannot even bring these other works of mine into the gallery.”
This marketing identity demand bleeds over to all art forms: too often writers, filmmakers, composers, songwriters – all creators – are pressured to create in one style and stick to it.
Read more: MERLIN SNIDER - ONE LIGHT MANY WINDOWS
TITLE: THE BEAUTIFUL NOT YET
ARTIST: CARRIE NEWCOMER
LABEL: AVAILABLE LIGHT RECORDS
RELEASE DATE: SEPTEMBER 16, 2016
Profound and poetic, Carrie Newcomer’s 16th album, The Beautiful Not Yet, soothes the soul as it stimulates the senses. Capturing the mystery and miracle in the everyday, the songs are at once spiritual and down to earth, filled with wisdom and heart.
If you simply read the lyrics on her website, you’ll find the words read like poetry. But in truth, even if I didn’t understand a word of English, I would still think this is one beautiful album. The primary reason is Newcomer’s voice – that celebrated, rich contralto that is so luscious, warm and honest, so natural yet perfectly nuanced, that it makes you feel good just to listen to it. Additionally, The Beautiful Not Yet features an array of gorgeous harmonies and an exciting blend of traditional roots instrumentation (banjo, acoustic guitar and mandolin) and chamber music (cello, violin, and piano).
Read more: CARRIE NEWCOMER - THE BEAUTIFUL NOT YET
ARTFUL SLACKER MUSIC
JIM “KIMO” WEST AND KEN EMERSON – RECORDED AND LIVE
The opening selection on Slackers in Paradise: Slack and Steel Guitar Duets conjures up the bliss of kicking back on a hammock near surf-washed sands, caressed and refreshed by island trade winds. The recently-released CD by Jim “Kimo” West and Ken Emerson ushers you into an unhurried world free of traffic jams and family frenzy. With West on slack-key guitar and Emerson on acoustic steel guitar, the slow pieces are dreamy and tantalizing while even the fast-paced numbers evoke a time when life seemed simpler.
Read more: ARTFUL SLACKER MUSIC - JIM “KIMO” WEST AND KEN EMERSON
(February 14, 1951 – November 4, 2016)
Wayne was the main man behind Desert Song Productions, and was also a “ringtailed raconteur” (his words) and an accomplished musician in his own right, with an encyclopedic knowledge of all things music, and really, all things in general. But then, what do you expect of a U.S. Air Force brat with a brain about two sizes too big? Wayne was born in Georgia, and raised in a dozen locations across the US and England, eventually graduating from high school in Jacksonville Florida, where he learned to sight-read choral music.
Read more: WAYNE SLATER-LUNSFORD
(September 21, 1934 – November 7, 2016)
Leonard Norman Cohen was a Canadian singer, songwriter, poet and novelist. His work explored religion, politics, isolation, sexuality, and personal relationships. Cohen was inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame as well as the Rock and Roll Hall of Fame.
Read more: RIP: LEONARD COHEN
(November 10, 1927 - November 16, 2016)
Theodore Shapin Jr., known as Ted, recalled that as a child his father encouraged his interest in things mechanical and electrical, and helped him build a crystal radio set. He was an avid folk dancer and enjoyed playing folk songs on his banjo and guitar. Ted received a scholarship to the University of Illinois and graduated with a Master's degree in Electrical Engineering.
Read more: TED SHAPIN
FIDDLERS FROM CAPE BRETON – PART I
As I drove my rented Ford Fusion south on Cape Breton Island’s Route 19, the name of the folk festival I had attended, Celtic Colours, took on glorious meaning. Maple and oak trees on both sides of the highway were busting out yellow, orange, and red. They were as vibrant as the music I had experienced for five days. As fragile too: The fiddling tradition that had all but vanished some 60 years ago has made a spectacular comeback since the seventies.
You aren’t familiar with this island? Cape Breton is part of Canada’s eastern province of Nova Scotia on the Atlantic Coast, occupying 3,981 square miles. In the 1600s, French settlers emigrated and established a thriving community. They came to be known as Acadians. The mid-18th century spelled catastrophe for them. The British, following victory in an Anglo-French war, deported approximately 10,000 Acadians between 1755 and 1758. They were sent principally to the southern colonies where survivors became the Cajuns who eventually developed their own musical style. Several hundred Acadians escaped exile; their descendants are French-speaking residents of a few Cape Breton towns such as Cheticamp on the west coast. British loyalist settlers partially filled the population void left by the exiled Acadians. But the character of the colony shifted dramatically in the 1800s when some 50,000 Gaelic-speaking immigrants from Scotland, fleeing famine, settled on the island. Its character is now decidedly Scottish. In fact, because of its isolation, musicians from Scotland now consider Cape Breton fiddling more representative of centuries-old musical traditions than styles currently played by Scots.
Read more: FIDDLERS FROM CAPE BRETON – PART I