2013 GRAMMY NOMINEES
Of Interest To FolkWorks Readers
43. BEST REGIONAL MEXICAN MUSIC ALBUM (INCLUDING TEJANO)
44. BEST TROPICAL LATIN ALBUM
45. BEST AMERICAN ROOTS SONG
46. BEST AMERICANA ALBUM
47. BEST BLUEGRASS ALBUM
48. BEST BLUES ALBUM
49. BEST FOLK ALBUM
50. BEST REGIONAL ROOTS MUSIC ALBUM
52. BEST WORLD MUSIC ALBUM
THE COEN BROTHERS’ ROCKY ROAD TO GREENWICH VILLAGE
There were two versions of the Folk Revival available to viewers this evening: on PBS a rerun of John Sebastian’s hosting a program called Folk Rewind, with performances by the Kingston Trio, The Highwayman, The Limelighters, Harry Belafonte, Judy Collins and others who made folk music a commercial success in the early 1960s, and on the big screen, the long-awaited premiere of the Coen Brothers “remembrance of things past,” a film homage to the Greenwich Village folk scene of 1961, when Bob Dylan hit town in the dead of winter and joined a budding revival that was to move folk music out of the fraternity circuit and into a major cultural force that fueled the civil rights and antiwar movements. Based on a character modeled on Dave Van Ronk, herein called Llewyn Davis, a young, bearded folk singer in love with traditional music who runs into a burgeoning singer-songwriter crowd with whom he is decidedly and humorously out of sync.
AUTHOR: DONALD COHEN
PUBLISHER: MUSIC SALES AMERICA
RELEASE DATE: FEBRUARY 2013
My friend Donald Cohen has written a new book about Gypsy Music called Gypsy Voices: Songs from the Romani Soul. It is his third book about music; his earlier books include Fado Português: Songs from the Soul of Portugal and Tango Voices: Songs from the Soul of Buenos Aires and Beyond.
Like the earlier volumes, Gypsy Voices is filled with wonderful photographs, commentary on all 21 songs on the cd that comes with it, lyrics translations, and even sheet music. It’s everything that a music fan could want. It also was a labor of love, involving many difficult choices among the thousands of songs in the Roma diaspora (Macedonia, Russia, Greece, Romania, Bulgaria, Hungary, Czech Republic, Serbia).
The Roma people have been misunderstood and maligned for centuries, experiencing repression and rejection wherever they went. Yet they have endured. Originally from Northwestern India, they were called “gypsies” because of their dark skin: people thought they came from Egypt. The word “gyped” as in “The salesperson gyped me…” (meaning ripped off) is an example of the negative attitude.
TITLE: 150 GEMS OF IRISH MUSIC FOR TIN WHISTLE:
WITH SUGGESTED ORNAMENTATION AND PHRASING
AUTHOR: GREY LARSEN
PUBLISHER: MEL BAY PUBLICATIONS
RELEASE DATE: 2013
Grey Larsen’s third instructional book and tune collection for the tin whistle (also known as the pennywhistle) presents a comprehensive explanation of pennywhistle performance in addition to a notated selection of 150 Irish dance tunes with suggested ornamentation. Following a similar organizational structure as his first two books, the first section of 150 Gems of Irish Music for Tin Whistle offers a concise explanation of pennywhistle technique as well as more detailed discussions of ornamentation, phrasing, and tune structure. It is assumes that the reader already has a familiarity with the basics of Western staff notation.
The 150 tunes included within Larsen’s book are divided into three groups based upon whether they are a) perfectly amenable to performance on whistle, b) non-wind in origin, or c) suitable for performance on whistles in keys other than “D,” the most common key for pennywhistles. This is a departure from the majority of tune collections, which are more typically organized by difficulty or tune type. Larsen’s choice to organize tunes in this manner, however, illustrates his commitment to developing a guide specifically for pennywhistle rather than another generic tune collection.
Conveniently included with Larsen’s book are two audio CDs consisting of recordings of all 150 tunes notated in the collection.
TITLE: THE BACH UKE BOOK
AUTHOR: ROB MACKILLOP
PUBLISHER: MEL BAY
RELEASE DATE: 2012
The Bach Uke Book is a surprisingly pleasing book for aficionados of classical music who also play the ukulele. The clean sounds of the Bach pieces arranged in fingerpicking style with some two, three, and four note chords mixed into the melody are at times reminiscent of the sounds of a harpsichord.
While the ukulele is mostly known for its origins as a Hawaiian folk instrument, and prior to that, as a Portuguese folk instrument, the classical pieces in this book will help any musician to become familiar with the whole instrument and to work on tempos and variations within the music.
The pieces range from easy to challenging but are not placed in the book in the order of difficulty nor is their any notation on the piece to indicate the level of difficulty of the piece. It is up to the musician to determine the level of difficulty for themselves. The more challenging pieces, such as “Minuet in F”, “Polonaise in Gm”, and “Sheep May Safely Graze”, include triplets, sixteenth and thirty-second notes and intricate phrasing.
Watch What You Wish For:
The Settino Soprani 55
It is the old joke about the guy who leaves his car unlocked, and forgets that he has left an accordion (or a banjo or a set of bagpipes) on the back seat, and rushes back to find two of the instruments waiting for him.
We live in Aberfeldy, right in the geographical heart of Scotland, and in the last week we have become the custodians of approximately fifty accordions, part of a collection of over three hundred owned by a lady who lives north of here in Invernesshire.
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.