Folkmuse's Open Salon Blog

Maria Dunn, Story Telling and Oral History in Song.

Thu, 2 Jul 2009 21:07:41 -0400

Several years ago Maria Dunn caught my attention with her wonderful voice and songwriting. We were fortunate to see her as well at a showcase at one of the Canadian hosted Folk Alliance Conferences.

A couple of months later we were hosting April Verch, a fantastic Canadian fiddler/step dancer in concert. As our custom we had a catered dinner after the concert with April, her husband and her band. I spoke of my Grandmother who had been a British Home Child at the turn of the 20^th century in Canada. April was well familiar with these Home Children who were indentured for six years of service. Some were fortunate many others were not, my grandmother was one who was not.

April mentioned that Maria had written and recorded a song about Home Children titled. “Orphaned Hand”. This made me more interested in Maria and that led Cindy and I to connect with her and help with a tour into our local area.

Born in Scotland and raised in Ontario and Alberta, Maria is a storyteller in song. Living presently in Alberta she writes many of her songs about historical and contemporary people and events. This was the traditional way that history was often passed down a couple of centuries ago when most people were illiterate.

The CD “We Were Good People” features songs of miners, ordinary labors, people who were dirt poor but proud during the depression years. The title track is inspired by a letter in the Edmonton Journal regarding The Edmonton Hunger March which took place on Tuesday, December 20, 1932. The protesters planned to walk in an orderly and peaceful manner from Market Square to the Legislature to ask for government assistance for farmers and the unemployed in the midst of the Depression. Wielding billy clubs, police on horseback broke up the march. As Maria wrote on her web site she was inspired by a letter written by William Dolinsky in 1999, in which he described the events he had witnessed. He wrote: "I remember well this Bloody Tuesday" and asserted, so eloquently and simply: "We were good people".

I have enclosed two videos of Maria. The first, “Shoes of a Man” Maria wrote, "This song was inspired by the life of Michael George Arbuckle (1898-1988), a Glasgow man. Like many of his generation, he fought in WWI. In the thirties and forties, he took part in labour and social justice demonstrations on Glasgow Green, a popular place for both political and social gatherings. He opposed the means test, a degradingly invasive way for authorities to decide how much social assistance poor families would receive."

The second is a song about miners and again in Marias words, “In the summer of 2002, I visited the Bellevue Mine in the Crow's Nest Pass. Emerging from the cold, black tunnel into a beautiful summer day in the mountains was a powerful experience, indeed. The nearby remains of the Frank Slide of 1903 must have testified daily to miners of the dangers in the area, particularly in the early 1900s. In 1914, the Hillcrest Mine explosion left 189 men dead and buried in a graveyard across the valley from Bellevue. Those thoughts, along with the knowledge of a thriving illegal liquor trade during Alberta's prohibition years (1916-1922), sparked this song.”

Nearly two years ago Cindy’s father died, a remarkable man to be sure. Maria sent Cindy a song which had not as yet been recorded but is now featured in her most recent CD, “The Peddler”. It is about her uncle, the song is “William McIlroy's”. It is a wonderful song and very touching gift from Maria. But then this is who Maria is, a wonderful storyteller, a songwriter, a beautiful singer who will touch your heart. Who believes those stories of those who struggled to give many of us a better life need to be honored and remembered for what they did. They are in many ways some of our greatest heroes, for the most part unsung and often they are our great grandmothers and great grandfathers who many now have forgotten.

Harry Manx, a blues music recipe with spicing from India

Sun, 21 Jun 2009 17:06:25 -0400

The first time Cindy and I saw Harry Manx was at the Folk Alliance Conference in 2001. That year the conference was held in Vancouver BC.

The Folk Alliance always introduced us to new artists from around the Globe and this one was no different. This conference it was “The Waifs” from Australia, the fiddle/step dancing of April Verch from Ottawa and launching some friends of ours, “The Waybacks”, into major festivals headline acts. Also wo many others who impressed us as well, far to many to list.

Even with so many outstanding perfroming artists, the most impressive that year was a blues artist who had very recently returned from 12 years in India, Harry Manx.

Harry brought back with him a Mohan veena, a modified Archtop Guitar with 20 strings, 8 main strings and twelve sympathetic strings. I had never seen an instrument like this nor one that sounded quite like it. It was a sitar/guitar played lap style with a slide. The blues never sounded quite like this. We were instantly taken with Harry and his style of acoustic blues.

Harry as a teenager worked in Canadian blues clubs as a sound man. He soon moved to Europe, Brazil and eventually Japan where he heard a recording of the Indian slide guitarist Rajasthani Indian musician Vishwa Mohan Bhatt. Harry sought out Bhatt and soon became his pupil. As Harry put it, Bhatt asked him to play for him which he did for half and hour. Harry then asked Bhatt to play. The first thing Bhatt did was to run across the strings of the Mohan veena and Harry was hooked. He studied under Bhatt for seven years and received a gift from Bhatt of the guitar/sitar Bhatt had designed, the Mohan veena.

Harry’s debut at the Folk Alliance showcase would soon propel him into a sought after musician in Canada. He was an instant success which he later mentioned surprised him. Since that first year Harry has won a couple of Juno awards and for the third year in a row, the best Canadian Blues artist of the year award. The Juno is the Canadian equivalent of a Grammy and in my not so humble opinion much less tainted and based on quality than our US Grammies.

Recently Richie Havens asked Harry to play on his new album as well as open for him on tour. When Richie came localy to Nevada City, California, for that date few knew of Harry. After the show many I spoke with thought Harry easily stole the show. Later when we spoke with Harry he mentioned that Richie expected this may happen but wanted to introduce Harry to others who did not know of him. Richie had become a true fan of Harry.

Harry’s blending of India Raga’s and Blues is a much needed breath of fresh air in the blues. He doesn’t stray far from the foundation of the blues, but brings an international flavor which I feel many of those who were the fathers of blues would welcome. It is a unique style coupled with some great tasty playing.

I have to admit to having a prejudice against our California blues which appears to be more interested in power cords on the guitar than tasty blues guitar work. I have often termed it as white boys playing what they think is the blues but is really just rock and roll. The tasty aspect of the old time blues musicians is missing with so many of our younger blues guitarist. It is all about fast, powerful ripping cords that assault the ears with little soul or feeling. Harry is all about that tasty soulful feeling lost to so many white blues men. Take a listen and if you like then search for more of Harry. Believe me it is worth it.

What is an OS gathering without Music, Drink and Dance

Thu, 23 Apr 2009 17:04:53 -0400

I read about that wonderful Scottish Fling gathering in San Francisco of fellow OS’ers. Unfortunately there was no way we could make that as our weekends have been so full.

But I would hope those OS'ers who enjoyed the Scottish fling would love to gather in a place that Cindy and I will be in October. We have been hired to be a part of the management team for the KVMR Celtic Music Festival and Market Place.

Take a quick look at the web site for where we will be: http://kvmr.org/celticfestival/index.html

Those hats were great. But now there is time to plan for this and come in full costume to 13th annual KVMR Celtic Festival and Market Place which is held at the Nevada County Fair Grounds in Grass Valley, California the first weekend of October.

The Fair Grounds has a camp site with RV hookups or you can stay in a B&B (there are several) or hotel.

It is one of the top Celtic Festivals in the Western states. Another of course the one a friend puts on in Sebastopol, California a couple of weeks earlier.

This is more than music, it is an event for those OS'ers who are serious hedonists as there is much to enjoy.

After reading Cathy's comments about the OS Scottish fling I thought as we couldn't make the OS gathering in San Francisco I would hope that the OS'ers would enjoy a full weekend of Celtic experience with jousting, dances, storytelling, games, history.

Take a look at the web site, and browse through all of it including the history. Cindy and helped put together the first festival. This has grown to where it has become large community for the weekend, a village. For those who fondly recall the Renaissance Fairs of years past I am sure you will enjoy this

Below are two performers booked so far. Dougie McClean has always been an audience favorite and Enter the Haggis is high energy Celtic Rock and will get you dancing for sure.

I should apologize for this sounding like a commercial for the Festival. But, again, after seeing all of you enjoying yourselves at the Pub and finding myslef somewhat envous I thought, they NEED to come to the Festival as it is only a couple of hours from the Bay Area held at the most beautiful fair grounds in California.

Blazing the Trail for Rock and Roll Goddess's

Mon, 23 Mar 2009 22:03:26 -0400

Screaming Mama wrote of the “younger” oldsters who are still playing Rock in their 50’s with a mention of Cher at 60 who still going strong. They each owe something to Alice Stuart.

Like many of those who became Rock and Roll legends in the 60’s Alice began as a Folk Singer. Soon after she graduated from high school in Chelan Washington she headed to Seattle where she began playing at a local Folk Hang out, Pamir House. She also began appearing at as a regular on a weekly local TV gig on Hootenanny.

In 1961 she appeared at the Seattle World’s Fair. During this time she discovered the music of Furry Lewis, Blind Willie McTell and Bessie Smith. The blues she knew was the music she wanted to play.

In 1964 she performed at the Berkeley Folk Festival where she formed a friendship with Mississippi John Hurt, one that would have them touring together. She also toured during these early years with Rosalie Sorrels, Jack Elliott, Doc Watson, Phil Ochs and Joan Baez, all icons in the folk world.

In the early days of the Mothers of Invention Frank Zappa added Alice as lead guitarist and vocals. They also became romantically during this time. Frank was playing Country blues at this time, Muddy Waters and Howlin Wolf and thought Alice as lead guitar and vocals would be good for the band. Frank and Alice’s musical styles though proved to be different and they eventually parted.

Alice eventually returned to Berkeley and formed a band. Soon she signed with Fantasy Records along with her friend John Fogerty. Like Fogerty her contract claimed ownership to every song she would write during this period. Both Alice and John were victims of the contract Saul wrote and would cost each hundreds of thousands of dollars.

In the 70’s Alice appeared on the Dick Caveat show hosted that evening by George Carlin. She also appeared on British TV during a tour of Europe forever became a British favorite.

During the 70's Alice would be featured in several magizines. Guitar Player magazine featured Alice in an article in 1974. Rolling Stone Magazine profiled Stuart in 1975 in a feature, "Guitars of the Stars", where she was mentioned alongside Chet Atkins, Mike Bloomfield, David Bromberg, Jose Feliciano, Bonnie Raitt, and Doc Watson, among others.

Jackie Deshannon would have a number one hit in 1970 with a song that Alice wrote, “Full Time Woman”. Alice never received a dime from royalties. Her music has been covered by many artists over the years but again Alice never receives the royalties from those covers even though she is listed as the songwriter.

In the mid 70’s while touring in Europe with Van Morrison Alice quit. She was burnt out and disillusioned. She left music behind returning to collage. She moved to a Northern California community to raise her son and daughter. She went to work as a legal secretary in an office were no one knew of her music past. She worked for an attorney played guitar and folk music but had no idea of Alice’s background. She was purposely anonymous.

Alice would not play music again for nearly 20 years. It would be the California Blue Grass Association Fathers Day festival in Grass Valley California that would spark the interest. Alice would attend the festival and jam.

In the mid 90’s KVMR radio featured a live concert of Alice Stuart. It was her first performance in nearly 20 years. Few attended and as Alice came to find out that night, “no one remembers me”.

Alice did not become a leader of a Rock and Roll band by being a shrinking violet. Alice had to be a strong willed woman to succeed in the 60’s as a band leader. Women were not welcomed as lead Rock guitarist or even more so as band leaders when Alice was blazing her trail. You had to be strong and, well as a “bitch” at times. Far from being deterred Alice pushed ahead with her come back.

It was not an easy comeback as much had changed from the years when the Grateful Dead opened for her. So many were not aware that it was Alice who as a female leader of a Rock band, writing her own music, playing lead guitar and international rock tours helped blaze a path for female musicians such as Bonnie Raitt, Joan Jett, Melissa Etheridge and Chrissie Hynde, among others. Bonnie Raitt has mentioned Alice as an influence.

Alice in her comeback would write song that would be voted best song at the Sundance Film Festival. The song, “I Ruined Your Life” was featured in the “Station Agent”.

The last few years Alice has been voted as best songwriter, blues guitar player and best blues band in Seattle. At 67 she is still cooking.

I have included a few You Tube videos that I feel represent her music, The first “Down Earth Man” is a solo video from a TV performance, the second is of Alice again solo blues that demonstrates her country blues roots, the last is Alice and her electric rocking blues.

Enjoy

Rounder Records and a well deserved Grammy

Thu, 12 Feb 2009 12:02:06 -0500

Over the years The Grammys have rarely given the award for what truly is the best release of the year in each of the categories it has. This year was no exception.

For Folk Pete Seeger won with what was not the best release of his career nor of those nominated. However few of us are going to complain as Pete has long deserved of this award and for years ignored by the NARA. I was frankly pulling for Rosalie Sorrels but knew the vote was going to Pete at 89.

The same with the Record and Album of the year. An excellent release but not the best of Allison Krause’s or Robert Plants career and many feel that it should have gone to Radio Head. But again none of us are going to complain. Particularly those of us who have been fans for years of what Rounder records have been doing. They deserve the recocnition.

I have come to know Ken Irwin over the years and have a tremendous amount of respect of what he and his partners have done as well as sharing the concern of the survival of this one of the best independent labels.

This appeared in the Boston Globe.

Rounder Records founders, from left, Marion Leighton-Levy, Ken Irwin, and Bill Nowlin were all smiles after their label won the Grammy Awards for album and record of the year Sunday. (JONATHAN ALCORN FOR THE BOSTON GLOBE)

Grammys ease way for Mass. label

By Sarah Rodman

Globe Staff / February 11, 2009

The three founders of Burlington-based Rounder Records were no strangers to the Grammy Awards, having been rewarded many times for the label's specialties: folk, bluegrass, and roots music. But Sunday night, the former local college students, who started Rounder 38 years ago, stepped out from their niche in the biggest possible way. A Rounder release won the top two awards, for album and record of the year.

The artists who claimed those prizes, Alison Krauss and Robert Plant, swept every category in which their album "Raising Sand" was nominated.

"As an independent label, it's one of those things that you dream about," said John Virant, president of Rounder, "and it became a reality."

But when Virant and label founders Marian Leighton-Levy, Ken Irwin, and Bill Nowlin returned from Los Angeles, where they celebrated into Monday morning, they faced the same challenges as do every record company executive.

Even Plant seemed to understand, praising Rounder from the Staples Center stage as "an independent label working against all sorts of stuff, which is terrible, but thank you."

Last year, Rounder cut its staff from more than 100 employees to roughly 75, and at the time Nowlin (a Tufts grad like Irwin) admitted uncertainty about the label's long-term future. "Keeping the record company alive is the main goal," he said.

The remarkable success of "Raising Sand" should go a long way in doing that. Immediately after the awards, it flew to the top of the Amazon music rankings as well as several digital download sites. So far it's sold over a million copies in the United States and another million worldwide.

"There's no question that it will be just a tremendous boon," Leighton-Levy said from Los Angeles on Monday. "It means a great deal at this point in time to have a nice bounce like that come right back to the bottom line."

Rounder has had its greatest success with Krauss, who in two decades has become the most-awarded female artist in Grammy history, with her haul rising to 26. She is the only artist on Rounder to have sold a million copies of a single title in the United States alone.

Matching the country-bluegrass superstar with the legendary voice of Led Zeppelin was an odd notion, to say the least. Seven years ago the pair were introduced by former MTV executive Bill Flanagan, who thought their voices would blend well. Plant and Krauss liked what they heard when working up an old blues number by Lead Belly. They discussed collaborating, but didn't get their schedules to mesh until early 2007, at which point they enlisted noted producer T Bone Burnett.

The vagaries of the music industry, which has been contracting dramatically in recent years, ended up working to the favor of Rounder, which moved in 2007 from its longtime Cambridge home to nondescript offices in Burlington.

"It came to us in part because of Alison being on the label, but, frankly, Robert Plant wasn't under contract with anyone at the time, and his manager as well as Alison's came to us," Clark graduate Leighton-Levy said. "When we heard it, everybody at Rounder thought that it was an incredibly special record. We didn't know what that might mean in terms of the marketplace, because these are crazy times in which we live, but the music is just undeniable."

So undeniable that the label laid out its most expensive marketing campaign to date. It won't disclose a specific number, but the effort seemed to work, bringing a substantial audience to a mix of obscure tunes from the blues, pop, and country worlds. The duo's haunting harmonies and Burnett's quirky arrangements didn't hurt, either.

"There's no question that we gambled far more than we normally gamble, but we did it because we felt the record justified that," said Leighton-Levy.

While the label executives enjoyed the ceremony in Los Angeles - followed by a low-key victory party with Krauss and Plant - six Rounder employees gathered at the Burlington offices to watch the show on television, their fingers crossed. After winning several lesser awards, the duo performed a medley of songs from "Raising Sand" right before the coveted album of the year award was announced.

By then only four Rounder employees were left, along with a boyfriend and a puppy.

"We're freaking out," publicist Sarah Leach said after the members of the band Green Day announced the final award. "It's so awesome." There was no champagne, but there was A&W Root Beer - as well as vanilla cupcakes decorated with the Rounder logo.

Next year they might be able to afford a whole cake. Rounder has recouped its investment on "Raising Sand" and stands to make even more profit as the release benefits from an inevitable Grammy bounce. Some 19 million people watched the CBS broadcast, two million more than last year's show.

Billboard magazine executive editor Rob Levine believes Plant and Krauss are uniquely suited to take advantage of the exposure.

"It's the kind of music that's listened to by people who do buy CDs," he says of the older demographic attracted to the album's musical mix. The fact that the record fell under the radar of many, yet still went platinum, is also a bonus. "You tend to see the biggest bounces for things that haven't been saturation-marketed," Levine said.

Yet for a record label today, music is only one way to boost the bottom line, and Rounder has been challenged to diversify the kinds of artists it releases as well as the products it puts into stores.

Besides "Raising Sand," the label has scored with "tween" vocal group Girl Authority, a series of hard-rock DVDs, and Nowlin's Red Sox-related books.

One artist with faith in the label's future is Bela Fleck, who won a pop instrumental Grammy on Sunday for his holiday release "Jingle All the Way." As a young artist - and neighbor of Leighton-Levy's - the banjo virtuoso called Rounder home for over a decade before trying his fortune at major labels. He returned to the fold last year.

"I've gone back because the record business has disintegrated to where I looked over at Rounder and realized that most of the same people were still working there from when I was there in the '70s, and I liked that," said Fleck.

Leighton-Levy said that's no accident.

"Over the last 38 years, there were so many times that people expected that Rounder's course would be like all indie labels," she said. "That once you had your first big records . . . you would, of course, relocate to LA or Nashville or New York. We always have resisted that, because we love New England and we like being independent."

Independent, and, this week, at the top of the music game - with more good news on the horizon.

Plant and Krauss are back in the studio working on a follow-up, which is why the celebration Monday morning broke up by 1 a.m., according to Leighton-Levy.

"Alison and Robert, and the rest of the band had early-morning flights to get back to Nashville," she said.

Globe staffer Katie Johnston Chase contributed to this report. Sarah Rodman can be reached at srodman@globe.com.