From a tribute to a club, to a tribute to a city – all in one night. That’s our folk club.
The Last Beer gave us a nostalgic paean to traditional folk music. John Boutté and Paul Sanchez talked of a city, sang of a city, shared their love of city. The exquisite and soulful version of “City of New Orleans” introduced the theme – not a train disappearing but a city rebirthing.
Sanchez and Boutté – ambassadors. Sanchez is from the Irish Channel of New Orleans, a tough area around the docks – at least, it was when Paul was a boy. Is that where he learned his cool half-smile demeanor – watchful, stoic, suave – a Paul Newman with a guitar that can somehow capture the rhythm of both funeral band and jazz club as well as support the magnificent voice of John Boutté?
John Boutté is from Tremé – just north of the French Quarter – rather Creole genteel, according to Paul, (the internet advises taking a taxi, if you go after dark) but also the heart of the musical district in New Orleans. No wonder the Tremé produced Boutté, the personification of kinetic energy with an astounding voice that stretches effortlessly from sublime jazz, to virtuosic soul, to heart-breaking blues, and back up again to gloriously uplifting gospel.
The Irish Channel and Tremé proceeded to give the club an unforgettable cultural tour of the city they love: “A Stew Called New Orleans” provided a recipe for a mixing pot of a city with an adjuration to not “forget to bring your greens.” “Marie Laveau Voodoo Queen” invoked steamy heat and a fiery sing-and-repeat that had this reserved, Canadian club entranced. “Door Poppers” was an eyeful and a salute to nosey neighbours and the versatility of English in melding to any cultural context.
Besides songs that seemed to touch at the very heart of New Orleans – the most poignant being “Louisiana 1927” as a reminder of Hurricane Katrina - the night featured some songs that highlighted Boutté’s rising star: “Tremé Song” will be the music for the upcoming HBO series “Tremé,” set to premiere on April 11, 2010. Similarly John’s “Hey God” was named by offBEAT Magazine as the Best Song of 2009.
Although the evening was a short course in culture, the truly “eye poppin” part was the singular musicianship of John with his voice and Paul with his guitar. The club is indeed fortunate to attract such stellar professionals.
Sunday, March 7, 2010
The Last Beer
“Nostalgia” was how Suze Casey described the opening set of the March 5th folk club. Yep! Many folk club members do have a wistful yearning for the good old days and the good old sing-a-longs. Certainly The Last Beer provided some of the favourites that are burned into the memories of the folkies, but the March 5th set seemed more in the ilk of a tribute – a memorial service to the great club and the great songs. Oh yes!
The band – consisting of Don Whitehead, Ed Ferguson, Jagan Seshadri, Mike Miller, Rudi Stocker, and Ralph McNeil – seemed to be calling on the Ghosts of Folk Club Past by kicking off their set with the “Wild Rover.” Mansel Davies may cringe now at “Red is the Rose,” but it and “Wild Mountain Thyme” have sacred hymn status in the club. Stan Rogers and Garnet were saluted in “Rolling Down to Old Maui,” and who could forget the inspiration for the band’s Graham Jones-esque version of “Weave and Spin”? The night was almost a mini “All Neil, All Night” except it was “All Trad, All the Way” – even the beer.
The Last Beer, a Calgary based group, who also work at a “medium-sized engineering company” promised not to sing any songs about complicated mathematical equations. In fact, their performance was totally professional and polished: They were together, unified, and happy. And they had a standing ovation. Well, of course, you say. They brought one hundred of their friends. Now, now. The club members may be slightly above average in the age category, but they still remembered. They rose in tribute to well-performed classics of folk and were rewarded with one more - Alistair MacGillvary’s “Song of the Mira,” Cape Breton’s anthem, a perfect note to finish on what seemed to be a night of both nostalgic remembrances and family reunions.
The band – consisting of Don Whitehead, Ed Ferguson, Jagan Seshadri, Mike Miller, Rudi Stocker, and Ralph McNeil – seemed to be calling on the Ghosts of Folk Club Past by kicking off their set with the “Wild Rover.” Mansel Davies may cringe now at “Red is the Rose,” but it and “Wild Mountain Thyme” have sacred hymn status in the club. Stan Rogers and Garnet were saluted in “Rolling Down to Old Maui,” and who could forget the inspiration for the band’s Graham Jones-esque version of “Weave and Spin”? The night was almost a mini “All Neil, All Night” except it was “All Trad, All the Way” – even the beer.
The Last Beer, a Calgary based group, who also work at a “medium-sized engineering company” promised not to sing any songs about complicated mathematical equations. In fact, their performance was totally professional and polished: They were together, unified, and happy. And they had a standing ovation. Well, of course, you say. They brought one hundred of their friends. Now, now. The club members may be slightly above average in the age category, but they still remembered. They rose in tribute to well-performed classics of folk and were rewarded with one more - Alistair MacGillvary’s “Song of the Mira,” Cape Breton’s anthem, a perfect note to finish on what seemed to be a night of both nostalgic remembrances and family reunions.
Wednesday, November 18, 2009
Shanneyganock
The name Shanneyganock, according to scores of unofficial biographies online, means “creatures of the night” in Gaelic. On Friday night at the CFC, it wasn’t hard to see that this band, in their 15th year and with seven studio releases, are used to late night parties where their music is the reason people are staying up late!
As Suze Casey mentioned in their introduction, some of the other venues the band has played in Calgary have tended towards the rowdy side. During their two sets on Friday night, Shanneyganock certainly displayed many markers of a pub band: they were loud, lusty, and lively but their focus on traditional music and flashes of virtuosity won the hearts of the CFC audience who sang along to every song and roared at every joke.
Musically, the band are seasoned professionals and their performance contained some brilliant moments: Chris Andrews’ vocals were gritty and captivating and his version of Stan Rogers’ “Northwest Passage” had people murmuring in astonishment. It is rare to find a voice that can live up to the challenge of Stan Rogers song. Andrews’, in my opinion, did it and then some. Bob Pike on vocals and bass and Mike Clarke on drums showed that no matter the key change, tempo shift, or break into a new time signature, this band was as tight as a bodhran and as polished as a penny whistle. Perhaps the most alluring element, musically, however was the instrumentation of Mark Hiscock on accordion (and occasionally mandolin and banjo).
Showcasing the proudest and most virtuosic of Newfoundland traditions on his squeezebox, Hiscock elevated the arrangements of many of the band’s songs to the level of the sublime. A calm and almost still presence on stage, Hiscock’s fingers skipped, capered and gamboled across the buttons of his instrument. It was a joy to behold and a gift for the ears.
The bottom line: the audience was delighted with Shanneyganock and responded with a standing ovation. You didn’t have to be a Newfoundlander to laugh at the comedy, mourn the passing of a way of life, or applaud the irrepressible spirit portrayed by this band. The last number, “Mussels in the Corner,” is the traditional Newfoundland dance tune, almost an anthem. While most of the crowd chose not to join the enthusiastic rug-cutters to the side of the stage (literally in the corner!) it seems as if everyone was dancing in their hearts. Shanneyganock was certainly a good reason to stay up late.
INTERSTING SIDE NOTE: In 2005, 989 accordion players gathered in St. John’s at the Newfoundland and Labrador Folk Festival to “Mussels in the Corner” simultaneously.
As Suze Casey mentioned in their introduction, some of the other venues the band has played in Calgary have tended towards the rowdy side. During their two sets on Friday night, Shanneyganock certainly displayed many markers of a pub band: they were loud, lusty, and lively but their focus on traditional music and flashes of virtuosity won the hearts of the CFC audience who sang along to every song and roared at every joke.
Musically, the band are seasoned professionals and their performance contained some brilliant moments: Chris Andrews’ vocals were gritty and captivating and his version of Stan Rogers’ “Northwest Passage” had people murmuring in astonishment. It is rare to find a voice that can live up to the challenge of Stan Rogers song. Andrews’, in my opinion, did it and then some. Bob Pike on vocals and bass and Mike Clarke on drums showed that no matter the key change, tempo shift, or break into a new time signature, this band was as tight as a bodhran and as polished as a penny whistle. Perhaps the most alluring element, musically, however was the instrumentation of Mark Hiscock on accordion (and occasionally mandolin and banjo).
Showcasing the proudest and most virtuosic of Newfoundland traditions on his squeezebox, Hiscock elevated the arrangements of many of the band’s songs to the level of the sublime. A calm and almost still presence on stage, Hiscock’s fingers skipped, capered and gamboled across the buttons of his instrument. It was a joy to behold and a gift for the ears. The bottom line: the audience was delighted with Shanneyganock and responded with a standing ovation. You didn’t have to be a Newfoundlander to laugh at the comedy, mourn the passing of a way of life, or applaud the irrepressible spirit portrayed by this band. The last number, “Mussels in the Corner,” is the traditional Newfoundland dance tune, almost an anthem. While most of the crowd chose not to join the enthusiastic rug-cutters to the side of the stage (literally in the corner!) it seems as if everyone was dancing in their hearts. Shanneyganock was certainly a good reason to stay up late.
INTERSTING SIDE NOTE: In 2005, 989 accordion players gathered in St. John’s at the Newfoundland and Labrador Folk Festival to “Mussels in the Corner” simultaneously.
Sunday, November 15, 2009
Cort Delano and The Bownesians
The Calgary Folk Club is like a grande dame dowager with a closet full of classics, a tried and true sense of style, but a yen for the trendy. Darling, what is a girl to do? Accessorize, accessorize.
Friday night the CFC did just that. The opening set featured two guests, the Bownesians and Cort Delano, both finalists in the Calgary Folk Festival Songwriting Competition for the “Best Song For Alberta” category. Not only up-and-coming and trendy, these acts have folk cred as well.
The Bownesians (from Bowness, of course) are a six-member band who won the 2009 Best Song of Alberta for “How Allen Saved the Radio Station.” More than one CFC patron I spoke to commented on how rare and wonderful it was to hear songs that celebrated Calgary like the songs of the Bownesians did. Lyrics like “He’s from Bowness, she’s from Montgomery” had the audience giggling and possibly contemplating their city in an entirely new way.
The musicianship of this group lived up to their lyrics. Smiling Doug Waite’s voice lit up songs while Leah McCartney’s jazz-tinged vocals and nonchalant sway brought just a hint of illicit backroom hootch dive to the staid CFC. The bass, keyboards, drum kit, and percussion were notable for their infectious energy. It was needed in a set that effortlessly jumped from rockabilly, to surf, and even to a gorgeous cover of a bossa nova standard. The Bownesians are a class act that, hopefully, will become a classic in the CFC’s closet.
When Cort Delano and his sidekick “Chester” strode on stage in the second half of the opening act the hats (black Western and porkpie jazz) seemed to promise an astounding fusion: country & western with jazz inflections.
Not to be. Cort has positioned himself firmly in what CKUA’s Allison Brock might call “Wide Cut Country.” The chorus of his opening song probably captures his essence, “It’s all for the love of the game.” In his case, the game is songwriting and singing. He has the words and he has the feeling but above all Cort has a clear and unabashed love of his home that shines through his music.
Fort MacLeod, jughounds, hockey, and horses like family members all found their way into Cort’s set on Friday night. “Since then she’s been the patches for the holes in my life” typifies the soulful phrasing that Cort is making his trademark. This young artist certainly has time and talent on his side.
Friday night the CFC did just that. The opening set featured two guests, the Bownesians and Cort Delano, both finalists in the Calgary Folk Festival Songwriting Competition for the “Best Song For Alberta” category. Not only up-and-coming and trendy, these acts have folk cred as well.
The Bownesians (from Bowness, of course) are a six-member band who won the 2009 Best Song of Alberta for “How Allen Saved the Radio Station.” More than one CFC patron I spoke to commented on how rare and wonderful it was to hear songs that celebrated Calgary like the songs of the Bownesians did. Lyrics like “He’s from Bowness, she’s from Montgomery” had the audience giggling and possibly contemplating their city in an entirely new way.
The musicianship of this group lived up to their lyrics. Smiling Doug Waite’s voice lit up songs while Leah McCartney’s jazz-tinged vocals and nonchalant sway brought just a hint of illicit backroom hootch dive to the staid CFC. The bass, keyboards, drum kit, and percussion were notable for their infectious energy. It was needed in a set that effortlessly jumped from rockabilly, to surf, and even to a gorgeous cover of a bossa nova standard. The Bownesians are a class act that, hopefully, will become a classic in the CFC’s closet.
When Cort Delano and his sidekick “Chester” strode on stage in the second half of the opening act the hats (black Western and porkpie jazz) seemed to promise an astounding fusion: country & western with jazz inflections.
Not to be. Cort has positioned himself firmly in what CKUA’s Allison Brock might call “Wide Cut Country.” The chorus of his opening song probably captures his essence, “It’s all for the love of the game.” In his case, the game is songwriting and singing. He has the words and he has the feeling but above all Cort has a clear and unabashed love of his home that shines through his music.Fort MacLeod, jughounds, hockey, and horses like family members all found their way into Cort’s set on Friday night. “Since then she’s been the patches for the holes in my life” typifies the soulful phrasing that Cort is making his trademark. This young artist certainly has time and talent on his side.
Sunday, November 8, 2009
Next Club
On November 13th, the phenomenal Newfoundland band Shanneyganock is coming to the club. For tickets please call 403-220-7202 or visit our website for more information. If you’d like, why not watch a video of Shanneyganock performing “Grey Foggy Day” posted on our facebook page?
Opening up for Shanneyganock will be Cort Delano and the The Bownesians. This talented Alberta singer-songwriter’s songs have been finalists (more than once) in competitions such as Calgary Folk Fest Songwriting Competition. It will definitely be an entertaining evening. Get your tickets now for what will certainly be a sold-out show.
Opening up for Shanneyganock will be Cort Delano and the The Bownesians. This talented Alberta singer-songwriter’s songs have been finalists (more than once) in competitions such as Calgary Folk Fest Songwriting Competition. It will definitely be an entertaining evening. Get your tickets now for what will certainly be a sold-out show.
Thursday, November 5, 2009
Robin and Linda Williams
The fall season of the Calgary Folk Club has been like a wedding: “Something old, something new.” Robin and Linda Williams are part of the something old with 36 years of marriage and musical partnership under their belts. Does that make them troopers (soldiering on) or troupers (the show must go on)? When asked the secret of such longevity, Linda answered, “Compromise, compromise.” When asked where her vibrato had gone, she said, “I couldn’t stand listening to it, so I got rid of it.” Note to Robin: Don’t push the compromise.
On Friday night, it was not hard to see why the Calgary Folk Club asked this group back for their eighth appearance (the first being way back in 1981). The familiar duo and their band sang, plucked, kibitzed, and dazzled their way through an evening of beautifully crafted original songs. The lyrics of these songs often spoke directly to how longtime fans of this group may have been feeling: Old spouses, friends, and styles of music (whether they are fashionable or not) are always still worth a love song or two.
Certainly, the showmanship of the duo was worthy of the love the fans were giving them. Linda deftly showcased her frailing style of banjo playing (see Pete Seeger’s “How to Play the 5 String Banjo”) and charmed the audience with such lines as “Everyone, this is my current husband, Robin Williams.” Robin, not to be outdone, provided the effortless melodies, harmonies, guitar playing, and unassuming charm that fans have come to expect over the years. The combination of these two talents was, as you might expect, golden.
Of course, the back-up musicians (“The Fine Band”) were an integral part of the show and provided a slightly hybrid feel to the music. Jim Watson, the image of stolid intensity (or St. Paul with a bass) held to his bluegrass sensibilities while Dr. Chris Brashear, playing hooky from his vet practice, with his fiddle, violin and fine voice, seemed to be drinking from the fountain of old time music. Both Jim and Chris had opportunities to showcase songs of their own which stood in interesting contrast to the originals by Robin and Linda.
Murder, homelessness, alcoholism, hallowed old instruments, and last night’s fight were all topics for the stage on Friday night. Similarly, the band flirted with bluegrass, country, gospel, and yes, even folk, to show that even “something old” can be entirely, surprisingly, and entertainingly new. We can only hope that Robin and Linda will one day be back for appearance number nine.
On Friday night, it was not hard to see why the Calgary Folk Club asked this group back for their eighth appearance (the first being way back in 1981). The familiar duo and their band sang, plucked, kibitzed, and dazzled their way through an evening of beautifully crafted original songs. The lyrics of these songs often spoke directly to how longtime fans of this group may have been feeling: Old spouses, friends, and styles of music (whether they are fashionable or not) are always still worth a love song or two.
Certainly, the showmanship of the duo was worthy of the love the fans were giving them. Linda deftly showcased her frailing style of banjo playing (see Pete Seeger’s “How to Play the 5 String Banjo”) and charmed the audience with such lines as “Everyone, this is my current husband, Robin Williams.” Robin, not to be outdone, provided the effortless melodies, harmonies, guitar playing, and unassuming charm that fans have come to expect over the years. The combination of these two talents was, as you might expect, golden.
Of course, the back-up musicians (“The Fine Band”) were an integral part of the show and provided a slightly hybrid feel to the music. Jim Watson, the image of stolid intensity (or St. Paul with a bass) held to his bluegrass sensibilities while Dr. Chris Brashear, playing hooky from his vet practice, with his fiddle, violin and fine voice, seemed to be drinking from the fountain of old time music. Both Jim and Chris had opportunities to showcase songs of their own which stood in interesting contrast to the originals by Robin and Linda.
Murder, homelessness, alcoholism, hallowed old instruments, and last night’s fight were all topics for the stage on Friday night. Similarly, the band flirted with bluegrass, country, gospel, and yes, even folk, to show that even “something old” can be entirely, surprisingly, and entertainingly new. We can only hope that Robin and Linda will one day be back for appearance number nine.
Wednesday, November 4, 2009
After the Storm
According to Rick Platz, After the Storm (the CFC’s newly configured house band) served up “traditional Canadian rock music” in the opening set of the October 30th Calgary Folk Club. “Rock,” you say! You mean that kind of music that makes every orifice vibrate? (Thanks, Gary Gregory) No, no! Rock as in traditional music from Newfoundland. Good pun, Rick.
It wasn’t entirely a Newfie night although the evening had a strong nautical/Celtic flavour with a kitchen party element. The CFC tradition of sing-a-longs reaches back to and beyond Pete Seeger leading the audience in choruses. “Sonny’s Dream,” “Black Velvet Band,” and “Fiddler’s Green” gave the angelic voices of the folk club choir the chance they had been waiting for to blend with the mellow tones of Rod Walsh. Singing back-up, indeed.
Graham Tait performed some magic as he made his piano accordion sound like a little five-button squeeze box on the accompaniment to “Fiddler’s Green.” John Thiel both grounded and lifted the band with his spirited bass playing and soaring harmonies. Then when the fantastic fiddlers Ben and Scott let loose with “Calliope House” and “MacArthur’s Road,” it was surprising that an energetic down easter didn’t leap into the aisle for a true participaction step dance.
The storm, if we are talking one of great music, doesn’t seem to be over yet from this entertaining and unpretentious group of five. The club is lucky to have landed on its feet yet again with another talented house band.
Another “traditional Canadian rock” sing-a-long anyone?
It wasn’t entirely a Newfie night although the evening had a strong nautical/Celtic flavour with a kitchen party element. The CFC tradition of sing-a-longs reaches back to and beyond Pete Seeger leading the audience in choruses. “Sonny’s Dream,” “Black Velvet Band,” and “Fiddler’s Green” gave the angelic voices of the folk club choir the chance they had been waiting for to blend with the mellow tones of Rod Walsh. Singing back-up, indeed.
Graham Tait performed some magic as he made his piano accordion sound like a little five-button squeeze box on the accompaniment to “Fiddler’s Green.” John Thiel both grounded and lifted the band with his spirited bass playing and soaring harmonies. Then when the fantastic fiddlers Ben and Scott let loose with “Calliope House” and “MacArthur’s Road,” it was surprising that an energetic down easter didn’t leap into the aisle for a true participaction step dance.
The storm, if we are talking one of great music, doesn’t seem to be over yet from this entertaining and unpretentious group of five. The club is lucky to have landed on its feet yet again with another talented house band.
Another “traditional Canadian rock” sing-a-long anyone?
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