Kiwifolk Blog

Middle classes and music

noreply@blogger.com (Mike M.) — Wed, 10 Sep 2008 01:14:00 +0000

From the nz-folk list: Here's an extract from a recent article about classical music concerts inthe New Yorker. I wonder if a similar phenomenon took place in folk music at around the time the EFDSS formed? Folk music is probably not what it once was.

With the aristocracy declining in the wake of the French Revolution and subsequent upheavals, the bourgeoisie increasingly took control of musical life, imposing a new conception of how concerts should unfold: programs favored composers of the past over those of the present, popular fare was banished, program notes provided orientation to the uninitiated, and the practice of milling about, talking, and applauding during the music subsided. To some extent, these changes can be explained in anthropological terms: by applauding here and not applauding there, the bourgeois were signalling their membership in a social and cultural élite. As Johnson points out, they felt obliged to reconfirm that status from year to year, since, unlike the aristocrats of yore, they lived in fear of going back down the ladder. “The bourgeoisie isn’t a class, it’s a position,” the Journal des Débats advised. “You acquire it, you lose it.” Attending concerts became a kind of performance in itself, a dance of decorum.

http://www.newyorker.com/arts/critics/musical/2008/09/08/080908crmu_music_ross

Stolen: Ulleann Pipes, Wellington

noreply@blogger.com (Mike M.) — Sun, 27 Apr 2008 23:10:00 +0000

From: "Peter Mack"
Cc: "Maurice Reviol"
Subject: STOLEN SET OF UILLEANN PIPES (in Wellington)
Date: Sat, 26 Apr 2008 13:43:13 +1200

Hello, I’ve received an email from my friend Maurice advising that his set of Cillian O’Briain pipes was stolen from his car in Wellington.

Can everyone keep an eye out for them and contact the police. The dumb thieves are likely to try to sell them at somewhere like ‘cash converters’. It is likely they thought the case contained something like an electric guitar or sax, so won’t know what to do with them. We can just hope that they don’t get dumped.

Please forward this to any other Wellington muso’s or friends.

Maurice’s email is in CC: above, I’m sure he’d be pleased to hear some good news.

Peter

Mahinarangi Tocker, MNZOM, 1956 - 2008

noreply@blogger.com (Mike M.) — Tue, 15 Apr 2008 01:20:00 +0000

After a sudden and catastrophic asthma attack that rendered her unconscious with respiratory failure, Mahina died today surrounded by her whanau.

Mahina was of Ngati Raukawa, Ngati Tuwharetoa, Ngati Maniapoto, Jewish and Celtic Ancestry. That's a lot of canoes.

The most contemporary of singer/songwriters, for all her popularity and fame she always kept one foot firmly in our euro-centric New Zealand folk scene. From our perspective, she was probably our "most famous" folkie when we chose to claim her. But she was so much more than that.

Mahina was, in a word, generous. She was generous with her music, generous with her humour and life and generous with her honesty about her mental illness. Here are a few of the tributes from the nz-folk list:

Mike. That is sad news indeed. A great musical soul and a great pal has left us. Tony Hillyard

That is indeed a sad day. A tragedy for her friends, for NZmusic, for Maoridom. Sue Harkness.

Heartfelt condolences to Mahinarangi's partner, daughter and whanau. NZ has lost a shining star who brought much joy, deep insight and wonderful music. Mahina leaves behind a lasting legacy that should inspire many people for years to come. Your laughter, generosity and caring will live on in my heart forever. Me te araoha tino mi atu. Remco de Ket.

Thank you Mike, I am stunned to hear that awful news. Mahina did a concert for us in Thames last year, she brought laughter and light and we sat and talked in my garden all the next day and I am so sad now but glad to have spent some good time with this woman of quality, what a loss she will be. Rosie Holmes

This is shocking news Mike. My heart is with all who loved her and her music so much. Please let us know where she will be laid to rest. Judith McNeil

Thanks for all your thoughts; if this list is about anything it is about mutual support and expression. I came upon the news that she was terminally ill rather circuitously, through a friend of a friend, then arrived at my office to hear the news on the radio. More than this I do not know, I don't pretend to any inside knowledge. I think Laura Quinn is closer to the whanau, and will be able to provide those details that they want us to know. For now we'll respect their grief and share our own thoughts here.
I am to present a songwriting seminar next month for the New Zealand Songwriters' Trust in Gore and was to be presenting it with Mahina. I'd been unable to get hold of her to discuss this; and this was not like her - even when she was unwell she would always communicate with me.
Mahina was a long-time friend of my family. My daughter, Siobhan, stayed with her when she was on placement at BFM for her broadcasting course. Bernadette and I saw her last, and so stupidly briefly, at the Auckland Folk Festival where she told us how happy she was to be in employment, something she hadn't done since her nursing days, and a big deal for someone recovering from a mental illness.

It was 24 years ago when we first met Mahina, she was a guest at Whare Flat - her first folk festival. She was a tiny figure then, chain smoker, nervous, agoraphobic. She warmed to us (and we to her) and stayed with us for a further week. She's been back several times since. One time she sat in front of my cassette recorder and went through every page of her songwriting books singing song after song into the mic. I still have that tape somewhere.
When she turned up that first time, I was hugely aware of her politics (Maaori, feminist, lesbian...) and was watching my every p and q, desperate not to make a Political Correctness blunder. I needent have worried. She was the most irreverent, crude, funny woman I've ever come across but taught me so much in the process. There's never been a time I've been with her that we haven't ended up in fits of giggles, like smutty schoolkids. I've been backstage with her many times, my sides hurting with laughter, only to watch her walk out onstage (with something approaching composure) to deliver the most heart-wrenching performances.
She was a spontaneous collaborator too. "I want you to play this one with me, Moroney." When the time comes, I'm called up, I'm capoed up, D-tuned, all ready.. "Oh, we're not doing that one now, " and launches into something she's just made up, or her own inimitable version of Somewhere Over the Rainbow, for which there is no right chord! Such was her trust in what passes for my musicianship. She'd hang me out to dry every time. I know I'm not the only one who has had that experience. God bless her.
I am so sad. I don't even know her family or her loved ones, though we talked about them often. Those of you that are closer to them might like to pass on my condolences, sorrow and immense pride at having known her. Mike Moroney

Sad indeed. I first met Mahina – I’m not sure, late 1980s or early 1990s - when she was touring, by bus, with guitar and amp. She played at the Luggate pub. That’s dedication to your art. The next time I met up with her, we shared a room at Whare Flat (with Siobhan Moroney I think). We giggled our way through the festival days. Another encounter was at some outdoor gig sharing a stage in the drizzle at Waikouaiti when I was in the Pog Band. There she was carting her keyboard, singing her songs, doing her thing.
I wasn’t really anywhere on Mahina’s landscape but she always remembered me. I’m struggling with this news of the passing of a generous, brave, funny, talented woman. Arohanui and condolences to Mahina’s family and loved ones. Lindsey Shields.

Mike. What a lovely, perceptive tribute to Mahina. Thank you. Like you and so many others I’ve been lucky to count Mahina as a friend and also had the privilege of being invited to share, briefly, a stage with her; and yes it was the same knee knocking experience that others have reported. I have always been truly astonished at her vocal courage on stage as she reached for soaring, impossible vocal leaps and harmonies and somehow pulled them off. Her musical gift was such that she could take the most outrageous musical risks on stage and get away with it. A mere musical mortal like me struggled (and failed) to keep up. But I wouldn’t have missed the experience for the world. Her humour has reduced me to tears every time I’ve met up with her, but I’ve also shared long intimate conversations with her and been shown the other, sensitive soul, that was also Mahina. I too will miss her very much.My heart goes out to her family and close friends. Tony Hillyard.

Hey Mike, that was a lovely bunch of thoughts, I can relate to a lot of them. [personal stuff deleted] Mmmm, incredibly sad, have been playing her Cds all afternoon. Laughing at the time she got me up to sing "harmony" on one of her songs and ended up making me sing the whole thing, completely re writing a song I didn't even know, and she came in with a lovely note on the last word!!! Typical of her stage manner eh. That was the year she came down to Whare Flat with Kath Tait and sang Ruby Tuesday!! Certainly taught me a lot about just going for it and trusting what you already know. Chris Penman.

Oh, what a shock! My heart goes out to Mahina’s daughter and Whanau. When Tony told me, all I could say was “It’s not fair!” What a remarkable woman she was. At the 2006 Auckland festival, we laughed and laughed with her outside our caravan. Then she ‘adopted’ my daughters telling them, “I’m your lesbian Maori auntie” and had them in stitches. She wrote me a lovely email when I was recently in hospital and I am very sad not to have seen her to thank her in person . I am still stunned – her sense of humour and friendship was very special. Thanks for making us feel so loved, Charlene, Rebecca and Siobhan Hillyard.

It is indeed a most tragic day for the whole folk movement and the music scene in New Zealand. Mahina touched everyone with her bubbly personality and her beautiful angelic voice. I only caught up with her at folk festivals, where I became party to her wicked sense of humour. We frequently corresponded off list, for she was genuinely interested in what other people were doing musically. She leaves a void in all of our lives we will miss you "mate" and so will the "missus."Farewell and RIP Mahina we're thinking of you. So Long Mate. Phil Garland

It’s with great sadness to learn of Mahina’s passing. An amazingly gifted woman who lit up the Auckland Acoustic scene in the 80’s and continued to inspire with her great recent albums. Mahina was amazingly generous in her support of other musicians and inspiring to others with her courage, her musicality and social conscience. I am grateful to have been in her orbit and for the warm cross-Tasman email exchanges we sporadically engaged in. Fondly remembered and greatly missed. My heart goes out to her partner, family and friends. Wayne Gillespie

As I sit here, listening to a tribute to Mahina on Radio NZ Nat, playingher songs and hearing that remarkable and individualvoice, I am filled with sadness at how big a hole she will leave in ourlives. All of us that knew her loved her, and rejoiced in her nutty humour,outrageous jokes, and her glee in shocking people with her deliberatelynon-PC quips, designed to wind them up. Some of us will remember a particularly memorable session at an Auckland Festival a couple of years ago, post-concert, sitting outside our caravans, and about 15 people helpless with laughter, and 5 teenagers,jaws dropping with astonishment at the machine-gun-rapid wisecracking, bawdy, outrageous comments! Mahina in her element. Add into the mix that wonderful voice, the brilliance that lifted her into another stratosphere of musical creativity, and the willingness totake such musical risks, makes me feel that we won't see her like again- she was truly a remarkable shining star. Many years earlier at a festival we struck up a great friendship, andmany strange and hilarious emails subsequently buzzed back and forthacross cyberspace - Davy and I both treasured her friendship, empathisedwith her struggles with her personal demons, and feel privileged to callher a friend.To us she was "Tox" (Tocker-Tocks-Tox) and we are going to miss herso much- it still hasn't quite sunk in yet that she has gone.Arohanui, Tox. Libby Stuart

It is with great sadness that we mourn the loss of the beautiful woman, friend and musician that Mahina was to many of us. We were privileged to talk with her and hear her perform adlib at Kath Taits' concert at Titirangi only a couple of weeks ago where she was clearly enjoying her world. I will personally miss her smiling, cheeky presence at many different venues. Aspecial arohanui to Irena and Kimai. Shiree Lee.

Too awful. A total star. Mahina was an absolute delight to work with at the 2006Welliesarebest Fest. Clear and yet unassertive about what she needed in order to be able to perform at her best, and did she deliver. Very fond memories of her back-stage antics, her mime behind the compere, Mary Kippenberger, and leadingthe entire marquee in song. Lots of lovely off-list messages from time to time; I'll miss her heaps. Sue Ikin.

Ae. Tetahi whetu maharamatanga ia! Me he tui korokoro. E waiata kohau, enoho ai, e moe. Yes. She is a shining star! With a throat like a tui. Sing for no reason, rest, sleep. Diana Grant-Mackie (An admirer)

A very sad day as you have said - we were all very very fond of Mahina and have wonderful memories of her at the Canterbury Festival where she endeared all who met her. She was a truly inspirational human being and outstanding performer.May she rest in peace. Kathy McDonald

I heard the news from Mike this morning. She was a great friend, irreverent, irrepressible, disrespectful of boundaries, musical or otherwise, startlingly gifted and the most unpredictable stage performer I’ve seen in NZ. She’d have you in fits backstage, and then she’d go out and tear you up. And that voice. She couldn’t stick to a set list and that was one of the things we came to love about Mahina, unless you were playing with her. Like Mike, and probably many of us, I never knew any of her family, just hung out with her at festivals. My sincere condolences to Mahina’s whanau. Slan, Bob McNeill

Sincere condolences to all those close to Mahinarangi. She has touched so many people and left behind a legacy of love and beautiful music. I don't think I know of any musicians who haven't been warmed by her presence. Her smile could light up a cathedral. She seemed to know everyone and yet retained her natural shyness and humility. The collective fellowship of musicians and singers will miss her enormously. Rest in peace, Mahinarangi. Dave Hart

Mike Moroney and others have articulated the senses of shock and loss I feel at learning of Mahinaarangi's death. I think it was Bev Young who pointed out that, as we get older, we experience and expect regular reports of deaths of friends and acquaintances - though I don't think we ever get used to them.
Among the legacy of wonderful music and memories that Mahinaarangi left,is the sharing of her culture. The mad lesbian mongrel mum gave of her Celtic, Jewish and Maori legacy openly and willingly.
In my experience, folk audiences are amongst the most catholic and supportive of all. Yet among the performances of British folksongs, Celticdances, blues, bluegrass, contemporary compositions and world music, I've seen relatively little Maori music. I'm not sure why: in my limited experience, there seems to be a great similarity between the vibe in awharenui and that in the marquee at Whare Flat and other festivals.
Mahinaarangi was one of the few that crossed the divide. Others include Godfrey Pohatu (also gone from us) and Maaka and Karina Laws. I'm verygrateful to these people, all of whom have radiated love/aroha, and been supportive in my bumbling efforts to learn about aspects of Maori culture.
It may be that members of other folk clubs - particularly those in thenorth - have a different experience. In any case, I hope that we cancontinue to encourage and support those who bring Maori and Pacifica culture to our clubs and festivals and, in some way, keep that part of Mahinaarangi's legacy alive. Marcus Turner.

I'm so sad to have to say goodbye to our dear friend Mahinaarangi. I loved her to bits. I recently had some really nice contact with her in Auckland. She turned up at my gig at Titirangi and got up and sang some harmonies with me and Martha Louise. Then I went round to visit her one evening and we had a really goodtime reminiscing about old times and catching up. If I'd known it was going to be the last time I would see her, I would have bundled her up in my arms and refused to let go. Kath Tait.

I first met Mahina through this list… She was my one consistent educator, supporter and friend on the list, and would let me know when I needed to calm down and not take things to heart, and defend me when she thought I needed it. She was discrete… she would never publically humiliate people and was very sensitive to what people needed to hear. She is woven into this little community and that can never be undone. She remembered everyone by name and circumstance, and you didn't need to earn her love, trust and respect as she had bucket-loads of it for everyone.
She was amazing on stage. She was amazing off stage. She was just amazing. The first time I met her face-to-face was at Whare Flat in 2004/05 and that just solidified the friendship that had already started. Then at Wellyfest in the following October (I think) I was standing at the back of the marquee when she sang and it was so magical that you could almost hear the crowd breathe. I believe Over the Rainbow was the clincher.
In the last few years, I have spent quite a few memorable evenings at Mahina's house, playing music and drinking tea, but mainly chatting till far too late. These visits were usually in preparation for gigs but we never got a lot of practice done! I'll never forget the road trip we had over to Thames for a gig last year, everything was fun with Mahina. We arrived just as the gig was supposed to start as we had forgotten the information and after zooming around Thames looking for posters we arrived in the nick of time, and we had a really good weekend.
Mahinarangi was my mentor. We never talked about it like that, because it would have embarrassed her… but we both new it. She taught me about music, how to deal with people when I found them difficult but most of all she taught me about life. I'll never forget her love and friendship and she'll stay in my heart forever. What a special lady. Mahinarangi – arohanui e hoa ma. Laura Quinn

I've been impressed and touched by the tributes I've read on the list and elsewhere, and find myself lost for words myself. What is clear is that we all knew the real Mahina - those qualities of the person and the music were no artificial public construct, they were the magnificent human being who showed you don't have to be perfect to be an inspiration. Ours has been a very sad household these last few days, as Jenny and I have pondered on how lucky we've been to know Mahina. Farewell, farewell. Tony Ricketts

I am deeply saddened and moved today to hear the news of gorgeous Mahinarangi. I feel like crying but i dont. Still seems unreal. My heart sends much warmth to her daughter partner and family though i dont know them to do this personally. I am so so glad I knew her. Wish i could have said goodbye or told her how much she has inspired me and how much I admire her and to thank her for her generosity to my kids, to me, to all sorts of people. Wow, what a huge loss. So many circles of people will be celebrating her, missing her and grieving. What an absolute gem. In sadness and in celebration. Sarita Murdoch

Just wanted to add my voice to the many who know just how much we have lost. We are all richer for having known Mahinarangi, with her sparkling eyes, her mischievous laugh and her extraordinary voice. I didn't get to see her very often, but I will sorely miss knowing that she was out there, courageously sharing her songs, her heart and her lovely smile with the world. Brenda Liddiard

One of the great things about growing older is supposed to be the wisdom we obtain. One of the worst things about growing older is saying goodbye to dear people who pass on out of this world, friends who have touched our hearts and lives in some way. Mahinarangi Tocker was one of these friends
and a chunk of sparkle has left this world with her passing. Everything people have said of her on this list is true. She was all those things and more, generous, funny, a bit rude, proud of her Maori/Jewish/lesbian lifestyle, proud of her loved ones, kind and gentle, fierce and stroppy. Most of all, she was gifted. Gifted with talent, with a way with people, with the ability to see below the surface of situations and of the people around her. Her lovely voice is stilled, but she has left us a wonderful body of work and loads of memories to be going on with. Deepest condolences to her partner, her daughter and all her family. Mahinarangi will be sadly missed by all her friends in the folk music world as well as elsewhere in the music scene. Sing with the angels, lovely girl. Beverley and Alan Young

Mahinarangi knew me! Mahinarangi knew my name. Mahinarangi remembered stuff about me. Mahinarangi had many friends, but still she knew my name. So I count myself lucky to also have known Mahinarangi. To have laughed with her and heard Mahinarangi in full flight playing music. What joy to have known and be known by someone like Mahinarangi as we say in Lancashire "eee they broke the mold when they made that one", that is to say Mahinarangi was a treasure and unique and willl be greatly missed. My heartfelt condolences to Mahinarangi's family. Tony Smyth

Mahina is back at her home now, 64 Glenmarine Parade, Glendine. Her Auckland friends can visit her there. At dawn tomorrow she will go to her marae in Taumaranui (it's on the main trunk line). Kauriki Marae, Ngapuke Road, Taumaranui. Mahina and the whanau will be there from 12pm Thursday 17/4/08. The service will be at 11am on Saturday 19/4/08.
There will be a gathering to sing and tell stories on Friday night, with marae sleeping space. "The family would love to see all who have shared in her life."

The whanua are welcoming all at Mahina’s whare in Glendene. Food and cuppa tea are on hand.

Ngāpuke Road is off Highway 41, between Turangi and Taumaranui, East of Pungapunga. There will be a notice in the paper tomorrow.. Her funeral service and burial will be on Saturday morning. Those wishing to visit her on the marae should gather off the marae and wait to be brought on.

Richard Gilewitz NZ Tour

noreply@blogger.com (Mike M.) — Wed, 09 Apr 2008 06:25:00 +0000

Flying Piglets present Richard Gilewitz

Acoustic Adventures on Guitar

Richard Gilewitz’s tales are trips into the world of a touring musician. His tunes are adventures, as his instrumental wanderings reveal surprises with each note. His shows feature the best of a man whose distinctive style and delivery create a warm glow of amazement, excitement and admiration.

Featured in Fingerstyle Guitar Magazine's issue on "Men of Steel", Richard Gilewitz is again included in the ranks of noted guitarists who are masters at their craft. Once touted as one of the strangest men in acoustic music, this fingerstyle guitarist lives up to this depiction with his rousing performances filled with amazing chops, humor, and a history of the acoustic guitar from blues to folk, traditional to classical and somewhere in between. States Spectrum Magazine, “Much of the charm of a Gilewitz performance is in the stories he tells. He wondered aloud to the audience how many ducks he could take out in a fight if he were to be attacked by a flock of the sneaky waterfowl.”

Named as one of the top 100 Acoustic Guitarists, Richard Gilewitz fascinates his audiences with fingerstyle gymnastics while spinning yarns too unbelievable not to be true. His ability to make one guitar sound like an entire orchestra, with right-hand wizardry and using standard and opening tunings, stems from over 3 decades of well-honed technique and countless years of worldwide touring, creating his own signature sound that has been captured on his releases, DVDs, and songbooks.

But it is his live shows that always brings out the best in this author, composer, guitarist, storyteller, and humorist who follows a distinct cadence that creates a glow that continually grows a little brighter with each tune. Whether playing solo, conducting guitar seminars and school programs, or sharing the stage with folks such as The California Guitar Trio, John McCutcheon, John Renbourn, Mose Allison, the late John Fahey, Leo Kottke, Norman Blake, Indigo Girls, John Hammond, Rory Block, or Jane Siberry, Richard Gilewitz always creates a sparkle of mood mastery and wonderment.

A must for anyone who wants to laugh, be amazed, and be treated to an evening of great music from this seasoned performer who comes back to New Zealand for his 4th tour.

All About Richard Gilewitz

Richard began honing his skills both as a performer and composer during the late 1970’s at the University of Alabama, playing the local coffeehouse circuit while pursing degrees in Computer Science, Mathematics, and Music. Following graduation, Richard placed his music career in the background and joined the business world of flight simulation design, telemetry and satellite systems. Soon the pull of his passion for music was so compelling that Richard left corporate life to teach and perform full time.

The 1980’s brought Richard to Florida where he released his first LP recording, Somewhere In Between. He has released five more CD recordings, Voluntary Solitary, Synapse Collapse, The Music of David Walbert, Thumbsing, and Live at 2nd Street Theater, plus an instructional guitar video and a self produced solo instrumental collection. Collaborating with Mel Bay Publications, Richard’s Acoustic Fingerstyle Guitar Workshop book with an audio CD and instructional DVD, his All Time Favorite Fingerstyle Tunes DVD, and Live at Charlotte’s Web DVD are favorites among fans. Recent collaboration with TrueFire, the top on-line instructional site, has produced a 20-lesson package titled FingerScapes, to be released in March 2008.

As an educator as well as a performer, Richard is sought after for his popular Dealer/Clinic Workshop Series on behalf of several major music manufacturers including Audio Technica, Breedlove Guitars, LR Baggs, Shubb Capos, Intellitouch Tuners, and D'Addario. His “Meet the Artist/Music in the Schools Enrichment Program”® gives Richard the opportunity to meet with elementary, middle school, and high school students across the nation as he conducts in-residence sessions. Richard also teaches private lessons and Master Classes. He continues to be a contributing writer for Mel Bay Publications on-line magazine, Guitar Sessions®, and for a number of trade magazines, including “Singer & Musician” and “Fingerstyle Guitar”. International Public Radio fans often sample Richard’s wit and zany outlook on life on syndicated shows such as RTE Lyric Radio of Ireland, BBC radio of Northern Ireland, BBC Orkney, National Radio New Zealand, as well as numerous local radio shows.

THE BUZZ ABOUT RICHARD GILEWITZ: “A very accomplished performer, his concerts are like a nice, iced chai latte: smooth, cool, but with plenty of spice.” Entertain Me, Cheri Harris, The Chronicle "You'll laugh as you learn." Columbus Dispatch //

"His quick wit and twisted sense of humor has made him an entertainer as well as a fine guitarist." Fingerstyle Guitar Magazine

"A powerhouse of eclectic guitar styles and genres, Gilewitz wears his influences well." 20th Century Guitar Magazine//

"His complex, energetic originals have made Gilewitz popular on the festival and club circuits as a solo performer." Guitar Player Magazine

"His playing is faultless, the production as clear as a pinged champagne glass." SeeLife, Brighton UK//

"Gilewitz is a solo acoustic guitarist who can spellbind a crowd with his mixture of song craft, sensitivity and chops. It's no easy feat to entertain a crowd with just an acoustic guitar. There are just a special few -- Leo Kottke, Adrian Legg and a handful of others. Gilewitz can stand with the best. His playing has the proper balance of technique, lyricism and- soul." Weekly Planet, Tampa, FL

Blues on Stage: An exceptional guitarist who demonstrated some incredible skills playing 6-and12-string finger style guitar. Gilewitz 60+ minute set featured some of the finiest live guitar that I have heard in a long time.”

New Zealand Tour itinerary 4 – 28 May 2008 :
Sunday 4 May Christchurch Folk Club The Commerce Club, 277 Kilmore Street, Christchurch.
Friday 9 May The Mussel Inn, Golden Bay
Sunday 10 May, The Boathouse, for Marlborough Folk Music Club, Blenheim
Thursday 13 May Lake Taupo Arts Festival
Friday 16 May Katikati Folk Club
Saturday 17 May Lepperton Bowling Club, Taranaki
Sunday 18 May Stellar, Wanganui
Monday 19 and Tuesday 20 May Fingerstyle guitar workshops, MusicWorks, Liardet St New Plymouth.
Thursday 22 May Happy, corner Tory & Vivian Sts, Wellington
Sunday 25 May New Edinburgh Folk Club, Dunedin
Wednesday 28 May The Penguin Club, Oamaru

For details of all performances, see http://www.flyingpiglets.co.nz/
Richard's website: http://www.richardgilewitz.com/

[Nz-folk] Social Dancing in New Zealand

noreply@blogger.com (Mike M.) — Tue, 08 Apr 2008 23:17:00 +0000

Chris Brady wrote..

Following on from the fascinating newspaper accounts, and hopefully not contradicting what Phil has written in his new bok (!!), I have to opine the following from my own research.

In the 1880s when 'home' meant the mother country social dancing and fashions in NZ very much emulated what was popular in the UK. By that I mean that the dances enjoyed were mainly quadrilles and late country dances such as Roger d'Coverley. These would have been danced to whatever music was available from musical boxes to a concertina or melodeon to a fiddle and even to the local brass band.

There was no such thing as bush dances or folk dances, excepting maybe in the north the Yugoslavian gum diggers probably held onto their own cultural activities, as I guess the Irish did on the gold fields in the south. But the English tried to emulate everything English in Christchurch and Auckland (as remembered from 'home' before the long sea passage to NZ). As indeed did the Scottish in Dunidin - hence the Highland Games.

So what were danced at woolshed balls in NZ - as indeed was mirrored in Australia - were danceds such as The Lancers, The Caledonians, The Alberts - all quadrilles; and couple (or two-hand dances) such as Polkas, Gallops, Schottische, Varsoviana and Waltzes. These were all widely known standard dances in England up until the 1920s - when the latest American dances took over such as the Jive.

But Country Dancing - both English and Scottish - did not really arrive until enthusiastic teachers arrived in the early 1900s. This type of dancing was really hobby dancing as promoted by Cecil Sharp (English) via the English Country Dance Society and Miss Milligan (Scottish) via the Royal Scottish Country Society. [Incidentally 'country' does not mean 'from the countryside' - it is a corruption of 'contre' meaning 'opposite' as in two lines of dance partners facing each other.]

And so-called bush dancing was an invention of city folk in Australia based on the Community dances Manuals importedf from the EFDSS in London in the 1960s.

The 19'th and 20'th social dance scene in NZ seems to have been mirrored that in Australia. And I refer interested researchers to Shirley Andrew's and also Peter Ellis's books. A web search will quickly list a number of them.

Coming to the present it is interesting that at the recent Auckland Folk Festival we danced at least three versions of a dance I wrote which includes three couples making arches - a kind of six-handed star - and then pulling the opposite through each arch. The dance is called Kentucky Reel in the UK (although it is not a true reel with stepping), The Coathanger in Australia and Auckland Bridge in NZ. It dates from the 1980s. It is widely popular in the UK, and it seems that it has been recently re-collected and brought back to NZ but slightly changed - in my opinion not for the better. Indeed the fun part has been lost in the folk process.

This is how I originally wrote it:

**Auckland Bridge** 3 cu. circle

Start in circle with each man's partner on his right

A1 Circle left and circle right

A2 Each man turns the lady on his right once round by the right hand, into a 'grand' chain, passing the next lady with the left, the next with the right, then the next with the left - at this point tucking in *behind* this lady - whilst the ladies make a right handed star - then the men complete the six-handed star taking the opposite lady's hand and forming three separate arches. This is the fun part - the lowest arch gets the longest swing - so the arches tend to fight for the lowest position.

B1 Turn the star once clockwise - whilst arches jostle for lowest position

B2 The man with the bottom arch pulls his new lady across and swings her, the man with the next lowest arch pulls his new lady across and swings her, the third man pulls his newest lady across and swings her. End up with each man's new partner on his right in a circle.

Repeat three times to regain original partner The current modern version whereby everyone dashes about looking for a new set of copuples kind of detracts from the close contact of swinging a new partner each time through.

Enjoy.

Phil Garland replies...
Sorry Chris, but I am going to contradict some of what you have to say about social dancing in New Zealand.I'm not about to make much comment here however because of my forthcoming book 'Faces in the Firelight' due for publication around June. Suffice to say at this juncture, that many end of season woolshed dances were not as refined as Chris would have us believe.Here's a couple of tasters - Bush Dances are purely an Australian term - as far as I know not coined by city folk! Here they were known as barn dances or woolshed 'hops' or 'shindigs' and were not always known for their gentility and refinement, particularly in country areas. That's all I have to say for now. Phil Garland

Then Chris said...
No problems, Phil - you are on site so to speak and can do direct research as well as talking to the old people. I have to base my research on what is available in print or on the web. The main source of info. I have is what exists in the Auckland City Library Archives, the tome The Oxford History of New Zealand Music / John Mansfield Thomson / Oxford University Press, 1991, and "Choirs, Clogs, Mr Ballard and Mr Bones" published by The Hocken Library, Otago University, South Island, New Zealand in 1989. ISBN 0902041 52 5. It describes a visit by a troop of 6 performers called the San Francisco Minstrels in the 1860s to Dunedin and other towns in the South Island. Apparently their act included clog dancing 'Jim Crow'-style. The advertisements for the shows appeared in "The Otago Colonist." The book also describes the many other entertainments and recreational pursuits available around Dunedin at that time. Also Shirley Andrews' and Peter Ellis' books from Australia. Looking forwards to purchasing your new book!!! Chris B.

Bob Fox NZ Tour

noreply@blogger.com (Mike M.) — Thu, 17 Jan 2008 21:54:00 +0000

Hi Folks,I'm just starting my Australia/NZ tour and thought I'd better let you have all the details so that you can plan when and where (and how many times) you're going to come and see me : )here 'tis:
JANUARY
Fri 25 - Sun 27 Auckland Folk Festival, Kumeu Showground, Kumeu www.aucklandfolkfestival.co.nz
Wed 30 Kerikeri Folk Club, Bishops Wood Estate Restaurant,State Highway 10, Northland tel:09 4075309
Thurs 31 Kauaeranga Hall, near Thames e-mail: rholmes(at)paradise.net.nz tel:07 868 7523
FEBRUARY
Fri 1 Katikati Folk Club,Nisbet's Packouse,222 Beach Road,Katikati
Sat 2 Lepperton Bowling Club,Manutahi Road,Lepperton,Taranaki
Mon 4 Devonport Folk Club,The Bunker,Mount Victoria,Devonport
Tues 5 Wellington Arts Centre,Abel Smith Street,Wellington
Thurs 7 Marlborough Folk Music Club,The Boathouse,Blenheim
Sat 9 New Edinburgh Folk Club,Victoria Hotel,Dunedin
Sun 10 Christchurch Folk Music Club,Cokers,Manchester Street,Christchurch

FOR DETAILS OF ALL NZ CONCERTS VISIT www.flyingpiglets.co.nz/tour.htm

Stolen Harp

noreply@blogger.com (Mike M.) — Mon, 14 Jan 2008 20:03:00 +0000

From nz-folk, Celia Briar:

On January 14th my Kim Webby Minstrel harp was taken from my van, in the Westpac Stadium car park in Wellington. It's astounding that someone would nick something so big and
conspicuous, but they did. So I never made it to the session... In case you see a harp for sale that could be my one, here are the details:
It's a Kim Webby Minstrel harp, number 57, with 34 strings, some of them gut, some Nylgut. It'll be very out of tune, as some of the strings are new and I still have the tuning key!
The harp is made of New Zealand red beech, slightly battered from 19 years of use my me but otherwise in good order. It was in a new black carrying case with a set of strings in the pocket. I would be very glad to see it again, especially if it's not been trashed.
My contact details are cbriar-at-gmail.com
Thanks
Celia

2007 Tui Finalists

noreply@blogger.com (Mike M.) — Tue, 18 Dec 2007 23:19:00 +0000

News release
December 19, 2007

Experienced artists lead folk music finalists

The finalists for New Zealand's Best Folk Music Album of 2007 have been announced with the contenders all experienced artists.

The finalists are Phil Garland, The Hobnail Boots and Owen Hugh who between them have released more than 30 CDs in careers collectively spanning more than 55 years.

Often referred to as 'the father of New Zealand folk music', Phil Garland is a finalist for 'Southern Odyssey', his 18th album.

It's the fourth time the Southland folklorist and balladeer has been a finalist for the award. His very first album "Springtime in the Mountains" took out the inaugural Folk Album of the Year Tui at the New Zealand Music Awards in 1984 as did 'Send the Boats Away' a year later - an album to which he contributed.

Following a break to raise a family, The Hobnail Boots singer/songwriter Rob Joass and partner Jo Moir have reformed the Wellington five-piece to release their fifth album, "The Fortune Horses".

The former bar band is now plying its trade at folk clubs, wineries, cafes and theatres where their songs have more space to breathe. The Hobnail Boots has toured throughout New Zealand, the US, Canada and Europe over the past decade..

Originally from Scotland, Owen Hugh recorded his first album in New Zealand in 1991. His new record called "You and I" is Hugh's first in seven years after working on archive tracks and overcoming writers' block.

The Auckland-based artist appears regularly on the city's folk circuit and recently returned to Scotland to perform there and in England.

The Tui award for Best Folk Music Album of 2007 will be announced in Kumeu at the Auckland Folk Festival on Sunday 27 Jan 2008. The winner will also be acknowledged at the New Zealand Music Awards in October 2008.

Recording Industry Association of New Zealand (RIANZ) CEO Campbell Smith is delighted the finalists are such experienced artists.

"Folk music has never been stronger if the quality of entries received is anything to go by," Campbell says. "And, it's great to see that some of the genre's most experienced artists are being recognised for their contributions not only in 2007 but for their work over decades."

The Auckland Folk Festival runs from Friday January 25 until Sunday January 28, 2008. The festival is in its 35th year and its 18th at the Kumeu Showgrounds. Information about the event is available at http://www.aucklandfolkfestival.co.nz/

NOTE TO EDITORS:
The Tui for Best Folk Album 2007 is for recordings released between 16 November 2006 & 15 November 2007. The Folk category was introduced to the awards in 1984.

Recent previous winners of the Tui for Best Folk Album
2004 - Bob McNeill for his album 'Turn the Diesels'
2005 - Lorina Harding for the album 'Clean Break'
2006 - Ben the Hoose (Kenny Ritch and Bob McNeill) for 'The Little Cascade'.
Or refer to http://www.nzmusicawards/ (see history section).

Finalists' websites
http://www.philgarland.co.nz/
http://www.hobnailboots.co.nz/
http://www.owenhugh.co.nz/

About RIANZ: The Recording Industry Association of New Zealand Inc (RIANZ) is a non-profit organisation representing major and independent record producers, distributors and recording artists throughout New Zealand. RIANZ works to protect the rights and promote the interests of creative people involved in the New Zealand recording industry.

Issued for the Recording Industry Association of New Zealand by Pead PR

Contacts:
Bonnie Smail, Pead PR, Tel: 0-9-918 5581; Mob: 021 722 276, bonnie@peadpr.co.nz

NZ Folklore - Swaggers

noreply@blogger.com (Mike M.) — Thu, 13 Dec 2007 00:20:00 +0000

From the nz-folk list:

I'm sure that you are aware of those excellent books by John A. Lee of the New Zealand swaggers - the colourful itinerants who roamed New Zealand in pioneering days seeking a living from doing odd jobs on the farms.

Many were returned soldiers from the Crimean War. Most were down on their luck and had to scrape a living using their wit and ingenuity to earn a crust, a drink and shelter for the night. Their honesty and integrity was legendary, but like the Irishman 'The Shiner' from County Clare, putting over a fast one on a publican was always good for a free drink - usually a shot of Jamieson.

Some were accomplished entertainers - step dancers, musicians, poets and balladeers.

The Shiner was an expert Irish jig dancer, and frequantly would win the various step dance contests at Caledonian Scottish Games etc. Indeed his exploits are the first references that we have for Irish step dancing in New Zealand. It remains for enthusiasts to search for further references to his exploits in the old newspapers of the times.

Meanwhile here is a lecture by John A. Lee rescued from an old recording - dating back to the 1960s. Incidentally his books are still in print from Amazon - "Shining with the Shiner" is a good one.

http://chrisbrady.itgo.com/nzfolk/nzfolk.htm

http://chrisbrady.itgo.com/nzfolk/swaggers.wma (12.96Mb / 55mins : 20 secs)

Chris Brady

P.S. If anyone has a more complete version please let me know. The ending kind of peters out a bit. Also if anyone knows where and when it was recorded please let me know. Maybe it was one of Frank Fyfe's recordings?

John Carty and Mike Considine

noreply@blogger.com (Mike M.) — Tue, 11 Dec 2007 22:53:00 +0000

At the New Edinburgh Folk Club in Dunedin (Tull Cafe). Man, that was a great little venue.

Mike Harding, Down the Hall on Saturday Night

noreply@blogger.com (Mike M.) — Tue, 11 Dec 2007 22:39:00 +0000

Davy Stuart and Mary Dunne at Nut Point Gallery

noreply@blogger.com (Mike M.) — Tue, 11 Dec 2007 22:34:00 +0000

Phil Garland at Nut Point Gallery

noreply@blogger.com (Mike M.) — Tue, 11 Dec 2007 22:31:00 +0000

Stolen Fender Telecaster - Auckland

noreply@blogger.com (Mike M.) — Tue, 11 Dec 2007 00:00:00 +0000

RECOVERED.

"Hi Mike, Thanks for your concern, and good work with the blog.
Fortunately, I spotted the tele on a cash converters auction, and have since had
it picked up by the boys in blue - one back for the good guys! Thanks again
Mike, take care. Kelly"

Stolen Fender Telecaster - Auckland!
Stolen from The Lab studios in Mt Eden on Thursday evening, around midnight on the 29th November. 1 Fender Telecaster in sunburst. Mexican made. 3 ply black pick-guard. Replacement Seymour Duncan bridge pickup is a non original stacked humbucker, but it still looks like a single coil. Maple neck with string through bridge loading (as opposed to string through body). Was in a black SKB hard case with a black guitar strap. Any info please contact Kelly Horgan on 02??? or ke???@????mail.com

Uncle Earle Clip

noreply@blogger.com (Mike M.) — Thu, 06 Dec 2007 03:21:00 +0000

Posted on nz-folk:

BB's Back from the USA

noreply@blogger.com (Mike M.) — Wed, 05 Dec 2007 00:01:00 +0000

From BB's (Catherine Bowness) MySpace site:

"Back Home Again.
Hey Good Friends!
Well, the summer of America is now over and the summer here is just beginning! The last four months have been an awesome experience thanks to the good Boulder folks and Hoffenpeople for welcoming me in to the family. The flight was long and miserable like most flights are but thankfully I got all of everything back into the country even though I was overweight. It's great to see my Mum and Dad again and hear the kiwi accent. The weather here is pretty miserable - rain and wind - but I'm actually enjoying it after the long hot summer days in Boulder. So now I'm going to settle into some study before exams in November and then it's off to play with Twisted Oak throughout New Zealand for December and January.
Cya Ya'll Soon, BB"

BB is performing with Twisted Oak at the Whare Flat Folk Festival this new year.

Groups

noreply@blogger.com (Mike M.) — Wed, 21 Nov 2007 22:10:00 +0000

I've set up a couple of Google Groups, one just called Kiwifolk and another called NZ Ukulele. The former is essentially to replace the broken bulletin board that used to reside here on kiwifolk.com - it just wasn't robust enough but it was useful and well used, with album reviews, buying and selling instruments, announcements, tour info and lots more. I hope this group will get used for those things, but I'm not going to push it (at the time of writing, I am the only member!): too many initiatives, too quickly. I'm sure it'll find it's level as people find it.
The NZ Ukulele group is for the burgeoning uke community, especially for those using it in schools where it is becoming increasingly popular.

Stolen DS Bouzouki

noreply@blogger.com (Mike M.) — Mon, 05 Nov 2007 21:50:00 +0000

Mike Mackinnon

I had a Bouzouki made by Davy Stuart, stolen form my house yesterday. There can't be that manyDavy Stuart Bouzoukis coming onto the 2nd hand market !! I would really appreciate your assistance. Many Thanks Mike Mackinnon.

Details of the instrument stolen from Mike Mackinnon, in New Lynn Auckland, 5th of November 2007:

Bouzouki made by Davy Stuart.

ZB8 model, 24" scale length. Mahogany neck, back and sides, spruce front, rosewood fingerboard, maple bindings.

Slightly unusual in that the scale length is about an inch and a bit shorter than Davy's 'standard'.

The gray label inside has Davy Stuart's name and address (at the time) 141 England Street, Christchurch and will be signed with the date (probably).

5/02 and a note of the string guages 45, 32, 17, 13.

I've put more pictures on my web site at http://lpnz.org so you can see
what it looks like.

Mike Mackinnon

Stolen Bouzouki

noreply@blogger.com (Mike M.) — Mon, 15 Oct 2007 01:35:00 +0000

From Ireland:

To all musicians,
My name is Lughaidh O Broin, a bouzouki player from Dublin. I had a Paul Doyle Bouzouki stolen from Galway on Saturday morning on the First of September 2007 outside Kinlay House Hostel off Eyre square.

It is a prototype model which is completly unique, the only one of it's kind in the world. It is easily recognisable since it has no sound hole but loads of x shaped holes around the edge (see attached photo). It was in a Mick Mullen hard black case with a few stickers on the outside. Two of the stickers were yellow with red sun faces on them.

This Bouzouki has a lot of sentimental value to me. Please forward this email on to as many musicians as possible, whatever music they play.

A reward will be given for it's safe return. Hoping to hear from anybody soon,

Lughaidh O Broin.
+353 857380382
+3531 4592657
lughaidhdelips@hotmail.com
3 Watery lane,
Clondalkin,
Dublin 22.

Dick Gaughan in New Zealand

noreply@blogger.com (Mike M.) — Tue, 02 Oct 2007 21:54:00 +0000

DICK GAUGHAN

Touring Australia & New Zealand

September/ October 2007

http://www.dickgaughan.co.uk/

"He takes ‘folk’ and shakes it until it rattles”

Scottish musician, singer, songwriter, guitarist, composer, record producer and man of social conscience. Dick is one of the worlds most admired guitarists and songwriters and his work with Billy Bragg, Andy Irvine and bands Boys of the Lough, Five Hand Reel and Clan Alba is legendary. His guitar playing is innovative, sensitive, expressive, and beautiful; his voice is by turns tender, angry, passionate and totally unique. Nobody sings like Dick Gaughan.

4/10-21/10- New Zealand Dates

Thursday 4/10- Kauaeranga Hall, Kuaueranga, Thames

Friday 5/10- Katikati F/C Nisbet's Packhouse, Katikati

Saturday 6/10- Tir na nog F/C @ The Irish Club, Rocky Nook Bowling Club, Rooky Nook Ave. Mt. Albert

Sunday 7/10- The Venue @ Wharepuke, Kerikeri

Thursday 11/10- Hastings-Theatre Hawkes Bay

Saturday 13/10- Dunedin Celtic Arts Festival

Sunday 14/10- Christchurch Folk Club

Wednesday 17/10- Greymouth- Blackball Working Men’s Club

Thursday 18/10- Westport Motor Hotel

Sat/Sun 20/21/10- Wellington Folk Festival

Born from Highland Scots and Irish parents, Dick Gaughan is the established voice of Scotland, singing songs of struggle, resistance and love. A professional musician and singer since 1970, Gaughan made his first solo album in 1971 and has recorded extensively since then and in many countries and in various combinations. He’s produced 15 solo albums and contributed to a further 20 compilations. His work has always entwined with the Union movement and the album ‘True and Bold’, made for the Scottish Mine Workers Union during the miners strike of 1985 was a most notable and powerful album.

Much of Dick’s output has been a mixture of traditional and contemporary material mostly of other writers. His latest work has focused much more on his own song writing and his latest album “Lucky for Some’ includes eight new songs out of ten on the album. And while his love of the tradition guides most of his endeavours his writing covers a wide spectrum of contemporary social and political issues.

Gaughan has also become a prolific record producer and composer; composing music for films for the BBC, Scottish Arts Council and independent producers; in 2004 composed a brand new continuous 90-minute suite of 12 sections arranged single-handedly by its composer and combining traditional instrumentation with the Orchestra of Scottish Opera.

Dick’s greatest musical love is for the ancient traditional Scots ballads. Also known as The Muckle Sangs (the big songs), these are the big story songs, which form a substantial part of Scotland's living wealth of traditional song. Full of mystical and supernatural references, they are very dramatic and powerful, and Gaughan is the greatest living exponent of these powerful traditional compositions.

Lists his greatest influences as Karl Marx, Groucho Marx, Flann O'Brien, Bert Jansch, Betty Frieden, John Lennon, Vladimir Illych Lenin, Hugh MacDiarmid, Davey Graham, Doc Watson, Hank Williams, Jeannie Robertson, Ewan MacColl, Somerled, Bertolt Brecht, his mother (Gaughan's mother, not Brecht's), his father (likewise), Calgacus, Dolinna MacLennan, Crazy Horse, Sandy Denny, Martin Carthy, Clarence White, Sean O'Riada, Jack Mitchell, John MacLean, Big Bill Broonzy, Hamish Henderson and Robert Burns.

Check out this wonderful video link- http://www.bbc.co.uk/scotland/player/?item=dick_gaughan_bbc4

What they said- (more at http://www.dickgaughan.co.uk/)

Latest album ‘Lucky for Some’- 2006

The Scotsman

Another powerful and heartfelt collection of songs from this most committed of singers and a fine showcase for his guitar playing as well. Although a folk singer at heart, Gaughan draws equally directly on blues and rock. With the exception of Anna Mae, a song about the murder of a native-American activist, all the material is Gaughan's own, including an arrangement of a traditional song and a lovely instrumental. Topics include the loss of 1960s idealism, the chilling tale of a mercenary, and a couple of contrasting songs about the vagaries of the musical life. Kenny Mathieson

Billy Bragg- Gaughan is one of my favorite artists and has been a tremendous influence on my career.

Frets Magazine- Gaughan is absolutely one of the best in the world

The Independent, London

Gaughan's remarkable guitar playing propels and underpins that astonishing voice, the kind of voice that could stop a train in its tracks. There can be few other singers capable of turning from aching tenderness to the high dudgeon of political rage within the space of a line, or, on occasion, even in the turn of a single word. Extract from article- by Tim Cumming

Folk Roots

Dick Gaughan, for all his complexities, is first and foremost a man of the people. With a list of requests like a phone book he could have gone on all night, but he called it a day ('tomorrow' as it happened) at just the right time. A truly masterful performer.

Extract live review- by Colin Harper

Edinburgh Evening News

Scotland's own Man in Black, loquacious as ever, turns any performance into cultural enlightenment for the audience…Gaughan does not languish in the past and he certainly does not view the future through a bland, rosy haze. In these days of diluted celto-folk, voices like Gaughan's rise high. An hour or two with him is an education in itself.

Extract from live review- by Kaye McAlpine

The Guardian

But Dick Gaughan takes no prisoners, and his songs of the dispossessed were delivered with the electrifying passion of a zealot, cutting through any arran-sweatered Celtic twilight mist like a Stanley knife at a rave……..He takes "folk" and shakes it until it rattles, making songs from 1707 as relevant as today's rap rants. A hard-hitting vital force, Gaughan batters his guitar with the blurring speed of a thrash metal band………Those who welcomed a return to social realism in pop with Bruce Springsteen's depressive The Ghost of Tom Joad, should seek out Gaughan's blast-furnace performances to hear how music from the gut really sounds. Extract from live review- by Bob Flynn

http://www.dickgaughan.co.uk/

www.acrosstheborders.com.au

Contact: John McAuslan

Across The Borders, PO Box 477, Brunswick, Vic 3056

Ph (03) 9387-3376 or johnbmf@vicnet.net.au

Tony Hillyard Interview

noreply@blogger.com (Mike M.) — Tue, 18 Sep 2007 22:34:00 +0000

An audio interview with Tony Hillyard can be heard at www.jamradio.co.nz. Tony is a folk singer/guitarist and recording artist who convenes the Singers' Club at the Roxy Café, on Tuesday evenings (203-205 Cuba St. Wellington).

Technorati Tags: Tony Hillyard , Sing , Folk , Interview

On the Road with the Maritime Crew

noreply@blogger.com (Mike M.) — Tue, 18 Sep 2007 02:59:00 +0000

From nz-folk:

A personal memoir from Rudy Sunde - with some additional comments by Warren.

I started writing this report while in Europe and gave it the above title ON THE ROAD WITH THE MARITIME CREW little realising how prescient such a title was - as you will find out on reading further. This the Maritime Crew's third trip to Europe having been invited to take part in maritime music festivals. On the two previous occasions, we had applied to Creative New Zealand for help in paying our air fares but they declined on both occasions. This time we did not bother them and hoped that our performance fees would cover most of our travel expenses.

Four members of The Maritime Crew - Lew Black, Bob Large, Warren Payne and Rudy Sunde - departed form Auckland airport on 1st August 2007. Two other members of the Crew - Paul Howarth and Alex McClennan - could not go because of family and/or work commitments. We travelled with Emirates - an airline that I would not recommend if one is travelling economy as the seats are so close together. Including stop-overs between planes, it took us the best part of 35 hours to get to Bremen.

We were going to Bremen to participate in the famous annual Vegesack Maritime Music Festival running from 3rd to 5th August. We were proud to have been invited to take part in such a big festival with about 30 other shanty groups from around the world - Holland, Germany, UK, Norway, Sweden, Poland, USA, Cuba, Spain. These were mainly small shanty groups with only half dozen or so shanty choirs.

All the participants were treated splendidly by the organisers. Our accommodation, breakfast and some dinners were paid for. We and quite a few other shanty groups were billeted on board the magnificent Sail Training Ship Deutschland. This is a lovely 86 metre vessel built in 1927 but now retired from sailing. Beautifully maintained it is a splendid example of the tall ship builders' art.

The Vegesack Festival takes place mainly along the banks of the Weser River though there were 2 city venues where we and other groups performed.Along the banks of the river are walkways and on either side of these paths were kiosks selling beer, sausages, beer, kitsch, beer, souvenirs, beer, etc. You get the idea. Thousands milled around - enjoying the beautiful summer evenings or going to the various concert venues which were dotted along the riverside.

We sang at 6 different venues over the weekend and were always received with great acclaim. I think that audiences respected the fact that we had come from so far, far away, that we had a great selection of interesting songs (traditional and contemporary New Zealand songs with a couple of Maori numbers) and that we sang them well. When we were in Germany 2 years ago, we made some good friends and quite a few travelled many miles to Bremen just to hear us again. Among those who came to see and hear us again were Heiko Tieseler and his wife Brigitte who videoed most of our performances. Then there was Ullrich, Dieter and Manfred who with their wives came from Niebull to see us. Iwe van der Beek came from Holland with his singing partner Jaap and also there was Conny Beckman - another good friend.

The Final Grand Concert was a magnificent event with all the groups doing a 10 minute spot and then the Grand Finale with everybody on stage doing "Oh Roseanne". And then there was a marvellous fireworks display over the Weser River. (Fireworks for Auckland Folk Festival?? Now there's a thought.) We stayed on board Deutschland for an extra day after the festival finished in order to relax after the hectic weekend.

The following Tuesday, we were picked up by Johannes van der Werf of the Folsgearster Folkgroup. They had invited us to visit them in the village of Folsgear in Friesland , northern Holland. We had met them in Niebull, Germany 2 years ago and while they could more properly called a folk group rather than a shanty group we still had lots of songs and shanties in common. They say that the Friesian language (a variant of Dutch) is closely related to English but I am afraid that I did not notice any resemblance. Luckily, all our contacts there had a good command of English. Friesland is flat for miles and miles and miles with canals everywhere. Dairying seems to be the main farming occupation with big cow barns attached to the farmers' houses.

Bob and I were lodged in the home of Gerritt and Rinske Rypma - a lovely couple while Warren and Lew stayed with Johannes and his wife Margriet. Gerritt has a nice studio in which we and Folsgearster Folk rehearsed some songs together. We were taken sailing on one of the numerous lakes to watch a boat race between some typical sailing craft called SKUTJE. Next night, we sang at a barbecue party. The nearby town of Sneek was then visited and I must say that I am impressed with all these Dutch towns that saw. Clean (no graffiti), prosperous looking, very neat and tidy. The following night we sang at a local museum devoted to old time farming practices. On the Saturday, we were taken to a local saw mill. This is not the usual sort of tourist experience but this saw mill is different. It is powered by big sails - a typical Dutch wind mill. This mill was built in 1685 and though it might not be compared to modern mills with regard to speed of cutting a log, nevertheless it is a magnificent piece of engineering and I am pleased to see that it is being kept as a going concern. That same night we performed to a large crowd in the Folsgear church and, as ever, we were warmly received.

Before we had left New Zealand, the Folsgearster Folk group made what seemed to us to be a very ambitious suggestion. They said "While you're over here, let's make a joint LIVE CD". We wondered at the possibility of doing this but when we met them and had a couple of rehearsals, we thought, hey, this going to work! Sunday saw us in the recording studio. This was in one of the old cow barns that had been converted into a sort of club with seating for maybe 50 or so. And the studio! I have seen a few in my time but this guy's equipment was top of the range. Folsgearster Folk did 5 songs, we did 5 and then we did 4 together. All this before an appreciative audience. Mixing was done the next day with Johanne's son Franz creating the insert. This where my prescience comes in because they had decided to give the CD the title 'ON THE ROAD TOGETHER'. We have brought the master home and will be producing copies of this CD.

On Tuesday, Roel Boer of de Flagellanten in Giethoorn picked us up (after sad farewells to the Folsgear folk) and drove us to his home town. He provided us with accommodation in a so-called shed (actually a sort of replica of an old farm house) at the back of his section. Giethoorn is described as "the Venice of the North" because of its extensive system of canals. It is a lovely town - charming old houses with thatched roofs which were formerly farmers' houses but which have now been upgraded and are most comfortable dwellings. All access to the houses is by boat - no cars anywhere. More than a million tourists visit the town every year and go on sightseeing cruises up the canals.

De Flagellanten is a bunch of maybe 18-20 male singers who dress up in old style clothing - sheepskins, clogs, etc. - and who specialise in doing good time music - exuberant stuff all sung with great enthusiasm. Easy listening. They perform at the Fanfare Cafe every Tuesday evening so we heard them that night. The next night, we were on at the Fanfare together with de Flagellanten. We sang sets alternately until the very last when we did some songs together. The highlight for me was when Roel and I jointly took the lead for my song "SPRAY OF THE OCEAN". It was lovely hearing the voices of the de Flagellanten singers behind me singing my song and I was quite moved. (When we were in Niebull 2 years ago, we met Tobias Kretchsman ( a young 14 year old lad) and his family and they became great fans of ours. Well, Tobias and his father drove from Dusseldorf to Giethoorn, a distance of about 300 kms, just to see and hear us again.)

The next day we took a train from Steenwik to Harlingen Hafen where we caught the ferry to the island of Vlieland. This is a sandy island lying some 20 or so kms off the Dutch coast. Remote areas of the island with sand dunes covered with marram grass resemble some far north Auckland beaches. On Vlieland we were looked after by Nils Koster and Ger Lamerus who together are called Drijfhout (Driftwood). They are sometimes accompanied by a woman called Susanne Kunenborg..

The main street of the town of Vlieland is closed to vehicular traffic - except for goods delivery vehicles and bikes. (Bikes galore on the island!) On our first day we were taken down the main street where the town brass band was playing - quite well too.The leader of the band is Jan Houter and he was too the man paying us for our performances on the island. He is a prominent local businessman owning the hotel where we were lodged, a pub and a bike hire place. Anyway, Jan introduced us to the crowd (saying that we came from Australia -which was greeted with howls of protest from us and became a standing joke during the rest of our stay. Wee had to do a couple of songs to promote our forthcoming performances. The next day saw us performing a 2 hour gig on the hotel terrace with Nils and Ger joining us for the last 20 minutes or so. Next night we were at the pub "Old Stoop" (Grand Cafe Oude Stoep) where we shared the stage with Driftwood - they doing 40 minutes, we 40 and then a joint 40. As ever our New Zealand songs were very warmly received. Another two and half hour set on the hotel terrace the next day.

Our next performance was the following day when we joined the Vlielander Seaman's Choir singing in the church to maybe 250 - 300 people. The choir did 5 0r 6 songs, we did 5 and then we jointly did 10 songs with the choir.I know this gets repetitious but as ever, we were very well received. evidenced the next day by the number of times we were stopped by appreciative attendees. Our songs and presentation of them always receives audience approval. Jan Houter gave us all a CD of photos that he had taken of us and told us how pleased he was to have us on the island. On our last evening on the island, we were taken on a bus ride some 15 or so kms up the beach. The bus looked very much like the ones used on Ninety Mile Beach. At the end of the ride up the beach we were taken to a large stockade made of Driftwood where a large fire was soon burning and a can of hot chocolate was being heated. Nils and Ger did some songs then we did some to entertain the people there. We started a jolly sing-along in the bus on the way back and were delighted to let the teenagers take over with their songs.

We said our sad farewells to Nils and Ger the next day and boarded the ferry back to Harlingen Hafen. Waiting for us on the pier were most of Folsgearster Folk. They had come to escort us down the dyke towards Amsterdam. At a popular stopping place in the middle of the massive dyke, we were joined by Johannes and Ben and, unbelievably, they had with them the master of the CD plus personal copies for all. Incredible! Said our goodbyes once again to most of Folsgearster and then Marco drove us down towards Amsterdam. Took a train for the last 15 or so kms to Amsterdam Central Rail. Coming into a big city was a bit of a shock after being in quiet places like Folsgear, Giethoorn and Vlieland. So many people! We took a ride on a canal boat the next day and saw some more of this fascinating city. A general impression of Holland is that it is a prosperous looking place - everything neat and tidy, friendly people.

A short flight to Basel on the next day and we were met by Bruno Mueller (our interpreter and general helper) and Ken our driver who drove us to Romanshorn. We were dropped off at the Uttwill Stubli - a combination guest house and restaurant. Markus Studerus, a member of Singing Sailor's Crew Romanshorn and one of my email correspondents was there to meet us. Friday (next day) and we met a lot of the other shanty groups that were there for the weekend. We all took turns to do some songs. One of the most interesting songs we heard that night was a group doing the well-known New Zealand traditional song "Soon May the Wellerman Come". They did it in a more up-tempo style than what we are used to but it sounded great. And then, coming home in the bus to our digs, they sang it again! Fancy that! Being sung as a bus party song!

On Saturday, we and the Pirates ( a lovely group of young French girls from Brittany) took the ferry across Lake Bodensee (aka Lake Konstanz)to the German town of Friedrichshafen. We took turns in singing on board. That afternoon, we did a gig at the Down Under tent (named in out honour). That evening was the BIG evening with the monstrous tent filled to capacity. We did a show together with the Romanshorn Singing Sailors.One of my songs is called "Hurrah for our Captain". The Romanshorn Choir has taken my tune (with my permission) and written new words for the song. Note, their version was written many months ago and yet it extolled the virtues and skills of Swiss sailors. (Now and again they would slyly remind us that they now held America's Cup but we replied that it was only because they had some Kiwi sailors on board.) Anyway, we sang my "Hurrah" and they responded with their version. All good fun. Once again I was moved to have my work being performed by others. After we had performed that night, Bob informed that he had received a text message saying that my wife Pat had returned from Australia but was now in Waitakere Hospital with a chest infection, so the next morning, with Markus' assistance, I got hold of Emirate's Zurich office and arranged to fly home that evening - one day earlier than planned.

Down to the nearby cafe that Sunday morning where a large number of shanty singers were having a good time - laughing, chatting, drinking beer, listening to songs. We did 4 songs. Standing ovation! Well not quite but greatly appreciated. To the main tent that afternoon where Romanshorn did "Hurrah" once again and we did 4 songs.

And that was the finish of the Romanshorn Festival for me. A hurried trip back to our digs where I changed my shirt and Markus took me to the rail where I took a train to Zurich. Interestingly, the train took me right into Zurich airport and then a long lonely flight home.

To summarise :- We had a fantastic best part of 4 weeks in Europe. The weather was kind - summery just about every day. But the people we met were kinder . We were appreciated both for the interesting songs that we sang and also for the way in which we performed them. We have made many friends in Europe but I have one regret and that is, that at my age, I don't think that I will ever make that trip again. But The Maritime Crew has made 3 trips to Europe and I don't see why the younger members of the group can't go again some time in the future.

I would like to inject a personal note here. I am rather proud that 4 of my songs have found favour overseas. "Auckland to the Bluff" is sung in USA and UK while "Spray of the Ocean" and "The Orpheus" is sung in Giethoorn and,as you have just read, "Hurrah" in Romanshorn.

During the 28 days (including travel) that we were in Europe, we gave 23 public performances. This not counting the late night parties where lots more singing took place. Being a senior citizen, I missed out on these parties as I was in bed earlier than the others. I believe that they had great times singing until the small hours on many occasions.

The Maritime Crew is most grateful to all the people in Europe who invited us to perform at the various festivals, clubs, etc.

In Bremen, we had Lutz Hosselbarth, Patricia Feuss, Fritz Rapp, Brigitte Schiller-Hehl and Kersten of Vegesack who organised things so well for us.

In Folsgear, there was Johannes and Margriet van der Werf, Gerritt and Rinske Rypma, Marco and Rinske Rypma, Ben Regeling and Peter van der Werf who were our admirable hosts and singing partners. Delightful people who did everything for us.

In Giethoorn, Roel Boer and his wife (name eludes me) provided us with accommodation and food. His de Flagellanten singers are a great bunch of guys who know how to enjoy themselves - by making great Music!

In Vlieland, we were looked after by Nils Koster and Ger Lamerus - two great musician and singers. Our accommodation was provided by Jan Houter and very nice it was too.Once again, words fail me in attempting to describe how well we were treated - how good everybody was to us.

Finally in Romanshorn we were particularly well looked after by Bruno Mueller, Michael Kowalski and Marcus Studerus. Switzerland is a delightful country with delightful people - kind, generous, friendly and just generally very nice indeed, especially the Singing Sailor's Crew Romanshorn.

When I first got The Maritime Crew together way back in 1994, little did I think that one day we would on a singing tour of Europe. Once would have been incredible but we have done this 3 times now and that is just amazing. I would like to thank everybody who has helped to make these trips possible. And also I must thank members of The Maritime Crew for performing so well while on our overseas tours.

Thanks again to EVERYBODY.

Rudy.

Technorati Tags: nz-folk , Maritime Crew , tour , shanty

Songs of Sweated Labour

noreply@blogger.com (Mike M.) — Mon, 27 Aug 2007 01:27:00 +0000

From the nz-folk list, John Archer writes:

Attention has been drawn to the sweated labour of young girls in South China. There are several New Zealand folk songs denouncing this abomination.

From Neil Colquhoun's Song's of a Young Country

Who robs the young girl of her right
by work that takes her day and night
to earn her poor starvation mite?
The sweater.

Who is it that will cheat and lie
and every cunning trick will try
his greed of gain to satisfy?
The sweater.

He is society's disgrace
and must be told so to his face
so out with him. Leave him no place
The sweater.

From Rona Bailey's Shanties By The Way

In the lands beyond the sea
where Khan and Sultan rule
Where they drink their coffee thick and black
and sip their sherbet cool
They have white Circassian girls for slaves
as well as nigger black
And now it seems in our own free land
that slavery's coming back.
It's fenced about with common law
and given a pretty name
But despite the paltry wage that's paid,
it's slavery all the same.

Such a good woman is Mrs McFee,
toiling with voice and hand
In the cause of the little Chinese girls
away in a distant land
Such a good woman is Mrs McFee,
for hers is an open door
And her name's at the top of the charity list
for the wives of the drunken poor
But Amelia Jane has a hungry look,
with hollows under her eyes
She says she was starved. But everyone knows,
Amelia Jane tells lies.

Silly and light is Amelia Jane,
she has no ideas of her own
You would never think her the bright little girl
that you one once on a time had known
She was clever enough when she went to school
she was pretty enough in her way
She hasn't improved, her schoolmates think,
when they met her in town today
It's all her fault, for whatever the cause,
I'm sure that Mrs McFee
Is a model mistress in every way,
and with that you will agree.

And my aunts taught me this song - there was a young boy on a the next
farm to theirs in South Taranaki in the 1920s who worked from dawn
until after dark seven days a week.

One day when I was out of work a job I went to seek
To be a farmer's boy ....
At last I found the very job at half-a-crown a week
To be a farmer's boy ....
The farmer said, "I think I've got the very job for you
Your duties will be light, for this is all you've got to do....
Rise at three every morn, milk the cow with the crumpled horn
Feed the pigs, clean the sty, teach the pigeons the way to fly
Plough the fields, mow the hay, help the cocks and hens to lay
Sow the seed, tend the crops, chase the flies from the turnip tops
Clean the knives, black the shoes, scrub the kitchen and sweep the flues
Help the wife wash the pots, grow the cabbages and carrots
Make the beds, dust the coals, mend the gramophone....
And when there's no more work to do.... the rest of the day's your own"

http://sniff.numachi.com/pages/tiRESTODAY.html

I would like to feature these on the NZ Folksong website and I would welcome any song-writer's compositions on the current New Zealand practice of conspiring in the deaths of young Chinese girls by buying sweated goods.

Thanks
John A

A True Heritage Instrument

noreply@blogger.com (Mike M.) — Tue, 21 Aug 2007 01:40:00 +0000

From the nz-folk list, Noelle Jakeman writes:

"I am trying to find out about my randfathers kauri timber elaborately Maori wood carved lap steel guitar with paua shell inlay and all original 8 ivory keys which has been handed down to me. It opens out in the back and the electricals inside are in need of repair and needs new strings however the body is in excellent condition and is a beautifully handcrafted instrument. My mother had bought it for my grandfather back in the 1960's from a music store in Queen Street Auckland called 'Harmony House' which has since closed down and no longer there. I was contemplating selling it and had emailed images of it to vintage guitar dealers and collectors overseas and was surprised to get some very interested responses that it has since prompted my interest to find out the guitars origins and history. I did manage to speak to a local lapsteel guitar enthusiast here in Auckland who had mentioned these guitars popularity back in the 50's and 60's with country and western and Maori showbands and I've been trying to make contact with other NZ music stores in the hopes finding out more about these guitars as well, anyone there able to shed some more light on these guitars for me?"

John Archer wrote:

"That carved Hawaiin guitar a piece of folk history. Haere mai, everything is kapai - Daphne Walker - Sam Freedman - Johnny Cooper and His Range Riders.
"The expert on evaluating and repairing that is Simcha Delft in Otaki.
Eight years ago artist Michael Parekowhai put on a fancy installation in a
posh Auckland gallery with ten beautifully made f-hole inlaid paua
guitars. Maori bro's sat around on beer crates playing the guitars while
Jafa glitterati stood around drinking champagne.
"Parekowhai was commenting on the detribalized de-cultured urban Maori of the 1960s. But Noelle's lap-top is a much more poignant relic of that
time. Once Were Warriors - Paradise Lost."

There were a few other posts imploring Noelle not to sell it, to which she most eloquently replied:

"Greetings all,
Thank you all who have responded to my inquiries about my grandfathers lap steel guitar with some great advice and wonderful information. To perhaps answer some of the questions some of you may of had about my earlier notice and intention to sell the guitar I hope the following will offer you some insight. The guitar was a a gift my Mum had bought new for her Father around the 1960's from a music store in Auckland. It is a well loved family instrument and I've been told that my grandfather and muso granduncles would play this guitar and have jam sessions back in the day.

"It is a well loved family instrument and being Maori myself I am aware of the importance of family taonga and have discussed my intentions to sell the guitar with my Mum who had handed the guitar down to me. The guitar has been in my care for a few years now and I've been able to admire its beautiful craftsmanship and uniqueness however as I travel a lot and have very few personal possessions I would much prefer to have the guitar in someone elses care who'd appreciate and hopefully play it again.

As a recently self employed artist relying totally on the income from my artwork this is the only item I have of value and I know that should I eventually sell it, it would help a lot toward much needed tools and equipment that I need to continue making my work. I believe this to be an honorable purpose for selling the guitar and my Mum has given me her full support as well. I plan to make sure that should it eventually get sold it's to an appropriate person that will appreciate care for and hopefully get it playing again.

It's only been just over the last week that I've made inquiries to various NZ music/guitar stores and sites along with vintage guitar dealers and collectors overseas trying to find out a little more about the history of these guitars and an idea of it's value. So far most of the responses I have received back have been from the US and UK. All have been guitar enthusiasts who've only had positive things to say, and as well as admiring the Maori carvings they've also been really helpful with information about the lap steel guitar as an instrument. I have been involved in the Maori visual arts scene for many years now and am very aware of the exploitation of our Maori taonga and imagery and others ignorance as to the importance it is to our people. However it is a family taonga and I have asked the appropriate person in my whanau to do this, the notices I have sent out has been in no way to exploit or disrespect my Maori culture and I too believe that this is a wonderful piece of our NZ music history and would like to eventually find a good home for it. Regards, Noelle

The Southern Man Song

noreply@blogger.com (Mike M.) — Sat, 04 Aug 2007 22:53:00 +0000

I've been noticing one of the more frequent key word searches within the KiwiFolk site has been for "southern man". I was there (in my role as a Pog) at its inception and it's still one of the most requested songs in my repertoire.

I've written up the history of the song as it relates to the Pog Band but it would be good to hear anyone elses point of view. Particularly, it would be good to get some dates around those rugby games.