Showing posts with label Tao Rodriguez-Seeger. Show all posts
Showing posts with label Tao Rodriguez-Seeger. Show all posts

Tuesday, January 28, 2014

Pete Seeger 1919-2014



I was deeply saddened this morning to awake to the news that Pete Seeger, always one of the most inspiring people I’ve ever known, passed away of natural causes at age 94. He His wife, Toshi, died last year after nearly 70 years of marriage.


In a post marking Pete’s 90th birthday, I recalled listening to Pete’s music since I was a young kid and that I was 20 years old in 1974 when I first met and worked with him when I was an area co-ordinator/stage manager at the Mariposa Folk Festival and Pete’s concert was on my stage.

I am grateful for having had the opportunity to have known Pete for most of my life and to have enjoyed some small measure of friendship.

I’ve interviewed Pete a number of times, both for radio and newspapers. When Pete did a surprise
Canadian tour of small venues in 2008, I interviewed him for the July 3, 2008 issue of the Montreal Gazette (the article also appeared in several other newspapers).

The first thing Pete said to me when I called him for the interview was, “What can I possibly tell you that you don’t already know?”

There was – there is – always a lot to learn from Pete Seeger.

Here is that article.

Pete Seeger returns to Montreal

Mike Regenstreif
Special To The Gazette

The last time I interviewed Pete Seeger was in 1999 just as he was about to turn 80. He was planning to stay close to his Hudson River Valley home and just play a few songs occasionally for school kids or at benefit concerts. It was unlikely, he said then, that he’d travel far enough from home to perform in Montreal again.

Almost a decade later, though, the still-vigorous Seeger is on his way back to Montreal. His July 5 concert here kicks off a quickly-arranged, and quickly sold-out, tour of small venues that also takes him to Toronto, for two nights, Kingston and Ottawa in the company of acoustic blues revivalist Guy Davis and his grandson, Tao Rodriguez-Seeger of the folk-rocking Mammals. The three will share the stage, swapping songs and backing each other.

Reached at his home overlooking the Hudson River in upstate New York, Seeger told me he has fond memories of performing in Montreal.

Sam Gesser hired me when nobody else would,” Seeger said, referring to the late Montreal impresario who broke into the concert business with a Seeger concert in 1952 when most of the folksinger’s performing opportunities were lost to the McCarthy-era blacklist. Gesser, who died April 1, brought Seeger to Montreal often over the next four decades.

Seeger is one of the most revered musicians of all time and has been a major influence on the likes of Bob Dylan, Bruce Springsteen – who’s done two albums of songs he learned from Seeger LPs – and almost everyone else who’s picked up a banjo or acoustic guitar in the past 60 years.

Seeger’s lengthy résumé includes forming two legendary folk groups: the Almanac Singers, with Woody Guthrie, before both shipped out to serve in the Second World War; and the Weavers, the group that brought folk music to the pop charts with "Goodnight Irene" and "Tzena Tzena Tzena" in 1949 before being blacklisted. Seeger has written or co-written scores of enduring songs, including "Where Have All the Flowers Gone" and "If I Had a Hammer," has made hundreds of recordings, and has been at the forefront of the civil rights, peace and environmental movements.

“I really don’t take concert tours anymore,” Seeger said when asked about what made him decide to do this four-city Canadian jaunt. “But my grandson, Tao, is a great performer, and Guy Davis is a great performer, so I decided to do a few things with them. The five concerts I’m doing in Canada are more than I’m doing almost anywhere else.”

Talking to Seeger now, he seems motivated by many of the same concerns that spurred his activism decades ago. “I think there’s a chance the human race will survive,” he said. “I’m not as pessimistic as I was after Hiroshima,” referring to the atomic blast that spurred a lifetime’s devotion to the peace movement. During the Iraq War, Seeger has been leading weekly peace vigils near his home.

One of Seeger’s greatest successes as an activist has been leading the movement to clean up the Hudson River. The river was horribly polluted when he founded the Clearwater organization in the 1970s. Now, he points out, people swim safely in many parts of the Hudson.

In separate interviews, Guy Davis and Tao Rodriguez-Seeger both spoke about being directly influenced by Seeger as children.

Davis’s parents, the actors Ossie Davis and Ruby Dee, were longtime friends of the Seeger family. In 1960, eight-year-old Guy developed a love for the banjo while attending Camp Killooleet, a kids’ camp in Vermont that was run by John Seeger, Pete’s brother. Ossie Davis bought his son a banjo and the youngster learned the instrument from Seeger’s classic book, How to Play the Five-String Banjo.

“Over the years, Pete sparked my interest in Big Bill Broonzy and Lead Belly, both of whom he had known, and my interest in the 12-string guitar began to grow. One thing led to another and I wound up going on the road with Pete as an opening act in the mid-70s,” said Davis. “This tour’s going to be a wonderful hoot.”

Rodriguez-Seeger grew up playing music with his grandfather and began performing concerts and recording with him as a teenager in the 1980s. “We played concerts together for about 13 years.” he recalled.

Wanting to articulate his own musical ideas, Rodriguez-Seeger formed a trio with Sarah Lee Guthrie, Arlo Guthrie’s daughter, and her husband, Johnny Irion, in 1999. Two years later, he hooked up with Ruth Ungar and Michael Merenda as the Mammals.

With the Mammals currently on hiatus, Rodriguez-Seeger recently performed a concert with his grandfather and Davis at the Franklin Delano Roosevelt Presidential Library and Museum in Hyde Park, New York.

“We had a really good time,” said Rodriguez-Seeger. “We got home and Grandpa was bouncing off the wall with excitement. ‘Let’s do that again,’ he said.”

The Canadian tour was quickly arranged and generations of folk fans eagerly snapped up all available tickets.

Sunday, September 2, 2012

Caroline Herring – Camilla



CAROLINE HERRING
Camilla
Signature Sounds

Camilla, the latest album by Caroline Herring, one of the very finest singer-songwriters to emerge from the American south in the new millennium, is a beautiful, often profound, meditation on such themes as the civil rights movement, grief, and hope.

Several songs are directly inspired by events, and heroes, of the civil rights movement. “Camilla,” is inspired by the story of Marion King, an African American woman who was beaten in 1962 by police in Camilla, Georgia, in front of her children and while she was six months pregnant, when she went to the jail to visit the daughter of a friend who was a jailed civil rights demonstrator. (The Civil Rights Digital Library has a news clip of King being interviewed from her hospital bed as she recovered from her injuries at this link.)

In “White Dress,” Caroline sings from the perspective of Mae Francis Moultrie, one of the original Freedom Riders whose bus was fire bombed in Alabama on May 14, 1961. “I’m 24 years old/I won’t live this way anymore,” she sings as Moultrie, who was wearing a white dress on the bus, in reference to the Jim Crow south the Freedom Riders were determined to change. (Moultrie is seen outside the burning bus in the FBI photo at right.)

My favorite song on the album is “Traveling Shoes,” which was inspired by Eudora Welty’s 1941 short story, “A Worn Path,” about an old African American woman encountering various impediments on a Christmastime journey into town to get medicine for her sick grandson. The imagery in Welty’s story metaphorically represents the inequality of the races in the American south of that time and Caroline’s song is based on a scene in the song when the old woman asks a passerby for help in tying her shoe. The a cappella arrangement of “Traveling Shoes” features sublime harmonies from Mary Chapin Carpenter and Aoife O’Donovan. (Read "A Worn Path" at this link.)

Another favourite is “Maiden Voyage,” about a trip Herring took with her four-year-old daughter to Washington, D.C. to witness history on the day of Barack Obama’s inauguration as president of the United States; a day that saw the fulfillment for many of Woody Guthrie’s “This Land is Your Land,” which Caroline tells her daughter to sing with her hand on her heart. (See a video of Pete Seeger, Bruce Springsteen and Tao Rodriguez-Seeger leading hundreds of thousands in singing “This Land is Your Land” at the pre-inauguration concert at this link.)

Several other songs including “Until You Go,” the tragic “Black Mountain Lullaby,” and the ultimately hopeful “Summer Song” deal with various stages of grief.

While most of these songs deal with difficult subjects, Caroline’s beautiful voice, her insightful, carefully crafted lyrics – which are often open to evolving interpretation – her superb melodies and excellent mostly-acoustic arrangements make we want to hear them again and again.

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--Mike Regenstreif

Sunday, February 26, 2012

Ottawa concerts: Ron Hynes, Finest Kind

There are a couple of concerts coming up here in Ottawa that I’m really looking forward to.

Ron Hynes is performing Wednesday, February 29, 8:00 pm, at Irene’s Pub (885 Bank Street; 613-230-4474).

As I noted in my review of Stealing Genius, his most recent album, Ron “is, without question, one of Canada’s greatest singer-songwriters – a writer whose genius can be found in decades worth of great songs.”

Ron is also a great performer and Irene’s is the smallest venue I’ve ever seen him in – so it should be a treat to hear him in such an intimate setting.

Pictured: Ron Hynes and Mike Regenstreif at the 2007 Branches & Roots Festival in Ormstown, Quebec.

In a concert I can walk to, Finest Kind will be performing Saturday, March 10, 7:30 pm, at St. Martin’s Anglican Church (2120 Prince Charles Road). Information and tickets are available at this link.

Finest Kind (Ann Downey, Shelley Posen, Ian Robb), whose repertoire ranges from traditional British, Canadian and American folk songs to contemporary songs mostly arranged in glorious three-part harmonies, are fabulous whether singing a cappella or accompanying themselves on such instruments as guitar, banjo, bass and concertina.

Pictured: James Stephens, Finest Kind (Ian Robb, Ann Downey, Shelley Posen) Tao Rodriguez-Seeger and Mike Regenstreif at the 2009 Ottawa Folk Festival.

Here is my review of For Honour & For Gain, Finest Kind’s most recent album, from the November, December 2010, January 2011 issue of Sing Out!

FINEST KIND
For Honour & For Gain
Fallen Angle 09

On their fifth CD, Finest Kind – the Ottawa-based trio of Ian Robb, Shelley Posen and Ann Downey – continue to offer superbly arranged versions of traditional and traditionally-oriented contemporary songs from Great Britain, the United States and Canada, including two written by Shelley. Half of the 18 songs are sung a cappella and half feature instrumental arrangements featuring Finest Kind and a cast of several guest musicians.

My favorite a cappella track is “John Barleycorn Deconstructed,” Shelley’s brilliant parody of the British folksong “John Barleycorn – which they recorded on their previous CD, Silks & Spices, released in 2003 – in which they explain, line by line, how and why they arranged the song. Not only is it hilarious, but it gives us an understanding into the work that an accomplished ensemble like Finest Kind puts into their arrangements.

Other highlights among the unaccompanied songs are “Bay of Biscay,” in which the sleeping Mary is visited by the ghost of her long lost lover, and “From Dover to Calais,” a modern shanty written by Toronto songwriter Howard Kaplan.

There are also lots of gems among the songs with instrumental back-up. Favorites include the shanty-meets-Cajun arrangement of “Bully in the Alley” featuring Ian’s lead vocal, Shelley and Ann’s harmonies, the fiddle of co-producer James Stephens and Jody Benjamin’s triangle; the Appalachian folksong, “Short Life of Trouble,” featuring Ann on lead vocal and banjo; “Lowlands Low,” a variant of “The Golden Vanity” that Shelley, a folklorist by trade, collected in the Ottawa Valley; and a beautiful, poignant version of Utah Phillips’ “He Comes Like Rain (Like Wind He Goes).”

If I have one minor quibble with this album, it’s that Ann is too seldom heard as lead vocalist (not that I have any problem listening to Ian or Shelley’s leads). ---Mike Regenstreif

--Mike Regenstreif

Wednesday, December 9, 2009

Sarah Lee Guthrie & Family -- Go Waggaloo

















SARAH LEE GUTHRIE & FAMILY
Go Waggaloo
Smithsonian Folkways
www.folkways.si.edu


With Go Waggaloo, Sarah Lee Guthrie follows in the footsteps of her grandfather, Woody Guthrie, and her father, Arlo Guthrie, in making music for kids.

“My father,” writes Arlo in the liner notes, “took words and little tunes from my sister Cathy and turned them into songs for little kids everywhere.” And that’s exactly what Sarah Lee does on songs like “Don’t I Fit in My Daddy’s Shoes,” inspired her young daughter Sophia’s fondness for traipsing around the house in her parent’s shoes; “Take Me to Show-and-Tell,” co-written by Sarah Lee, husband Johnny Irion and their daughter Olivia; and “Big Square Walkin’,” about avoiding the cracks on the sidewalk (lest you break your mother’s back).

There are also three songs, including “Go Waggaloo,” the delightful title track, which are settings of kid song lyrics discovered among the thousands of previously-unknown songs from the Woody Guthrie Archives.

The album is quite rightly credited to Sarah Lee Guthrie & Family. Johnny, Arlo, various brothers, sisters, kids, nieces, nephews and family friends, like Pete Seeger and Tao Rodriguez-Seeger all take part. It’s a fun record for kids, and for us big kids who can suspend our grown-upness for a while.

--Mike Regenstreif