• CONCERT REVIEW

    CAT STEVENS-YUSUF IN CONCERT

    NO SEX, NO DRUGS, NO ROCK AND ROLL—GOT FOLK?

    AT THE NOKIA THEATRE—LA LIVE - DECEMBER 14, 2014

    By Ross Altman

    Cat Stevens with D-28England’s greatest mathematician, pacifist and philanderer once said of Austria’s greatest logician and language philosopher: “Ludwig Wittgenstein came to Cambridge and taught the English to speak their own language.” Bertrand Russell, meet Cat Stevens. With his new album Tell ‘Em I’m Gone—from the Lead Belly chain gang song Take This Hammer—English folk singer Cat Stevens has come to the U.S. and taught Americans to sing our own folk songs—black, blues, and even the singing cowboy Gene Autry classic (written by former Louisiana Governor Jimmy Davis) You Are My Sunshine, a song relegated to nursing home sing along song sheets until Cat reshaped it into a modern blues and made it shine all over again—as he did with Lead Belly.

    Read more: CAT STEVENS-YUSUF IN CONCERT


    COLUMN OF THE WEEK

    November-December 2014

    CONFLICT AND LEGACIES

    BY LINDA DEWAR

    Young and CrosbyOK, I’m not sure this is actually news… it seems that Neil Young and David Crosby have had a serious disagreement, and as a result Crosby, Stills, Nash and Young will never perform together again. That’s according to Young. Crosby, though, says the statement is a bit “like saying there are mountains in Tibet,” and that the whole thing will blow over. There’s no mention of the nature of the blowup, but Crosby did take the opportunity to mention that he knew “at least 20” guitar players who are better than Young.

    Read more Conflict and Legacies

    CD REVIEWS

    TITLE: BEYOND THE BLUE

    ARTIST: THE DUHKS

    LABEL: COMPASS RECORDS

    RELEASE DATE: 2014

    By Jackie Morris

    The DuhksThe Duhks are back...flying higher than ever with their 5th CD, Beyond the Blue. After taking a hiatus of two years, this celebrated Canadian neo-trad folk band demonstrates, yet again, the bold, beautiful, eclectic, exciting and innovative music that has consistently earned them critical acclaim. All of their previous CDs have been nominated for Juno Awards - winning Best Roots & Traditional Album by a Group in 2005, and a Grammy nomination in 2007.

    Beyond the Blue is a stunning album, almost addictive in its adventurous rhythms, harmonies and arrangements....mixing a strong Celtic base with a lot of everything else: Appalachian... old-timey....a little blues....a little soul...a French song from Mali...and a lot of driving folk-rock and Afro Cuban rhythms.

    Read more: DUHKS - BEYOND THE BLUE


    TITLE: ALEXIS ZOUMBAS: A LAMENT FOR EPIRUS 1926-1928

    ARTIST: ALEXIS ZOUMBAS

    LABEL: LONG GONE SOUND/ANGRY MOM ARCHIVES

    RELEASE DATE: APRIL 20, 2014

    By Jonathan Shifflett

    Alexis Zoumbas78-rpm collector Christopher King has a way of making old music seem new. Although he grew up listening to pre-war blues and hillbilly recordings, he focuses now on reissuing 78-rpm recordings from performers outside the American vernacular. What he finds is that the rawness, the spirit and the energy of the early American performers like Skip James or Dennis McGee is evident in ethnic recordings as well. In a sense, he curates the blues and country music of other cultures.

    His most recent production, Alexis Zoumbas: A Lament for Epirus 1926 -1928 profiles Zoumbas’ masterful violin adaptations of Greek sheepherding music, now available on a beautiful gatefold LP with artwork by R. Crumb. An immigrant to the States from the Albanian influenced region of Epirus, Zoumbas recorded for Columbia in Prohibition-era New York City. Apart from his recorded works, very little biographical information exists about the exiled performer.

    Read more: ALEXIS ZOUMBAS: A LAMENT FOR EPIRUS 1926-1928


    BLOG

    December 19, 2014


    2014 GRAMMY OF INTEREST TO FOLKWORKS READERS


    Read more: Blog Entry December 19, 2014


    FULL CALENDAR click here

    TODAY'S EVENTS 12/20/14


    7:00pm THE PRATIES

    The Wilde Thistle

    3454 Motor Ave., West Los Angeles, CA 980034

    310-730-6208


    7:00pm JIM KWESKIN / JULI CROCKETT

    Coffee Gallery Backstage

    2029 N. Lake Ave., Altadena, CA 92675

    626-798-6236 This email address is being protected from spambots. You need JavaScript enabled to view it.


    fwpick

    7:30pm LUNASA and KARAN CASEY

    An Irish Christmas

    Broad Stage -Santa Monica College Performing Arts Center

    1310 11th St., Santa Monica CA 90401

    310-434-3200


    7:30pm PETER ASHER

    A Musical Memoir of the ‘60s and beyond

    Laura R. Charles Theater

    2900 Highland Ave., National City, CA 91950

    619-201-0520

    Presented by AMSD Concerts


    fwpick

    8:00pm AUSTIN LOUNGE LIZARDS

    Boulevard Music

    4316 Sepulveda Blvd., Culver City, CA 90230

    310-398-2583


    8:30pm ACOUSTIC GENERATION / MARK HUFF

    Mid-City Music Lounge

    6010 W. Pico Blvd., Los Angeles, CA 90035

    323-954-9630


    9:30pm SLIGO RAGS

    Ireland’s 32

    13721 Burbank Blvd. Van Nuys, CA 91401

    818-785-4031


    FEATURED VIDEO

     Klezmatics - spin, dreydl, spin
    (http://www.youtube.com/v/ZUMqeE-SnD0 )

    FULL ONGOING MUSIC click here

    TODAY'S ONGOING MUSIC 12/20/14


    12:00pm - 6:00pm KAREN TORRELL HOFFMANS BIG GARAGE JAM

    Karen Torrell Hoffman

    249 Magnolia St, Costa Mesa, CA 92627


    6:30pm BLUEGRASS CONCERTS

    Me N Eds Pizza Parlor

    4115 Paramount Blvd., Lakewood, CA 90712

    562-421-8908


    7:30pm - 11:00pm ONION BAGEL OPEN STAGE & JAM (SONGMAKERS)

    Temple Beth Torah

    16651 Rinaldi St., Granada Hills, CA 91344


    7:30pm GRATEFUL DUDES BLUEGRASS

    Vincenzo's Pizza

    24500 Lyons Ave., Newhall, CA 91350


    7:45pm ARC MUSIC NIGHT

    ARC Center

    6456 Whitsett Ave, North Hollywood, CA 91606

    This email address is being protected from spambots. You need JavaScript enabled to view it.


    8:00pm SONGWRITER'S SQUARE

    Lyric-Hyperion Theatre and Café

    2106 Hyperion Ave,, Los Angeles (Silverlake), CA


    BOOK REVIEW

    THE RHYMES THEY ARE A-CHANGIN’

    TITLE: THE LYRICS: SINCE 1962

    AUTHOR: BOB DYLAN

    EDITOR: CHRISTOPHER RICKS, LISA NEMROW, JULIE NEMROW

    PUBLISHER: SIMON AND SCHUSTER

    RELEASE DATE: OCTOBER 28, 2014 (NYC)

    By Ross Altman, PhD

    They LyricsThe most complete collection of Bob Dylan’s lyrics we are likely to see in our lifetime has just been published, and the most notable thing about it is the juxtaposition of Dylan’s lyrical changes in many songs from their original recorded versions to the printed versions to the various live recorded versions, yielding in some cases three rather different texts. Each section is framed by a full-size replica of the original album cover, in full color front and back. The dimensions of the LP determined the size of the book.

    As my rabbi pointed out after seeing Dylan’s third concert at the Dolby Theatre (I reviewed the first in these pages) Bob seemed to have altered the lyrics my rabbi knew in both Tangled Up in Blue and Simple Twist of Fate. What gives? He wondered; we are accustomed to hearing different tempos, arrangements, instrumentation, even melodies for many of Dylan’s classic songs in live performance; now must we also get used to different lyrics? At what point do we find it difficult to think we heard the same song?

    So I decided to order the $200, 961 page, 13 pound book and find out for myself. It just arrived from Barnes & Noble in NYC and what can I say? Rabbi, Things Have Changed.

    Read more: THE RHYMES THEY ARE A-CHANGIN’


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.

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.