Sausage Grinder: Los Angeles’ all-natural hillbilly and country blues band, combines the traditional sounds of fiddle and banjo breakdowns with the low-down sound of country blues, topped off with a touch of ragtime and hillbilly jazz. The versatile acoustic ensemble features fiddle, banjo, guitar, mandolin, washboard, and a few odds and ends.
Saturday, March 22nd at 8pm
doors open at 7:30pm
Talking Stick Cafe
1411 Lincoln Blvd., Venice, CA 90291
General Admission: $18
FolkWorks members (Friend and above): $16
Online: Click here
FolkWorks PO Box 55051
Sherman Oaks, CA 91413
Information 818-785-3839 concerts@FolkWorks.org
(Click on hyperlink for tickets)
Series at the Talking Stick Café
FolkWorks Benefit Concert April 26th
Swing Riots Quirktette, Sausage Grinder, Nevenka, Tunacious
emcee: Tracy Newman
Rose Garden of Peace Concert May 31st
With Yuval Ron Ensemble
MORE PETE APPRECIATIONS
Waist Deep In the Big Muddy:
How One Song Broke the Blacklist,
Ended the War and Changed America
Waist Deep In the Big Muddy is the Mona Lisa of protest songs, not because it is the greatest antiwar song ever written—though it surely is that—but because it occupies a historical place that will never be duplicated. It is the song Pete Seeger wrote and sang that fully restored his place in the American pantheon and public media after 17 years of being blacklisted from network television. In 1950 The Weavers—the folk quartet he, with Lee Hays, Fred Hellerman and Ronnie Gilbert, founded in 1949 and shot to the top of the Hit Parade with Leadbelly’s theme song Goodnight Irene—were cited by the entertainment industry’s blacklist Red Channels—which in turn gave rise to a book that specifically targeted folk singers called Marxist Minstrels. The Weavers were effectively destroyed just as they were really getting started and saw two years of nightclub and concert bookings cancelled overnight.
Pete Seeger, the only one of them capable of pursuing a solo performing career, never appeared on a network television show until 1967 despite hit songs like Turn, Turn, Turn (the Byrds), If I Had a Hammer (Peter, Paul & Mary), Where Have All the Flowers Gone (The Kingston Trio), Kisses Sweeter Than Wine (Jimmie Rodgers), Guantanamera (The Sandpipers), Wimoweh (recorded under the title The Lion Sleeps Tonight by the Tokens), Tzena, Tzena, Tzena (the Weavers), Woody Guthrie’s This Land Is Your Land and So Long, It’s Been Good to Know You (the Weavers), Leadbelly’s Goodnight Irene (the Weavers) and his own hit recording of Malvina Reynolds song Little Boxes. That’s a dozen hit songs—enough for a Greatest Hits album, which Pete eventually had on Columbia Records—the same label that recorded Billie Holiday, Bob Dylan and Bruce Springsteen.
The Book of Altman: A Review of The Book of Mormon
At the Pantages Theatre in Hollywood
February 5, 2104
An account written by the hand of Altman upon plates taken from the plates of Nephi;
Transcribed by RA in the annum MMXIV.
What can a folk singer say about a Tony Award-winning Broadway musical that is still playing on the Great White Way and also in various touring productions around the country, one of which thankfully landed at the Pantages Theatre in Hollywood, where Jill and I and Paula saw it last night, thanks to my cultured friends Jan and Jerry, who gave us 3 tickets they didn’t need. I’ll tell you what I was expecting to see, based on its creators Trey Parker and Matt Stone’s smash hit TV series South Park, with music and lyrics by Robert Lopez. A foul-mouthed satire of organized religion, belittling the faith of ordinary mortals and bringing to the fore the alternative views of such famous atheists as scientist Richard Dawkins, comedian Bill Maher and the late great critic Christopher Hitchens.
Bob Dylan’s Goal-line Stand for Detroit
Once again my purist friends are out there screaming that the definitive protest singer from the sixties has sold out by doing not one but two Super Bowl commercials—one for Chobani Yogurt by licensing his original recording of I Want You to rev up your taste buds for their tangy, creamy product, and two by appearing in person on behalf of Fiat’s newly purchased car company from Detroit—the one that Dylan’s old confrere Tom Paxton brilliantly satirized back in 1980 with I’m Changing My Name to Chrysler.
As the soundtrack to Dylan’s voice over narration indicates (with his Oscar-winning song from 2000 film, The Wonder Boys) Things Have Changed.
The Music We Danced To, Part 2
It turned out I picked a good time for an unemployed artist to look for work—Democrat Jimmy Carter had instituted a modern version of the WPA—the Works Progress Administration—which during the Great Depression put artists to work across this great land, writers, photographers, painters and musicians being called into service by FDR to use their art in service to their country. It was this program that employed photographer Dorothea Lange to take pictures of migrant workers in migrant camps in California—the place where she took her most famous photograph—Migrant Mother—which became one of the symbols of the Great Depression. Novelist John Dos Passos was hired to write travel guides for different regions of America—and they became indelible portraits of a nation caught—as the late Irish poet Seamus Heaney so eloquently put it—between hope and history. And eventually Woody Guthrie was hired for 28 days by the Department of the Interior to go up to Washington State and write songs for the Bonneville Power Dam Administration—which became his classic Columbia River songs and were finally rediscovered twenty-five years later and released on Rounder Records.
TITLE: AMY HANAIALI’I AND SLACK KEY MASTERS OF HAWAII
LABEL: PETERSON PRODUCTIONS
I took one look at the cover of this CD and concluded that it was a shoe-in for the 2011 Grammy for Best Hawaiian Music Album. After five years of awarding it to compilations of slack key guitar music, the mucky-mucks could enjoy a refreshing twist on their love affair with slack key. Celebrated vocalist, Amy Hanaiali’i, who has lost out to slack key at the Grammies more than once, had teamed up with five masters of the beloved guitar tradition: Cyril Pahinui, Sonny Lim, Dennis Kamakahi, Jeff Peterson, and Chino Montero. It’s a dazzling collaboration and thoroughly enjoyable listening. Did it win the Grammy? No! This year the award for Best Hawaiian album went to a vocalist of more limited gifts than Amy and no hint of slack key guitar on the cover. Go figure! We move on...
Although it was recorded in a studio, Amy Hanaiali’i and Slack Key Masters of Hawaii has the flavor of a live concert. The musicians each get a turn being center stage, accompanying Amy, in some cases singing with her or playing slack key with one another. Not only do they display their gifts as musicians; in some cases, they showcase their own compositions.
Prolific Dennis Kamakahi sings his delightful country-style E Mau Ke Aloha in Hawaiian and English, accompanying himself on guitar with room for a guitar solo by Chino Montero. Kamakahi shines as a slack key guitarist and vocalist, his deep rich voice combining with Amy’s in a poignant song composed by Queen Kapi’olani in the late 19th century Ipo Lei Manu.
Cyril Pahinui is keeper of the slack key tradition that his father, Gabby “Pops” Pahinui revitalized and popularized. Cyril shares vocals and plays guitar in a trademark Pahinui number, Hi’ilawe with Jeff Peterson adding his own slack key sound to enrich the accompaniment. Pahinui does a lively interpretation of Miloli’i on vocals and guitar with Sonny Lim spicing up the song with well-chosen steel guitar enhancements.
Amy sings her own composition Keawa Nui with loving attention to the art of falsetto that makes it clear why the mantles of falsetto greats Lena Machado and recently-passed Genoa Keawe have easily remained on her shoulders. A ukulele solo by Jeff Peterson kicks it up a notch.
Chino Montero gets to demonstrate his male falsetto singing and solid slack key technique in Makee ‘Ailana. Dennis Kamakahi plays one of the two slack key solos in this number, enlivening it with a contrasting style. I confess I have not followed Montero’s career as I have the other participants in this album, but I think he performs at a level that is harmonious with his peers.
An all-instrumental number, Vaqueros, brings together composer Sonny Lim with Montero and Jeff Peterson for a flamenco-flavored hats-off to the cowboys who brought the guitar to Hawaii.
I would be negligent if I did not mention the way Jeff Peterson’s talents permeate this album. No fewer than six of the sixteen cuts feature his compositions. My favorite is Pukana La on which he plays solo. He creates an otherworldly feeling with unusual chord progressions, sweet-voiced picking, and sensitive rubato. We also hear Peterson’s eclectic musicianship on eleven of the numbers, mainly slack key but also including classical guitar on Vaqueros and ukulele in Keawa Nui.
In the end, this is still Amy’s album. She opens with Fields of Gold by Sting, bringing to it heartrending nuances. Nevertheless, I find the song a strange choice for an album in which she and her friends otherwise celebrate Hawaiian culture and landscape. The mention of “fields of barley” made me wince despite the added Hawaiian lyrics. Do they even grow barley in Hawaii? Shouldn’t it be “through ponds of taro (traditional Hawaiian staple crop) or to use the old Hawaiian word kalo? Hmmm. The trouble is those ponds have you thigh deep in mud. I’ve been there. As we trudge through the sludge-ponds of kalo? Definitely not as romantic as barley fields. Enough! It’s a great album!
Audrey Coleman is a journalist, educator, and passionate explorer of traditional and world music.