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Album Release Bluegrass Collector Concert Folk Local History Music

Bernie Houlahan and Eddy Poirier

BERNIE & EDDY INVITE YOU TO ENJOY THE CUP OF TEA.

 

CD cover
I don’t think it’s tea!

A picture on a CD, from Moncton, ten years ago I would have been sure was trick photography!

It’s a picture of New Brunswick’s veteran king of the bluegrass fiddle, Eddy Poirier, sitting across a circular table from a leading senior folk and Irish music interpreter, Bernie Houlahan, little tea cups raised. Eddy, on the left, a saucer in front of him and Bernie,on the right, an orange and black cat perched. Between them is a teapot….a Brown Betty, no less…objects I would never have associated with either.

Yet, I must admit years ago, whenever I’d meet Eddy at a festival he’s always invite me to: “Come over to my camper and have a cup of tea, We need to talk.”

Funny thing it never was tea. But it was served in mugs. Mugs! Not dainty little china cups!

Here’s another rub, too! They even named this album of six instrumental Irish fiddling tracks… each a medley of two tunes…and six Irish songs The Cup Of Tea- Irish Traditional Music.

It shouldn’t have been a surprise though. Eddy and Bernie have been getting together for years and have played the odd Moncton venue together. And each has always had a great admiration for the other’s musical talents. The surprise should have been that it took so long!

I have listened all night long to Eddy’s fiddle and banjo around campfires at early NB festivals that his Bluegrass 4 staged on the old Shediac Road! And on more nights until near daylight listening to Bernie sing dozens of songs from the inexhaustible repertoire he’s filed in memory during a lifetime dedicated to learning all the beautiful songs and melodies, he’d find, through ceaseless searching.

They’re two of my favourite musicians and people. But, so different in the perception of many who know them. Both driven, however, by the same unquenchable thirst to learn both old or new-to-them music and perform it for audiences in an effort to give such discoveries a deserved new life, the appreciation such treasures deserve!

‘Two veterans of the Maritime music scene,’ this CD’s back notes read, ‘have collaborated on a collection of their favourite Irish music. Although they’ve pursued somewhat different musical paths they’ve always enjoyed getting together to ‘play a few tunes’ around a kitchen table or to appear together in public performance.’

Well, in their words, “ it’s nothing fancy”, but to most of us who have known them since the 1970s this CD is a treasure. A wealth of Irish fiddle tunes…12 on six tracks… with six of the loveliest, and perhaps most enduring, Irish ballads thrown in to sweeten the pot… brew, that is!

The fiddle tunes played by Eddy, Bernie’s guitar backing him, include: Toss The Feathers, Woman of the House, Cup Of Tea (the title theme), Tarbolton Lodge, Home Ruler, Cross The Fence, Jackson’s Morning Brush, Tongs By The Fire, Cooley’s Reel, The Wise Maid, The Peeler’s Jacket and Love At The Endings.

Eddy Poirier has been featured on nearly a hundred albums…lps, cassettes, CDs and, I think, maybe an 8-track or two, over at least four decades. Many of those were as one of the Blue Diamonds during the decade that that quartet of singing musicians were Toronto’s leading country club band. Then he did a few with Smiley Bates, and with his wife Rose and Smiley. Then back home with various alliances of top NB performers called The Bluegrass 4, a number of solo recordings and an unknown number with performers Moncton to Toronto he’s backed at recording sessions in those years.

I first met Bernie Houlahan when he joined our Saint John Folk club in the late 1970’s.. By then he had belonged to several Moncton music groups and during at least one bluegrass flirtation was part of an alliance that brought in such legendary acts as Flatts & Scruggs, Mac Wiseman and others. At that time he was hosting a weekly Moncton radio folk music show that had a long run of nearly 18 years. And Bernie was a part of the Hal ‘n Tow folk trio, from the early 1980s until this past September, with composer, multi-instrumentalist James Stewart and the late, lamented great musican and vocalist John Murphy. For the last twenty he has been a member of the Miramichi’s Comhaltas Irish Chapter, too,

Some of the most treasured evenings of my life have been listening to Bernie and Portland, Maine’s Kendall Morse taking turns dredging up old songs from memory and performing them thrillingly downstairs at a club in Belfast, Maine during folk gatherings yearly .

On The Cup of Tea Bernie sings: The Blarney Roses, Welcome Paddy Home, Lord of the Dance, Bridget Flynn, Galway City and Far Away In Australia.

This great CD was recorded at E.J.P. Studio in Moncton, mi

xed and mastered by Eddy Poirier. For copies, phone Bernie at (506) 389-2042 or Eddy at (506) 384-8655.

Categories
Event In Memoriam Memories Music

Utah Phillip Tribute CD up for Grammys

UTAH PHILLIPS 2-CD TRIBUTE SET A TREASURE TROVE

Ani de Franco and Utah Phillips

Yuri Gagarin, Oh Yuri Gagarin/ He rode into the sky/

On a pillar of fire/And he gave us his name/

In a story that will never die/ This young Russia pilot/

Who did what no man had done.

Can you imagine any US songwriter being brave enough to write and record a song like that as the States was just emerging from the dark shadow of McCarthyism? The 1950’s inquisition into perceived un-American activities that had driven such entertainment immortals as Paul Robeson and Charlie Chaplin from it’s shores.

Well, Utah Phillips, who left this world greatly bereft in his 73rd year, on May 23, 2008 did! Bruce, his given name, has been a music hero of mine since the day in the mid 1960’s I discovered his Prestige International lp with that song on it. A hero, not only for that song, but for all the beautifully poetic songs he composed, as well as courageous ones he continued to write, since that first album, right up until his death.

Somewhat as a balm for the grief of his passing, Canada Post left me a Righteous Babe Records treasure trove in our mail box the first week of January: a belated Christmas present arranged  by my wife, Carol.

It’s a 2 CD Tribute To Utah Phillips entitled Singing Through The Hard Times that embodies 39 songs, 29 of them written by Utah. Of the other ten, one is a rare Robert Service gem,Michael,I’d never heard or even read before, three are traditional songs and six were written by singer/songwriters with close ties to Utah. This, to my ear, incomparable set is the best of the five nominees in the Best Traditional Folk Album category for a Grammy at the 2010 Awards being telecast by CBS on January 31.

cover of Tribute albumfirst Utah long play

The Prestige International disc Nobody Knows Me was recorded when he was calling himself  U. Utah Phillips because as he told me once “Back in those days I was a country and western singer and there was this guy recording in   Nashville, T. Texas Tyler, so I thought, since I was living in Salt Lake City again, after a three-year army hitch in Korea, I’d call myself U.Utah Phillips. Why not?”

Nobody Knows Me is an album of 16 songs so rare it’s not even listed in his Wikipedia bio. I have a copy autographed by Utah at our first meeting, a concert of his in Portland, Maine over 20 years ago.

I was with Kendall Morse, a gifted Maine folk singer and story-teller, at that concert. He, his wife Jacqui and Dan Schatz are the producers of this monumental 2-CD set. And those three are among the 38 fabled folk singers, instrumentalists and groups featured, one selection each, on the two CD set. Some like Kendall are among those that have come up to regular summer weekend folk gatherings in NB for three decades.

On this set Kendall sings one of the more poignantly beautiful songs Utah wrote, Phoebe Snow; his wife Jacqui The Miner’s Lullaby; Gordon Bok the classic Goodnight Loving Trail; Kat Logan, who beguiled breakfasters at an impromptu Kingston FarmeKendall Morse, Maine singer/storytellerrs Market concert four Augusts ago, his exquisite Faded Roses of December; Will Brown, Cindy Kallet and Grey Larsen render Going Away; Ed Trickett (part of a trio with Ann Mayo Muir and Gordon Bok for 30 years) sings The Telling Takes Me Home; the beautiful voice of Lisa Null is heard on All About Preachers and Caroline Paton’s (she with husband Sandy founded Folk Legacy Records) interprets the song , Singing In The Country, that Utah’s family and friends sang as he was lowered into his Nevada City, California grave, May 29, 2008; Harry Tufts sings the haunting She’ll Never Be Mine.

Utah Phillips was a long time member of the Industrial Workers Of The World (IWW or Wobblies). A spiritual heir of Woody Guthrie and Joe Hill. He wrote, along with his much loved eloquent anthems and ballads, such incendiary broadsides as All Used Up sung on this tribute set by another of my favourites, John McCutcheon who, himself, wrote the unforgetable masterpiece Christmas In The Trenches. John’s oft-times touring companion, Si Kahn sings John Brill’s Dump The Bosses Off Our Backs.

The most incredible paring on this unbelievable set of recordings is Emmylou Harris, one of Nashville’s most honoured singers joining her voice with the Irish Republic’s most celebrated traditional and contemporary song interpreter Mary Black, in a ethereal rendition of Utah’s Green Rolling Hills of West Virginia. In Ireland, Black has been officially proclaimed one of the most important vocalists of her generation.

Saul Broudy sings Utah’s classic, oft recorded Starlight On The Rails; Larry Penn sings T-Bone Slim’s The Popular Wobbly; Utah’s Room For The Poor is sung by Cathy Fink (who with Canadian Duck Donald was once a headliner act on the international bluegrass circuit); a traditional ballad, Ruben’s Train, is sung by Kristin Morris, Sparky and Rhonda Rucker and East Rattler perform Utah’s Patty Come Back; Faith Petric, a wonderful oldtime songstress sings her friend Utah’s If I Could Be The Rain; Dan Schatz sings Utah’s oft recorded Queen Of The Rails; Judy Cook, his inspiring Kid’s Deliberation and Pete Seeger a song of his Utah was fond of, Or Else! (One Of These Days); a close friend of Utah’s for over 50 years Rosalie Sorrels, a prolific recording artist, sings his The Soldiers Return, a song inspired by seeing Panmonjan, Korea, in ruins.

Folk music icon Tom Paxton sings Utah’s very moving I Remember Loving You (Back When The World Was New); Elizabeth LaPrelle sings Jessie’s Corrido, a song Utah wrote with Sorrels; old-time folk legend Dakota Dave Hull sings Utah’s Old Buddy, Goodnight; Bruce Brackney Utah’s Hood River, Roll On; Mick Lane a traditional ballad, Halleleujah! I’m A Bum,; Ani DiFranco, who became a collaborator of Utah’s in the last decade and a half of his life (she’s appearing at The Playhouse in Fredericton next Wednesday) leads a quartet of musicians in The Internationale; Jay Peterson performs Utah’s Daddy What’s A Train?, Ottawa folk act The Finest Kind led by Ian Robb interprets He Comes Like The Rain; Mark Ross sings Utah’s Look For Me In Bute; Jean Ritchie sings Old George’s Square, a song Utah identified with: he was one of 19 in his Korean unit who received Dear John Letters; Emma’s Revolution sings Utah’s Hymn Song; and another whose records I treasure, Art Thieme, sings The Hobo’s Last Ride; Taylor Whiteside sings Rock, Salt and Nails. And just about everyone on the two disc set join in on the title song, Singing Through The Hard Times, it’s biggest production number,

The song that most intrigued me, however, is one I hadn’t heard before, Larimer Street, written by Utah, sung by Rik Palieri, just the right voice to interpret the sardonic humour of a wrecking ball clearing away the dwellings of the poor to create yet another parking lot and demolishing a betting parlour, so as to put up a stock market investment facility.

All profits from this 2-CD set, originally intended as a fund-raiser to help Utah with mounting medical bills will now go to his family. And, if you are a lover of real folk music this absolutely essential 2 CD set, A Tribute To Utah Phillips, is available by visiting www.rightousbabe.com

Jacqui Morse and Dan Schatz
2010 Producers of "Singing Through The Hard Times" CD

TWO MEETINGS WITH UTAH

The evening in Portland that I first met Utah, I’d arrived just at concert time so I was making my way to a washroom at intermission when I passed Utah in conversation with a fan. I heard him say  “I’m looking for the words to a song Wilf Carter wrote “I Bought A Rock For A Rocky Mountain Girl”. I stopped and said, “Wilf didn’t write it,  Red River Dave McInery did. He was a friend of Wilf’s in the 30’s in New York. Dave didn’t have a record contract at the time so he let Wilf record it.” On the way back they were still conversing and Utah said “Another song I’m looking for is The Hobo’s Lullabye that Wilf Carter wrote.” I stopped and said “No, Wilf didn’t write that one either, Gobel Reeves did.” Utah said, “Who the hell are you anyway?” I told him I was a record collector from New Brunswick.

Seven years later Utah was appearing at the Left Bank Cafe in Blue Hill, Maine, so Carol and I went down to hear him. He was sitting across the room from us, I noticed, with another couple, as we were being seated. We had just picked up our menus when Carol said, “He’s coming over.” I looked up as he stopped by our table, “You’re that record collector from New Brunswick, I was hoping I’d find you again someday,” he said. It was more of a statement than a question. What a memory he had for faces! In conversations with him then, at intermission and afterwards I agreed to put all of Wilf Carter’s and Gobel Reeves’ hobo songs on tape for him. I did and he sent me back two of his albums, Legends of Folk and The Moscow Hold I didn’t have.

Sometime toward the end of the past millennium I had a letter from Red House Records saying that one of their roster, Utah Phillips was appearing in concert at a college on the Maine coast, could I give it some publicity in NB? Well, I phoned the college intending to reserve tickets, as well as inquire about details, but they had no notice of such a concert. I phoned his home in California: “He’s on the east coast,” his wife said, “but I don’t know where all he has concerts booked.” I phoned Red House and was told, “He’s supposed to be there on such and such a date.” I phoned the college back and asked for someone in administration. “Oh, yes,” I was informed this time, “He’s here then but it isn’t a concert. He’s addressing our graduating class. Utah’s our convocation speaker. ”

So the opportunity to talk with Utah again, my last opportunity as it has turned out, went down the tubes. No one will ever hear that eloquent voice again…except on recordings, of course.photo of Utah performing

Kendall holding the medal at the 10  Ro0ckland Rinktum
Kendall Morse

Categories
2008 Performers Album Release Blues Folk

Jackie Washington, Mose Scarlett and Ken Whitely

George Hector’s Son Jim Amazed by Jackie Washington

jackiecd11
Jackie Washington CD cover

I called Jim Hector in November about a matter not music related but found him still excited by a TV concert he’d seen days before. Jim is one of the late George Hector’s sons, NB’s legendary banjo man, “Had I heard of Jackie Washington?” he asked.

“The other night there was this guy Jackie Washington singing a song I never heard anyone else but my father sing..Save The Bones For Henry Jones. I never thought I’d hear it again!” Jim is a blacksmith who travels the province, when able, shoeing horses at riding stables, race tracks, and at many private owners barns. And although semi-retired due to a severe back problem he still manages to keep active. In fact, for decades Jim has been almost as popular with equestrians as his father was by music fans.

George Hector of the Maritime Farmers
George Hector of the Maritime Farmers
Or as George’s other son Ed, a mechanic, was with vehicle owners. The Hectors, including Jim and Ed’s sister Rhoda are a diversely talented family. “Another guy on that show sang He’s In The Jail House Now,” Jim said. “Another song Dad sang!” “Guy with a short black beard? I asked. He nodded.

“Mose Scarlett,” I said. “There’s a guy with a white beard usually with them, too…Ken Whiteley. But Jackie’s the only one, I guess, owns a razor.“ “He was there too,” Jim said.

“They record for Borealis,” I said, “Canada’s leading folk and blues label. They’ve CDs out solo and as a trio.” Jim’s enthusiasm rekindled mine. This trio of folk-blues singing musicians are so infectious, I’ve long intended reviewing their CDs but never, until now, found a window to do it.

Jackie Washington has recorded two CDs at the Borealis Toronto studios.

One titled Midnight Choo Choo includes such vintage favourites as: Street Of Dreams, Little Dutch Mill, Dinah, Triscadecaphobia, Where Did Robinson Crusoe Go (With Friday On Saturday Night?), Alabamy Bound, Save The Bones, the title song and ten more that, probably have haunted your dreams for years!

And, although Jackie does all lead vocals, his trio partners contributed their multi- talents along with 14 other musicians including J.P. Cormier on fiddle. His other Borealis CD, Keeping Out of Mischief, is a 19-track album, also, that includes such nostalgic hits as: At Sundown, Girl of My Dreams, Foolish Questions, Blue Turning Grey Over You, Drifting,Old Folks, Take The ‘A’ Train, the title song, a powerful version of Everybody Will Be Happy Over There, and 11 more. Ken backs him on guitars, mandolin, organ, piano, harmonies, Mose guitar, and another 13 musicians that include Nashville’s sensational dobroist, Jerry Douglas.

Mose Scarlett CD

Mose Scarlett is one of a kind! His self-taught guitar finger-picking defies categorization or comparison. Dubbed ‘stride guitar’ by experts, it’s so syncopated it beguiles. And over and under it slides one of the most unique, emotional bass baritone voices you’ll ever hear. It can reach to the basement of the vocal registry, yet come up floors so effortlessly without a pause.

Mose’s Borealis Precious Seconds CD, is a 15 song album running a time line from 1912’s the I Used To Love You But It’s All Over, to 1917’s Darktown Strutter’s Ball, 1918’s Somebody Stole My Gal, 1921’s Anytime, 1925’s Bye Bye Blues, 1927’s My Blue Heaven, 1935’s Lulu’s Back In Town, up to 1975’s Don’t Go Lookin’ For Trouble and Mose’s own catchy Muscatel Tale. In between are wedged Sweet Lorraine and four others including the longest version of He’s In The Jail House Now, I’ve heard.

Ken Whiteley CDS

Ken Whiteley is a singer, songwriter and multi-instrumentalist whose recording history is long, both as a solo artist, dueting with brother Chris, in trio with Scarlett and Washington, or with Gospel choirs. Ken plays mandolin, piano, ukulele, washtub and acoustic bass but the magic instrument in his hands is his National steel body guitar with its haunting dobro sound. He has a wonderful natural singing voice, that he can turn into a forceful gospel or blues instrument. Of three solo CDs he’s issued on Borealis my favourite is Musical Mystery Machines, a project of Mariposa In Schools that matched him with children performers to create learning programs for school curricula. Ken uses only his natural voice on this CD, enhanced by intriguing sound effects and a thrilling child chorus.

Another, Gospel Music Makes Me Feel Alright, recorded Live, into which he poured his soul. is emotional. You can feel the prophetic fervor of a Billy Graham in his voice on such songs as Let My Life Be A Prayer, the title song, Voice Of The Lord and Wilderness. But Traveling On sung in his natural voice is my favourite.

The Trio ‘s Borealis CDs

The trio’s three Borealis CDs … Where Old Friends Meet, We’ll Meet Again and Setting On A Rainbow…are the most beautiful and captivating folk blues I’ve heard. Their blended talents make rarities like Lady be Good, Mood Indigo, When You’re Smiling, Wait ‘Til The Sun Shines Nelly and dozens more, sparkle like new, take your breath away.

To learn more visit www.borealisrecords.com or phone 1-877-530-4288. Check out Ken Whiteley’s new One World Dance CD, too.

Categories
2008 Performers Folk Jazz

Making a mark (Hill) in time at Chet’s Convention

“What on earth is he doing?”

markhillphoto08smGuitarist Mark Hill’s Up Home Tonight audition in the mid-80’s probably still exists in the dark recesses of some ATV film vault. What is not recorded on it is went on behind the camera such as that query by producer/ director Barry Bramhill.

“Unbelievable, but he’s finger picking the melody on the treble strings,” the show’s host, Gordon Stobbe, an amazing instrumentalist himself, explained, “and a split second later, picking it on the bass strings with his thumb.”

“Is that humanly possible?” Barry asked.

“Well, that’s what we’re seeing and hearing,” Gordon said.

It was the first expression of utter amazement I’d heard in all the auditions I’d sat in on with them, auditions that brought so many extraordinary musicians and singers out of the proverbial woodwork.

markhillcdcover08It’s that rare dexterity of mind and hand that Mark exhibits playing his interpretation of Moulin Rouge, its fingered melody with the thumb picking that sounds like an overdub so exquisite I nearly forget how beautiful Zsa Zsa Gabor looked singing it in the original 1954 movie of the same name. It’s one of twelve instrumentals on his new CD A Mark In Time he took copies of to the Chet Atkins Appreciation Society (CAAS) Convention at Sheraton Music City Hotel near Opryland this week, July 9-12.

Mark paraded his great diversity before the ATV audition camera that day….classical, standard, Chet Atkin’s style country, Lenny Breau jazziness, Jerry Reid poker club blues picking!

That diversity and exquisite simplicity is what brought Mark to the attention of so many at the Convention last year after US reviewer Palmer Moore enthusiastically praised his 2006 release Mark Hill Picks On Chet. He rhapsodized:

‘I am so excited to announce a new name (and certified Chet nut) to fans in the Chet Circle… Mark Hill! He’s from the Canadian Maritimes and one heck of a picker. His dad taught him how to play Chet tunes early and, even though he has progressed through heavy classical and jazz studies, he never forgot his love of the thumb picking stuff his dad left in his head.

‘After years of professionally playing jazz, flamenco and blues with a fairly successful band he formed with his brother Steve (the Hills brothers Blues Band) it was his dad that suggested he might drop back and record some Chet music which he did.’ Which led to that review.

‘Will he ever have a loud stage act like Emanuel or Dykes and do world tours? Probably not!’ he continues. ‘Could he hold his own with either of those two or with Richard Smith? I’m sure he could! Will we ever see him at the CAAS Annual Convention in Nashville? I sure hope so and I hope he sells a ton of these Hill Picks On Chet CDs.’

Well, maybe Mark didn’t quite sell a ton last year at this event but he did sell a bunch and, more importantly, he says, met a lot of Nashville’s top guitar session players and was greatly encouraged by their interest and praise and the thrill of being invited back.

Mark’s new album, A Mark In Time is a mixture of up beat and slow tempo tunes, carefully chosen and brilliantly performed. Besides the title tune, El Senteio, Oscar’s Walk, Hubbard’s Cubbard (a little music word play on Mother’s Hubbard’s Cupboard) and the rollicking, joy filled Twin Pipe Papa (Ohio Romp) are all gems that reflect Mark’s genius as a composer.

And his interpretations of such world favourites as Paganini’s Rhapsody, Limehouse Blues, Three Little Words, Cascade and Don McLean’s Vincent are incredibly meticulous and inspired, his version of Paul Yandell’s Coming Home shows how well Mark can straight pick and then break into such great single line improvising.

Backing Mark’s elegant guitar work, his brother Steve plays drums, percussion and harmonica, Brian Baker bass and mandolin and Pete Belliveau, who engineered the CD, percussion,as well. It was produced by Dave Hill. The beautiful cover design is by Steve Hill, a former artist and cartoonist with this paper.

The Chet Atkins Appreciation Convention Mark is attending…it started yesterday and continues through Saturday…was founded in 1983 by an extreme Atkins fan Jim Ferron. It yearly attracts hundreds of the world’s best finger pickers so to stand out you have to have something special! Locally A Mark In Time will be available at Backstreet Records, Saint John.