Friday, April 17, 2015

Ottawa Grassroots Festival – April 23-26



The Ottawa Grassroots Festival, a small volunteer-run, family-oriented springtime folk festival spearheaded by Bob Nesbitt, returns Thursday-Sunday April 23-26 for its fourth year. It takes place at the Montgomery Branch of the Royal Canadian Legion, 330 Kent Street in Ottawa. There are ticketed concerts Thursday, Friday and Saturday nights and all kinds of free events Saturday and Sunday during the day.

Tickets for the evening concerts are $20 (Thursday), $25 (Friday or Saturday) – or $45 for a three-night festival pass.

The Thursday evening concert will be MCed by Alexandre Maheux and features Franco-Ontario performers Sarah Bradley, Eric Dubeau and Stef Paquette.

Old Man Luedecke
The Friday evening concert will be MCed by Tonya Price and begins with a short performance by The Sparrows, a children’s choir directed by Chris White, followed by feature-length sets by Shawna Caspi and Old Man Luedecke.

The Saturday evening concert will be MCed by Arthur McGregor and begins with Max Cossette singing “The Grassroots Festival Song,” followed by feature-length sets by Lyndell Montgomery & Terry Gillespie and Connie Kaldor.

The Saturday and Sunday daytime events include workshops, kids’ activities and concerts, performances, choirs, jam sessions, open stages and much more.

A daytime event that I’m particularly looking forward to is a song circle that I’ll be hosting with
Connie Kaldor
Connie Kaldor, Old Man Luedecke, Shawna Caspi and Terry Gillespie. That’s on Saturday from 2-3:30 pm on the second floor Grass Stage.

Visit ottawagrassrootsfestival.com for all the details including the full schedule and information on all of the performers, or to order tickets (also on sale at the Ottawa Folklore Centre and Compact Music).

Should be a great weekend.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Saturday, April 11, 2015

Jesse Winchester – Seems Like Only Yesterday: Live in Montreal 1976



JESSE WINCHESTER
Seems Like Only Yesterday: Live in Montreal 1976
Real Gone Music

Exactly one year ago today, Jesse Winchester, my friend of more than 40 years, and one of the greatest singer-songwriters ever, passed away following a battle with cancer. A year ago – “seems like only yesterday.”

Looking back, the memories – “everyone’s got him a few” – are vivid. It “seems like only yesterday” that I was struck by Jesse and his songs the first time I heard him play when I was 14 or 15 in 1968 or ’69 (Tom Paxton was sitting beside me at the time, but that’s another story) or when I started booking Jesse to play at some of the early concert series I was running in Montreal, circa 1972-’74.

And it “seems like only yesterday” – it was 1974 – that I took over the Golem, a year-old Montreal folk coffeehouse, and started booking Jesse for three-night gigs, two or three times a year.

In those days, Jesse’s gigs at the Golem were as a solo artist – just him and his nylon-string guitar (although I do remember other musicians occasionally sitting in with him). But, at some point around that time, he also started working with a band. I remember seeing Jesse with the band at venues like the Hotel Nelson in Old Montreal and Norm Silver’s Mustache behind the Montreal Forum.

On October 13, 1976, Jesse and the band – lead guitarist Bobby Cohen, bassist Marty Harris, drummer Dave Lewis, and the late, great pedal steel virtuoso Ron Dann – played a radio concert at Studio Six in Montreal that was broadcast both locally and across the border on FM stations in Boston, New York, Hartford, Providence, Philadelphia and Baltimore-Washington. In those days, before the 1977 amnesty for Vietnam War-era draft evaders like Jesse, he was unable to perform in the United States so this radio concert was the first time that people in the U.S. got to hear him play live. (It was also, apparently, the first time that a state-of-the-art FM radio concert had been broadcast live across international borders.)

That radio concert, unheard and unreleased for almost 39 years, has now been released as Seems Like Only Yesterday: Live in Montreal 1976. And unlike several other live sets from the ‘70s that were released without Jesse’s authorization – and much to his chagrin – Seems Like Only Yesterday has been authorized by Jesse’s family.

Although it’s probably been 35 or so years since I heard this band play live, the familiarity of the songs and the arrangements do make it seem “like only yesterday.” The songs were mostly drawn from the four albums Jesse had released to date – Jesse Winchester; Third Down, 110 to Go; Learn to Love It; and the then-current Let the Rough Side Drag – with a few more that would be on 1977’s Nothing but a Breeze.

Although I always preferred hearing Jesse solo – maybe because that was the context for most of his concerts I was directly involved with – I also always enjoyed his work with this particular set of musicians. Excellent players all, they fleshed out the songs on stage without ever getting in their way.

While some of the numbers – including the classics “Brand New Tennessee Waltz,” “Mississippi You’re On My Mind” and “Yankee Lady,” as well as Martha Carson’s “I Can’t Stand Up Alone”– remained standards of Jesse’s concert repertoire throughout his career, I was particularly thrilled to hear some of the more obscure songs like the beautiful “All of Your Stories,” always one of my very favorite of Jesse’s songs, the dark “Black Dog,” and “Midnight Bus,” which I don’t think I heard Jesse perform in more recent decades. “All of Your Stories,” with an arrangement that is very different from the solo recording on Third Down, 110 to Go, is, perhaps, the most re-imagined song of the set.

Mike Regenstreif & Jesse Winchester (2009)
It was also a treat to hear this particular version of “Tell My Why You Like Roosevelt,” Jesse’s rewrite of Otis Jackson’s song from the 1940s, with its last verse reference to Jean Drapeau, then the highly authoritarian mayor of Montreal. I’d forgotten about that verse which was not included in Jesse’s officially released version on Learn to Love It – and which really could only be understood by those of us who lived in Montreal in those days.

Chuck Gray’s Studio Six was one of Montreal’s top recording facilities in the 1970s and was a familiar spot for Jesse – he had recorded Let the Rough Side Drag there – so the sound quality was unusually high for a live radio concert. Jesse and the band seemed relaxed and comfortable and turned in a set I take great pleasure in revisiting after all these years. Yeah, it does seem “like only yesterday.”

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Saturday, March 28, 2015

Tom Russell – The Rose of Roscrae: A Ballad of the West



TOM RUSSELL
The Rose of Roscrae: A Ballad of the West
Frontera Records

The Rose of Roscrae: A Ballad of the West is the third in a series of extraordinary concept albums Tom Russell has delivered in addition to the many other superb albums he’s recorded over the past three decades.

The first release in what should now be regarded as a trilogy was The Man from God Knows Where, a brilliant folk opera, released in 1999, about immigration and the American dream partially based on Tom’s own Irish and Norwegian ancestors and the generations that followed. Then came the equally-brilliant Hotwalker, released in 2005, an audio collage of original songs, poetry, stories, rants and outside voices that paid tribute to forgotten aspects of real American culture.

Expanding on the forms he developed in the two earlier works, The Rose of Roscrae, running two-and-a-half hours on two CDs, is perhaps Tom’s most ambitious work yet, a folk opera whose plot, although fictional, incorporates ideas and experiences drawn from a number of historical figures and from Tom’s real life sister-in-law who spent decades running a ranch on her own.

Much of the story is told through the eyes of the main protagonist, Johnny Dutton, an old man looking back on a life of adventure and misadventure that began in Ireland in the 1880s when the teenaged Johnny is beaten up by his girlfriend’s father and he escapes to America to become a cowboy and outlaw in what was by then the rapidly dying old west.

As the plot unfolds, Johnny works as a cowboy for the legendary real life trail boss Charles Goodnight, escapes the gallows with the help of a crooked judge, reunites with his Irish girlfriend, Rose Malloy – the Rose of Roscrae – and then marries and loses her due his philandering ways, outruns the lawman/preacher on his trail, and becomes enraptured with the story of Father Damien and his leper colony on the Hawaiian island of Molokai. Johnny’s travels also take him south into Mexico and north up to Canada. As a prisoner in Louisiana and Texas he encounters the likes of Lead Belly and other prison singers recorded by folklorists like John and Alan Lomax.

Other parts of the story are told through the eyes of Rose. How she follows Johnny to the American west, marries him, throws him out, and spends decades as a woman alone running her ranch. Some of the specific things that happen to her are based on the experiences of Tom’s sister-in-law, Claudia Russell.

Eventually, the elderly Rose returns to Ireland and Johnny follows – no longer as her husband, but as her old friend.

Tom’s performances are riveting throughout the long piece. So, too, are the other singers who take on various roles in the folk opera. These include Jimmie Dale Gilmore, David Olney, Joe Ely, Augie Meyers, Jimmy LaFave, Thad Beckman, Sourdough Slim, Maura O’Connell, Eliza Gilkyson, and Gretchen Peters. The orchestral overture, incorporating melodies from traditional folksongs, is played beautifully by the Norwegian Wind Ensemble, the orchestra that Tom collaborated with a couple of years ago on the Aztec Jazz album.

There is an embarrassment of riches among the songs Tom composed for The Rose of Roscrae but I’ll mention that some of the standout moments include Tom’s performances of “The Rose of Roscrae,” “Johnny Behind the Deuce,” the several soliloquys, “Poor Mother Mexico” “Damien (A Crust of Bread, A Slice of Fish, A Cup of Water),” and “The Bear,” sung as a duet with Eliza Gilkyson.

Two of the most stunning performances are by Maura O’Connell singing “I Talk to God” and Gretchen Peters singing “When the Wolves No Longer Sing.”

As well as vehicle to tell the story through about 25 new songs written or co-written by Tom for The Rose of Roscrae, the piece also serves as a homage to traditional folksongs and to the singers who sang them on field and commercial recordings – as well as to some contemporary singers and songwriters who have added to the tradition. Among the borrowed voices we hear singing songs or fragments of songs are Johnny Cash, Moses “Clear Rock” Platt, Ramblin’ Jack Elliott, Jack Hardy & David Massengill, Tex Ritter, A.L. Lloyd, Finbar Furey, Blackie Farrell, Ross Knox, Glenn Ohrlin, Henry Real Bird, John Trudell, Ana Gabriel, Ian Tyson, Bonnie Dobson, Lead Belly, Guy Clark and Dan Penn.

Mike Regenstreif & Tom Russell in Montreal (2012).
In addition to the 2-CD set, Tom has released an almost essential companion book which includes the folk opera’s libretto, as well as extensive background information on the piece, all of the songs and the many contributors.

The Rose of Roscrae: A Ballad of the West is yet another masterwork by Tom Russell. It is a work of rare ambition and rare brilliance that is beautifully and artfully executed. Bravo to Tom and to his many collaborators on this project.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif