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.

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.

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.

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.

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?

Lennie Gallant

Shall we vote Lennie Gallant as one of the seven natural wonders of Canada?

After eight albums, three Juno awards, fifteen East Coast Music awards, and one induction into the Order of Canada it isn’t hard to see that our Lennie is a force of nature.

Neither is it hard to see that there is something quintessentially Canadian about the music and the man: On Friday night at the Calgary Folk Club, Gallant championed the cause of our wounded soldiers returning from overseas, regaled us with stories of his music journeying in space with a Canadian astronaut, and even sang songs in both our national languages.

Indeed, Gallant’s own love of Canada – and especially the east coast – was apparent throughout his performance. During his introduction to his song “The Pull of the Fundy Tide,” he drew attention to the fact that this beautiful and unique section of Canada (it has the highest and lowest tides of any body of water anywhere) is on the list to become one of the seven natural wonders of the world.

So the question asked at the beginning of this post was specious. There is no way for us to vote in Lennie as one of our natural wonders alongside the Rocky Mountains, Niagara Falls, and the Aurora Borealis. But if you are inclined, you can vote for him online in CBC Radio Two’s Great Canadian Song Quest. It seems the country is starting to wake up to the fact that Gallant is, indeed, one of our national treasures.

Of course, the guy from Rustico, PEI would be the first to deflect such hyperbolic praise of his work. After all, his songs deal with the small stories of people and places, not the “big” stories of country and identity. But it is exactly these small stories - the lives, struggles, and dreams of ordinary people – that make up the fabric of Canada.

Even Gallant is beginning to acknowledge that he may have “made it” as a nationally recognizable figure. During his first set, he told a story about how he became the answer for a newspaper crossword puzzle. “I am now officially a songwriter with a clue,” he said, much to the delight of the crowd.

The show at the CFC on Friday night contained everything that fans of Lennie Gallant have come to expect over the years: soulful singing, consummate story-telling, snappy guitar-playing, joyous sing-alongs, and, of course, new and old favourites. Gallant’s career may now span more than twenty years but part of his original appeal, according to one enthusiastic female fan I spoke to, is also still intact: “He is definitely the sexiest folk singer in Canada!” she said.

I wonder if there is an online poll for this we can vote on?

The Shirleys

The program introducing The Shirleys promised a veritable trip around the world. “They sing everything from Cuban Carnival music and tragic Russian love songs to Mandarin flirtations and wrenching Appalachian protests.”

In this regard, the opening act at the Calgary Folk Club on Friday, October 16th did not disappoint. The musical terrain traversed by this out-standing, all female, a capella group from Vancouver was, certainly, all over the map: Covers by Nina Simone, Bob Dylan, and Ben Harper? Check. Feminist anthems and protest songs? Check. A pop-inflected original and civil-rights medley? Check. Songs in other languages? Check.

You may be tempted to think that a group so large – six members of The Shirleys were on stage on Friday night – and one with such a diverse set list may have lacked a certain unity. If you thought that, however, you would be quite wrong.

In fact, one of the most impressive things about this sextet was how tight they were musically and as a group. When these ladies sang it was almost as if they did so with one voice. Their gorgeous vocal arrangements were replete with rich, full, seamlessly blended harmonies that lifted the spirit. There was also no distinction between the members; no one seemed to be the leader or the “main performer” in the group. They all took turns introducing their songs or supplying lead vocals. As a group they were remarkably free from pretensions or egos and their musical concord benefited greatly from this fact.

Togetherness, community, harmony, social conscience, global awareness – it was a musical banquet (as much as a journey) during the first set at the CFC on Friday night. However, to this list I would add another important ingredient: jubilation. The program had warned us that The Shirleys’ songs “would reflect humanity’s common hopes and aspirations for a better more joyful world.” By the end of the set I certainly noticed a warm feeling inside of me and a smile across my face.

Garnet Rogers

“The smell of wood smoke, September stars, and the autumn air so chill and sweet…”

Like his lyrics, Garnet Rogers’ performance at the club on Friday night was a mixture of improbable, sometimes contradictory elements. Like the autumn air he describes in his song, “Soul Kiss,” Garnet seemed to be, at various times, both chill and sweet. For lifelong fans of his work (and I count myself among this number) the opposing elements of Garnet’s music and character were thrown into sharper relief during these two sets than in any other venue at which I have seen him.

He was brooding and funny, distant, almost lost in his music at times and, at others, intently committed to sharing his life. He told stories that uplifted – the tale of his reunion with Archie Fisher was particularly moving. However, for every current of joy in his performance there seemed to be darker tides underneath.

The instrumental songs he chose to play were long and haunting. His lyrical songs seemed to unlock, in unerring detail, the tragedies of everyday life: A fading country star dies alone in a motel room before being mysteriously carried off by fireflies in “Empty Glass”; a proud race horse is saved just in time from becoming dog food in “Small Victory”; and in “Archie’s Song” the joy of reunion with an old friend is almost overshadowed by the beautiful lines that tell of why so many people become separated from their loved ones in the first place: “Hard words, too much pride, and a dark frozen lake lay between us.”

Darkness and complexity have always been hallmarks of Rogers’ unique style. On this night, however, they seemed to take centre stage a little more forcefully than usual. He closed the evening with a combination of two songs, “Night Drive” and “Northwest Passage.” In the first, the ornamental instrumentation was mysterious and echoing; Rogers actually seemed to become the driver of this song’s title, a traveler on an isolated highway, surrounded by his drifting guitar licks like the flickering of street lights or of distant stars. In the second, the familiar a capella song penned by his brother became an electrified, almost angry shout out at those same stars; Rogers, as an explorer of uncharted musical territory, seemed to be defying critics or anyone who may begrudge him a musical legacy so distinct from his brother’s.

Like wood smoke, this performance was elusive but alluring. Underneath the smoke, a closer look revealed a fire that stills burns with intense passion, tremendous sensitivity and unparalleled artistry. It was a show of contradictions but also one of great paradoxical beauty.

Dala

Archie may have been making headlines recently by ending his decades-long dilemma between Veronica and Betty, but with the first act of the evening on Friday night, CFC patrons seemed to be getting (for one too-brief set at least) the chance to experience something even a fictional red-headed heart-throb wouldn’t dare dream of: the best of both worlds.

In Dala, the dynamic and beautiful musical duo from Scarborough, Ontario, it appears that Veronica and Betty have set aside their differences, ditched Archie for a life on the road, and combined their copious talents towards something much more worthwhile: the creation of exquisite and unforgettable music.

Much was made of the fact that the youthful Sheila Carabine and Amanda Walther had the presence and talent of folk musicians twice their age: “They sing the songs their parents used to sing,” Mansel Davies said during his introduction for the ladies, “and one gets the sense that these beautiful old songs are more than safe in the hands of these young people.”

Indeed, in their set which was an interesting mix of musical styles, original music and reinvented covers, the loving renditions of old familiar tunes struck a chord in the hearts of the CFC regulars. An incredibly tender version of the traditional tune “Red is the Rose” prompted an audience response of robust participation complete with full harmony. A slightly shocked Amanda commented after the song, “Wow. That’s the best that has ever sounded. Can we take you guys with us?”

While their version of Neil Young’s “Ohio” triggered Garnet Rogers (perhaps with jealousy?) to comment much later in the evening, “Get your own decade!”, a number of their original songs harkened back to previous musical epochs as well. As they both sat down at the same keyboard to perform one of their own compositions called “Lennon/McCartney” someone in the audience light-heartedly asked, “Are you going to play chopsticks?” but what followed was a performance reminiscent of all the spark, showmanship, and vocal dexterity of The Andrews Sisters.

In the final song of the set, “Levi Blues,” a lyric seemed to say what all the CFC audience was hoping to hear: “I’ll always come back to you.” With any luck we will see this vivacious and talented duo visit our club again.

Farewell, Frank

Frank Stanley, a long time club volunteer, passed away on September 2, 2009. Frank, in many ways, was the club mascot known and loved by all. Frank was 72, but as John Martland mentioned from the stage on Friday night, he probably had celebrated 154 birthdays over his lifetime. Frank not only volunteered at the club but scores of other places as well. It seems all of them wanted to throw parties for him.

As Mansel Davies said to the crowd last night, “Frank had an ability to bring us all together.” According to John Martland, this was especially true at his funeral, where members of all the volunteer organizations Frank belonged to met for the first time and started to trade similar stories of their beloved Frank. “He is still bringing us together,” Martland said.

Frank will be missed greatly and remembered fondly at our club where he was a permanent fixture and welcome reminder that the CFC is made possible only through the work of committed and dedicated volunteers.

A Mighty Fine Opener

Rollicking choruses, sprightly fiddle tunes, soulful ballads, raucous repartee, and a rolling wave of voices unchained. Others may have their Woodstock revivals but the Calgary Folk Club’s 38th opener was a warm, fuzzy, nostalgic love-in. The iconic Wild Colonials had returned to give a proper warm-up to the even more iconic (some would say titanic) Eric Bogle.

The Wild Colonials were accompanied by the young‘uns, Rod, Scott, and Graham, the future torch bearers and link to the wonderful years when loyal fans came to relieve their work-week stress by lifting their voices and downing a pint. The sextet were in good form. Mansel of sputtered indignation, John of ribald riposte, and Gordie of Crocodile Black schtick played their usual roles. Perhaps they even had practised as concentration carved the Wild’s faces as they matched musical licks with the energetic playing of the younger trio. The Wild Colonials always had an awareness of their role as an opener, a stage setter, a warm-up. This night was no exception. Their last number, “Leave Her Johnny, Leave Her” was not only a poignant tribute to Johnny Worrall but a reminder that like elves in the Ring Trilogy seeking their Grey Haven, the elfish Eric Bogle is leaving, if not Middle Earth, at least tours in the Northern Hemisphere. “Leave her Johnny” was particularly prescient as Eric Bogle’s last number, “Safe in the Harbour,” was a tribute to Stan Rogers and a re-echo of the theme of retirement. As well as establishing the theme, the opening set gave the crowd the catharsis it yearned for as the Wild Colonials lead chorus after chorus of the old sing-alongs.

Those choruses properly prepped and settled the audience. Eric Bogle is, after all, a songsmith. He takes his observations and experiences and weaves a lyrical web of words. Words need listeners, and listen the club did. A reverent stillness fell. The hush was so heavy that we could have been in a cathedral or redwood forest. Fortunately over the years, Eric Bogle has become not just a singer-songwriter but a masterful entertainer. His stories are so funny that a sine curve of attention was created – laughter, hush, laughter, hush. One of Eric’s stories was about annoying requests during his early years to sing Bob Dylan. Sing him he did, much to the delight of the audience.

Bogle’s sideman was the equally talented John Munro on guitar and mandolin. John also writes and did perform one of his songs, “The Glory Days,” a comment that retired life is not just aches and pains but a time of reaped rewards.

Towards the closing of his show, Eric Bogle commented the best way to experience music is a live performance. Of course he is right, but I did purchase one of his 14 CDs. Thanks for the evening and the memory. Good-bye, old friends.