As a music journalist it may seem out of place to bring up the socio-political issues of the day. But in the music that I have recently covered at the English Folk Expo, I found this song whose words and music stir me,...
I'd go back if I could
Take you down and bury you in the woods
Steal your past and erase it if I could
Don't think I wouldn't, I would
For how dare you love anyone but me
How could you love anyone but me
Like a captive I would keep you chained
Keep every moment in every single day
And every person who's ever meant a thing to you
I'd erase them that's what I would do
For how dare you love anyone but me
How could you love anyone but me
And this madness, what am I thinking of?
So destructive for my love
I'm a coward and I'm trying not scream
"Oh you traitor what have you done to me"
How dare you love anyone but me
How could you love anyone but me
And I've seen you, laughing in the light
I see it over and over every night
And it's torture to think of you with her instead
And it hurts no less for being only in my head
How dare you love anyone but me
How could you love anyone but me
......Yes, she has a beautiful voice. Yes, it's wonderfully played. But this song is such a totally honest and riveting expression of bare naked jealousy and speaks so directly (as sometimes only folk music can) that I knew as soon as I heard it that it would be my favorite tune in the set.
For more about the artists visit: josienneclarke.co.uk/
For more of Michal's music videos:...
"Go light the lantern at your door
And honour those who've gone before
The worlds that part us now are twain
For Hallow's Eve is here again."
A few weeks ago I had the great pleasure of attending the English Folk Expo or EFEx. (And I'll be posting a LOT about EFEx and the artists later!)
Although I love English folk music, I had never heard of a single artist that performed during those three intensive days. The level of musicianship was amazingly high, and certainly one of the most memorable performances was by the knockout power trio Show of Hands, who packed the spacious Drill Hall in the Castle Armory. This song immediately struck me as one I wanted to share right away as Halloween approaches. It's called "Hallow's Eve" and was written by Chris Hoban, a music teacher and friend of the band from their hometown of Topsham in Devon.
It describes a holiday that is a far cry from the Halloween we now "celebrate." I have no problem with children dressing up and going door to door asking for sweets. I do have misgivings about forgetting the true, older spirit of the holiday, which is much closer to the Day of the Dead; in which the souls of our forebears are able to communicate with us, and we with them.
As this song states it is a time of both joy and reflection, as the fruits of harvest are gathered in, we await the harshness of winter, and we contemplate the cycles of the seasons and our lives.
So when you place that candle in your Jack o' Lantern this year, maybe think of it as more than just a smiley-face carved in a pumpkin. Take a moment and "honour those who've gone before."
For more information about Show of Hands visit: http://www.showofhands.co.uk/
For more information about the EFEx visit: http://www.englishfolkexpo.com/
For more of Michal's world music videos visit:...
One of the surprising performances at the Crossroads Festival (part of the Colours of Ostrava Festival) in Czech Republic, was from the ensemble called the Clarinet Factory. Made up of heavily classically credentialed players, they made music that was seductive to the ear. Although they had a screen behind them that was presumably showing images to amuse the eye, I found it to be superfluous; the music was more than enough to keep my mind from wandering. Like vocal groups comprised of siblings who have an uncanny blend, the various registers of clarinets produced a similar kind of ear candy. And from the classical training all of these men have, they have derived a great sense of time and tone. I don't know if I would have been quite as enchanted with them if it were not for the angelic singing of Vojtěch Nýdl. His sweet tenor floated beautifully above the closely meshed timbres of the ensemble.
For more information about Clarinet Factory visit:
To see another vocal from the Clarinet Factory, visit...
In my last vlog, I spotlighted the folk performers at the Crossroads Festival (Part of the Colours of Ostrava Festival) in Czech Republic. This time around, I'm covering two very different bands that I had previously known about through their striking videos.
I first became acquainted with...
A few years ago I discovered the music of the Janusz Prusinowski Trio, and it led to an invitation to the very exciting Mazurka Festival that they organize in Warsaw every year. I had no idea, however, that it would eventually...
The massive Colours of Ostrava Festival books major (and less major) acts from the world over. This year, there was a special opening night entitled "Crossroads" dedicated solely to currents in Czech music. Bands of every stripe were selected, from Jazz influenced Free Improv, to Folk, to Things Uncategorizable, but...
For 20 years, the World Music Expo (WOMEX) has been the premiere European destination for targeted world music marketing. But realizing that the concept needs to go truly global WOMEX has been teaming up with other organizations world wide, and collaborating on similar...
My previous post on Cape Verdean Singer Neuza, resulted in a trip to the AME, The Atlantic Music Expo in Cape Verde. As impressive as the local talent was, there were plenty of great acts drawing from the environs. I'm working on a...
Habib Koite, one of Mali's most beloved singer/guitarists was in town last month to promote his new CD "Soô" on Contre Jour Records. He packed NYC's City Winery with a polyglot audience, which included a hefty West African compliment.
Koité is a seasoned performer, and everyone on stage...
If we know anything of Cape Verdean music, it is largely due to the efforts of one man: Jose DaSilva, founder of the Lusafrica label, and producer of the late great Cesaria Evora.
Since that diva's death, there have been many singers touted as having "inherited the mantle of Cesaria...
"Will you LOOK at the size of that Bass Lyra!!"
--Jeff Greene, delegate to WOMEX, and president of Evergreene Music, upon seeing the setup on the stage for the Stelios Petrakis Quartet.
First off, all the instruments you see being played in this video were made by Mr. Petrakis,...
Sevdah, or Sevdalinka, is a folk song form common throughout the former Yugoslavia, and has origins tracing back to Ottoman times, particularly in Bosnia. These songs have been handed down, over the five centuries, and are still a part of the culture of the area, and of late, new interpretations...
If I didn't tell you up front that April Verch and her band are playing from the musical heritage of the Ottawa Valley, you might assume that she is from the American South, or Appalachia, or even New England. The music seems so familiar; part bluegrass, part old timey, part contradance. And as she herself said of her dancing during her concert: "This music originated in the lumber camps. And a lot of people when they see this, they recognize a lot of different dance styles; Irish hardshoe, French Canadian, even clogging or flatfooting... tap dancing in more recent years... if you see any of these dances you're probably right, there's bits and pieces of everything." What this goes to show is that Canada, as much as the United States, is a country built from immigrants, and each ethnicity has brought something to the musical mix. And we hear and see those influences and recognize them right away.
Verch is a wonderful fiddler. She has a rich tone, and a great bowing arm, and a smile that never quits when she plays. She is obviously enjoying herself tremendously. And when she started dancing, she lifted the highly critical WOMEX audience right out of their seats. One of the photographers there confided to me that he was exhausted, just from watching her... but in a good way. As for her dancing, it is polished, exciting, and delivered with that same grin. No wonder her management was mobbed afterwards.
Please make sure to watch this video all the way through, as otherwise you may miss Ms. Verch playing AND dancing simultaneously. She credits the late great John Hartford with inspiring her, and that is easy to see. Her backup band consists of Cody Walters on banjo and bass, and Hayes Griffin on guitar -- and they all sing.
To contact April:
Almost 25 years ago, I was walking down West 4th street in Manhattan, and heard a harp-like sound that seemed extraordinarily out of place in the urban noise surrounding me. I tried to locate the source, and eventually realized it was...
My deep love for British folk music stems back to my first Young Tradition albums, which landed in the USA and immediately made waves in the folk community here. Although there will always be musical mingling along borders, I still find that Britfolk is distinctive from Celtic music. I will...
The press release I received referred to Mosehn Namjoo as "the Iranian Bob Dylan." Part of me reacted with "huh?" but after a bit of consideration, I read on, and decided to check him out. A few weeks later I found myself at the Asia Society concert space amongst an...
Prior to the Revolution, many of the precepts of Western modern art (both figurative and abstract) were being explored and incorporated into the work of Iranian artists.
This exhibit which runs 'til January 5th, showcases some of the major figures of that time. My personal biases have dictated what I chose to shoot, given my preoccupation with surfaces, processes, lines, edges, mediums, organization and of course, color.
I will hazard a guess (not being an expert on the subject) that the exquisite heritage of Persian Miniatures, calligraphy and Islamic Geometry was fertile ground for the various explorations in the show. The result is a rather luscious experience, with an abundance of gold, silver, mirrors, plenty of tactile fun, intriguing line work and loads of detail. Most of it has sufficient intellectual edge to skirt the purely decorative. The show runs through January 5th, and is well worth seeing, as it provides a window into a free and invigorating moment in the life of Iranian art.
For more information about the formidable drumming of Mohammed Reza Mortazavi heard here, visit: http://www.flowfish.de/index.php?option=com_content&view=article&id=35&Itemid=59&lang=en
To see the video from which the audio for this article was taken visit: http://inter-muse.com/mohammad-reza-mortazavi/
At the request of Asia Society, I have included the list of art donors for the exhibit:
Untitled by Mohsen Vaziri-Moqaddam. Untitled (Forms in Movement), 1970. Collection of the artist.
Parviz Tanavoli. Bronze Prophet, 1963. Collection of the Walker Art Center, Minneapolis. Gift of Ben and Abby Grey Foundation, 1963.
Massoud Arabshahi. Untitled, 1970. Collection of the Golden Tulip Art Foundation.
Reza Mafi. Siyah-mashq, 1971. Collection of Houman M. Sarshar, New York.
Reza Mafi. Siyah-mashq, 1975. Collection of Houman M. Sarshar, New York.
Reza Mafi. Untitled, 1973. Collection of The Farjam Foundation.
Parviz Tanavoli. The Poet and the Beloved King (Lovers), 1964. Tate: Purchased using funds provided by Edward and Maryam Eisler, 2011.
Marcos Grigorian. Untitled, 1963. The Museum of Modern Art, New York. Gift of Dr. and Mrs. Alex J. Gray, 1965.
Marcos Grigorian. Crossroads (Earthwork), 1975. Collection of Cleopatra and Thomas Birrenbach.
Parvis Tanavoli. Oh Persepolis, 1975. Collection of the Mathaf: Arab Museum of Modern Art, Doha, Qatar.
Faramarz Pilaram. Mosques of Isfahan (B), ca 1962. Grey Art Gallery, New York University Art Collection. Gift of Abby Weed Grey, 1975.
Mansour Ghandriz. Untitled, 1962. Collection of Shireen and Reza Khazeni.
Parviz Tanavoli. The Poet, 1973. Collection of the Artist.
Abolghassem Saidi. Untitled, 1973. Collection of Sam Bayat-Charlotte Denise Madeleine Bayat.
Massoud Arabshahi. Untitled (Avesta Series), 1978. Collection of the Golden Tulip Art Foundation.
Monir Shahroudy Farmanfarmaian. Heart Beat, 1975. Collection of Nima Isham.
Monir Shahroudy Farmanfarmaian. Untitled, 1977. Collection of Zahra Farmanfarmaian.
Mohammad Ehsai. GEREHAYE KHAYAM, 1968. Collection of the artist.
Manoucher Yektai. Untitled, 1951. Collection of Leila Taghinia-Milani Heller.
Manoucher Yektai. Still Life, 1954. Collection of the artist.
Sohrab Sepehri. Trees, 1970. Grey Art Gallery, New York University Art Collection. Gift of Abby Weed Grey, 1975.
Reza Mafi. The Poems of Hafez, 1969. Private...
This is a departure for me of sorts, as I usually cover international music. The trip to Taiwan promised a great deal of culture and concerts, but Hurricane Soulik blew that second element away. Still, there is so much that is fascinating about Taiwan's culture that I knew I would come back with something of interest, so I just kept my camcorder rolling, and here is the result, and some written comments about it.
One of the things that of course makes Taiwan unique is that as my colleague Lucia points out in the video, it is over 90 percent Han Chinese. Yet even the hordes of tourists who come over from the Mainland these days will tell you that Taiwanese are somehow different. Yes, much of the culture is directly traceable to the mainland, but one must factor in the influence of the European powers who traded (and exploited) this island for hundreds of years, the 50 years of extremely influential Japanese occupation, and the history of a nationalist military dictatorship, which morphed fairly smoothly into democracy. Then a generation of hard work also created a highly successful capitalism that is peculiarly Taiwanese. And let us not forget that it is an island, and islands tend to create particular cultures in and of themselves. There are aboriginal tribes, and also a significant population of Hakka Chinese that arrived hundreds of years ago, to farm the lush, mountainous south, to be factored into the mix.
I start my video with Taipei 101, which is a kind of symbol for the hard-won business success of Taiwan (it is currently a hub of the tech industry). Its Green elements and its pagoda-like design, also point to a sensitivity towards nature and Asian art, respectively. And a word about the puppet theater: I mention that glove puppetry has been voted the most representative art form of Taiwanese culture, but the performance I show here is very traditional. Today, there are complete televised soap operas acted out with puppets, and even teenagers have their favorite characters, and get all caught up with the stories. These characters have modern dress, and modern concerns. So while what I caught and present here is wonderful, it is only part of the story.
I'm sure I don't need to tell anyone about why food is a cultural marker. (I am a confessed foodie.) Legend has it that When Chiang Kai-shek fled to Taiwan, he brought all the best cooks with him. This may or may not be true, but what is certainly true is that a very specific and sophisticated Taiwanese cuisine has developed based on the ingredients so readily found here, with an emphasis on tropical fruits, fish, poultry and seafood. The textures are delicate, the flavorings subtle, with little in the way of spicy heat. Of course the fare at the Night Market was far brasher, and the experience of wandering around in this high energy place, filled with one fascinating offering after another was totally exciting, and sheer fun.
I closed my video with an off-the -cuff interview with two delightful young people who were selling pineapple cakes at Taipei 101. They seemed quite perfect.
NOTE: I have since learned that the mystery food in the Night Market, the small vegetable wrapped in green leaves is called a "betel nut." The vendor stuffs the fruit with special herbal ingredients and wraps it up with a betel nut leaf. It has a stimulant effect, so people who need to stay awake use it. Priestley, our colleague from the Solomon Islands mentioned that in his homeland, it is commonly used as well. He noticed that our bus driver used it too, instead of coffee. Priestley thought perhaps it was another link between Taiwan's aboriginal population and the Solomon Islands.
If you like the music that you heard in this "travelogue" you can see a rehearsal and interview with the band Sizhukong here:
It is part of a six part musical journey I documented years ago using at the time, a Flip camera; all of it is on my site at...
There's something shakin' in Poland these days. Musicians who are curious about their folk legacy (the real one) have been discovering its joys, and are passing that joy along to a whole new generation of young people. And they are dancing up a storm... to the Mazurka.