• FOLKWORKS CALENDAR (click here)

     
  • FolkWorks Benefit Concert - This Saturday - See below ...

     
  • THEATRE REVIEWS

    The Resurrection of Paul Robeson:

    “Paul Robeson” At The
    Nate Holden Performing Arts Center

    Easter Sunday, April 20, 2014

    By Ross Altman

    Keith David - Paul RobesonFor an artist of Paul Robeson’s stature—except that there is no artist of Paul Robeson’s stature—to have become a stranger in his own land is one of the more improbable stories of a so-called free society. At one time the most famous performer in America—star of stage (Othello), screen (Show Boat), radio (Ballad for Americans), author (Here I Stand) and recording artist (for Columbia and Vanguard Records), Robeson strode across the American landscape like a colossus. No one would have been surprised to learn that he was a Phi Beta Kappa scholar at Rutgers, a two-time All-American football player and the toast of British Aristocracy after making his debut singing Ol’ Man River in Show Boat in London’s West End in 1927. He was declared “the Voice of the Century” long before the 20th Century was over—sharing that title with Marian Anderson.

    Read more: THE RESURRECTION OF PAUL ROBESON


    All Alone with Paul Robeson:

    The Tallest Tree in the Forest

    The Mark Taper Forum - April 19, 2014

    By Ross Altman

    Tallest Tree in the Forest - Daniel BeatyWho is the real Paul Robeson? The Tallest Tree in the Forest or the biggest windbag in Los Angeles? It wasn’t clear to this reviewer last night at the opening of the new one-man play about Robeson by actor Daniel Beaty at The Mark Taper Forum at The Music Center—until half way through the performance—when he sang Zog Nit Keynmol—Never Say—the Warsaw Ghetto anthem penned by Hirsh Glick, the 22-year old Vilna poet who wrote the song upon hearing news of the Jewish resistance to the Nazi attempt to liquidate the ghetto on April 19, 1943, as a birthday present for Adolph Hitler, who was born on April 20—today, as I write this review on Easter Sunday, Hitler’s birthday.

    And there I was, on the 71st anniversary of the most heroic chapter in modern Jewish history, at the Mark Taper Forum at the Music Center (Broadway West), listening to Glick’s immortal song performed by Beaty’s Paul Robeson who sang it in the Soviet Union as his bravest act of protest on behalf of his friend poet Itsik Feiffer—whom he had just visited and had revealed to him in secret, the terror he lived under in Stalin’s USSR. That for me transformed a somewhat tendentious portrayal of the Voice of the Century into a magical night to remember. I started applauding as soon as the last note died away and was soon joined by the entire theatre audience—most of whom I doubt understood the full significance of what they had just witnessed.

    Read more: ALL ALONE WITH PAUL ROBESON

     
  • FolkWorksLogo-COLOR web

    ANNUAL BENEFIT CONCERT

    Saturday April 26 8pm

    Reception at 7pm

    Our annual benefit concert has always been a fun, ear-opening event and this year promises to be no exception.

    Tracy-Newman-benefit 2014 for web

    at the
    SANTA MONICA Woman's Club

    1210 Fourth St., Santa Monica, CA 90401
    (near Wilshire & 4th St.)

    Tickets: $20 general admission,
    $25 VIP reserved seating

    Click here to buy your tickets now!

    Info: concerts@FolkWorks.org       818-785-3839

    Emcee Tracy Newman

    Always entertaining, Tracy may throw  in some of her own songs.

     

    Sausage Grinder

    SAUSAGE GRINDER photo for benefit for web

    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.

    Nevenka

    Nevenka 2014 for web

    The popular Los Angeles-based women’s chorus that brings to life vocal folk/roots traditions from around the world. Their songs range from Bulgaria, Georgia, Russia, Bosnia to Rom and Sephardic songs - as well as recently added American and Irish music. Their spellbinding harmonies are at the core of their eclectic repertoire. Whether a simple American song or the complex harmonies of Bulgaria the voices of Nevenka’s women are sure to move you. While mostly singing a cappella, they are occasionally accompanied by percussion, mandolin, guitar, citern or panduri.

    Swing Riots Quirktette

    SWING RIOTS color NEW LINEUP for web

    The Swing Riots are comprised of 6 core members who have played for decades in everything from Balkan dance bands to traditional Swing groups. They perform an irreverent gumbo of Gypsy & Creole Jazz, Klezmer & Romanian Horas, Parisian Musette & the occasional wild card thrown in for good measure. 

    Tunacious

    TUNACIOUS for webContradanceTunacious is a Celtic genre-bending band with songs and dance tunes with a blowout contra dance to wind up the evening.

     
  • FOLKWORKS CONCERTS

    Upcoming Concerts

    (Click on hyperlink for tickets)

    Series at the Talking Stick Café

    FISHTANK ENSEMBLE     May 24th         ANTONIO SACRE, MICHAEL McCARTY and others     June 28th
           Gypsy                                                                 Storytelling

    NEVENKA     September 27th                        SYNCOPATHS     October 25th
           East European Women's Choir                            Upbeat Celtic

     


    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

     
Print

ARTIST: VARIOUS

TITLE: AMY HANAIALI’I AND SLACK KEY MASTERS OF HAWAII

LABEL: PETERSON PRODUCTIONS

RELEASE: 2010

By Audrey Coleman

Amy_HanaialiiI 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.

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