The Oars

TheOarsKimberley“The Oars, which consists of songwriter Ilana Cameron on keyboards and vocals, with Kurt Goltz on guitar. Normally Creston’s premier fiddler Karl Sommerfeld tours with the band but unfortunately circumstances prevented him from making the trip. The band was touring the Columbia Basin on a grant from the Columbia Kootenay Cultural Alliance. When asked to describe their music, Cameron said “I’m inspired by a sense of place”. In her teens she studied with renowned Canadian musician Veda Hille but it wasn’t until she began collaborating with Goltz that she really found her musical stride. In recent years they performed at the hike-in-only festival Peppermill, in restaurants, in living rooms and on many stages on the West Coast and in the Kootenays. Their current tour will take them around to different communities in the Columbia Basin region. They are based in Creston and are excited to explore their ‘backyard’ while playing for new audiences and exploring new communities. “

In a nutshell the music is

  • PASTORAL – Portraying Rural Life and the Countryside
  • ETHEREAL – Marked by unusual delicacy, lightness and refinement

The combination of Ilana’s Nord Keyboard and Kurt Goltz’s feather weight acoustic guitar was perfect for the contents and sentiments of the songs. This is not wildly exciting music but rather one more about time, place and old time characters of the region. The Ilana’s Nord keyboard is an interesting instrument that is hand built in Sweden. This is the second one I have heard in a local environment and each time I have been entranced by the combination of sounds available from the instrument. It certainly is a step up and away from the old Fender Rhodes electric piano. Kurt was playing a Blueridge BR60 Dreadnought guitar that had been rehabilitated by Michael Heiden in Creston. Most of the material was composed by Ilana at the keyboard and as a result there were a lot of “guitar unfriendly” keys to challenge Kurt. He has risen to each occasion with some deft use of of very weird open tunings that contributed to the “spacey” feel of the music. Some of Ilana’s song titles include The Harbour, Brave, Tigers, Constellation, Strike, Ruby’s Jam (inspired by an old pioneer novel) , Cabin Song, Bluebell (a mining song – with some very nice lead guitar work), Slow Arrow,   and, of course their namesake The Oars.

The Oars
As part of a budding project Kurt resurrected some songs by a colleague from way back. The original writer, Mark Arden, has since died and his songs only live on in some very bad recordings made some years ago. The long term plan is to collect the songs together and, along with old friends and acquaintances, bring the songs back to life.  

The only cover song of the evening was Flight – a song originally done by a band called Grizzly Bear whose home base, ironically, is Brooklyn, USA

 Ilana Cameron           Kurt Goltz   Kurt Goltz          lana Cameron  The Oars  The Nord Keyboard

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Slavic Strings at the Knox

Microsoft Word - DocumentLaCafamoreSpring2014.docx

Every spring and fall violinist Angela Snyder travels from her home base in Virginia to “play second fiddle” in the various configuration of the chamber ensemble La Cafamore.  At this time of year, in one form or other (Trio, Quartet, or Quintet), La Cafamore tours the Kootenays for a series of Chamber music concerts. Over the years they have presented programs that have included some of the best of the Baroque, Romantic and Modern repertoires. The ensemble is not adverse to taking risks with their programming. There are not many ensembles that would dare to tackle Steve Reich’s Different Trains and George Crumb’s Black Angels. Local patrons have been lucky enough to hear La Cafamore present these startlingly modern compositions at the Knox Presbyterian Church in Cranbrook. For this tour the “modern meat” in the sandwich was Serenade Op.12 by Zoltan Kodaly. This composer is a contemporary and fellow national of the Hungarian composer Bela Bartok. Both composers drew heavily on the folkloric heritage of their native country. While acknowledging the composers folkloric inspirations there is no mistaking the modernity of their compositions. Serenade is no exception. Kodaly’s composition may have been the meat in the sandwich but there was plenty of other “garnishes” on the menu. The program opened with Lionel Bart’s (1930-1999) Where is Love from the musical Oliver. From there it was a huge leap back in time to the Inventions #13, #14, and  #15 by Johann Sebastian Bach.The other “BIG B” in classical music (Ludwig von Beethoven) was represented by a series of 12 German Dances. The final hefty piece on the program was Antonin Dvorak’s Terzetto Op.74 (Introduction / Larghetto / Scherzo and Theme and Variations. Unfortunately La Cafamore’s concert clashed with the larger SoWeCa Chamber Music festival that was running concurrently at the Key City Theatre. Despite the small audience in this wonderful performance space La Cafamore did not let us down. The next tour of LaCafamore will be in the fall and every effort will be made to avoid any programming clashes in the future. As always I will be looking forward to whatever is pulled out of the Chamber Music hat.

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THORIUM BASED NUCLEAR ENERGY – Too good to be true?

The dropping of the atomic bombs on Japan at the end of World War II ushered in a new age and my generation is a child of that age. We have seen the horrific effects of the bomb, lived under the cloud of “mutually assured destruction” and witnessed the massive accident at Chernobyl and, more recently, the tsunami demolition of a nuclear power station in Japan. We are aware of the hazards of nuclear waste and how it will continue to accumulate with the current nuclear technology. It is not an understatement to say that we have a paranoid fear of anything nuclear and that includes “peaceful” development of nuclear energy. We are filled with “nuclear fear” and as a result research and development of nuclear power has been stalled for years. I believe the last nuclear power station to be built in North America was in the 1970’s and that was based on technology developed in the 40’s and 50’s. By today’s criteria that is very, very old technology.

The development of nuclear power stations was totally predicated on the need for weapons grade radioactive materials. As a result a whole industry has been developed to fill those demands. Research into alternative nuclear power flies in the face of military needs and the current Uranium based nuclear establishment has a strangle hold on the political process.

Alvin Martin Weinberg (April 20, 1915 – October 18, 2006) was an American nuclear physicist and administrator at the Oak Ridge National Laboratory during and after the Manhattan Project. He came to Oak ridge in 1945 and remained there until his death in 2006. He is virtually the God father of what is the accepted design of Light Water Reactors (LWR) for nuclear power generation. But that was not his final word on nuclear power station design. In response to a request by the American air force to match the American navy’s nuclear power capabilities he was asked to design a suitable nuclear power source for aircraft. A foolish request perhaps, and one that was ultimately cancelled, but it is one that led to the design of the Molten Salt Reactor (MSR). After 18 years as the director, Weinberg was fired by the Nixon administration in 1973. He was fired because he continued to advocate for increased nuclear safety and the adoption of MSR reactor designs to replace what he thought were design flaws in the LWR concepts. Weinberg’s firing effectively halted development of the MSR. Under various administrations some research and development continued sporadically over the years and the concept has been proven in a pilot plant that was built.

In discussions about Nuclear power what is forgotten is the fact that current power stations are based on designs that are over 50 years old. Is there any technology of that era that has survived without major redesign and, in most instances, actual replacement with bigger, brighter, more efficient designs? As we all know technology is currently rolled over at an ever increasing rate. So why not nuclear power designs? Current reactors are based on the use of Uranium 235 as the fuel source. This is a relatively rare, limited resource that is only utilized at about half of 1% efficiency. It produces significant amounts of radioactive waste materials that, as a disposal problem, have yet to be solved. And there is the spectra of nuclear proliferation always hanging the air (witness the paranoia associated with the Iranian efforts to develop peaceful nuclear power).

Thorium could be used as a nuclear power source. “What is Thorium? Thorium is a naturally occurring radioactive chemical element with the symbol Th and atomic number 90. It was discovered in 1828 by the Norwegian mineralogist Morten Thrane Esmark and identified by the Swedish chemist Jons Jakob Berzelius, who named it after Thor, the Norse God of thunder. Thorium produces a radioactive gas, radon-220, as one of its decay products. Thorium is estimated to be about three to four times more abundant than uranium in the Earth’s crust, and is chiefly refined from monazite sands as a by-product of extracting rare earth metals” – Wikipedia. (That last mentioned fact, extraction from rare metal earths, is a subject with profound economic implications for North America. Most of the rare earth extraction, development and subsequent expansion of high tech industries are occurring in China.) Thorium can be used as a fuel in Nuclear power plants. It is so abundant that it could power the world for thousands of years. It also offers a unique and innovative way of disposing of existing stocks of radioactive waste and spent fuels.  Plutonium can be safely disposed of by being mixed with thorium, used as a nuclear fuel and “burnt up” in conventional Light Water Reactors.  The Norwegian company Thor Energy is running a 5-year test program on mixed thorium-plutonium fuel at the OECD Halden Test reactor in Norway.  Thor Energy is working to commercialize the fuel by 2020. The thorium fuel cycle has been successfully demonstrated in over 20 reactors worldwide, including the UK’s ‘Dragon’ High Temperature Gas Reactor which operated from 1966 to 1973.

China and India are investing heavily in Thorium reactors and will have prototype power stations on line in the next few years. In the meantime North America appears to be doing nothing. That is kind of ironic. The plans for the prototypes comes from old research efforts at the Oak Ridge Laboratory. No, they were not stolen in some clandestine spy operations. The Chinese asked for the designs and they were given free access to gigabytes of PDF files that they took back to China. In 2011 the Chinese government launched a $350 million program to develop thorium-fuelled molten salt reactors, with a goal of reaching commercial readiness by 2035. India is also pursuing a comprehensive thorium fuel plan with a first commercial thorium-fuelled reactor scheduled for 2025. It has large reserves of thorium which it plans to utilize in Prototype Fast Breeder Reactors, two of which are under construction.

Prosperity is based on access to cheap electrical energy (“every woman on the planet deserves a washing machine” – before you dismiss that as a frivolous comment just think about the implications click on the TED link). At the moment prosperity is based on cheap coal, natural gas and oil technology with the attending prospect of runaway pollution and global warming. Although the idea of alternative sources such and wind, tidal and solar are attractive the truth of the matter is that with the projected growth in energy demands these sources, while useful and advisable, will never fill the demand, and despite their attractiveness, they also come with environmental costs. How much of the earth can you “put under glass” (solar panels) and how many wind and tidal power stations can you spread across the landscape? Not enough to supply our needs. Having said that the options have to be explored and developed. You can’t have too many eggs and too many baskets.

If we want a sustainable energy source then Thorium would appear to be the answer. Despite the significant technical challenges that would have to be overcome the substantial safety and environmental advantages would make the effort worth while. As always, nuclear power requires “humungous” amounts of capital but given the political will it can be done. Just look at the capital that is being expended on the Alberta Tar Sands, Liquid Natural Gas developments and the proposed pipelines that can only take us in the wrong direction. Couldn’t that be better spent on a hydrocarbon free future? As always with a new nuclear option there will be cost over runs, political scandals, and long lead times. But do we really have any choice? The Thorium Nuclear Energy option may be too good to be true but the whole scenario looks more hopeful than the alternatives. So perhaps we should go for it at an accelerated pace. The Chinese, Indians and Norwegians seem to think so.

I have freely plagiarized numerous sources and for that I apologize. There is so much information out there and I encourage you to check the YouTube videos and the Wikipedia entries to become fully informed. There is an absolute landslide of information out there – click on the following links:

Thorium and the Rare Earth issue  – this examines the Rare Earth Metals issue and the potential surplus of Thorium for nuclear energy production.

Thorium Molten Salt Reactors  – Why hasn’t development gone ahead – 36 minutes of tech talk.

Nuclear Energy and Climate Change

Kirk Sorensen’s presentation – This is rather long but as a complete overview it is well worth the time.

I would also encourage you to check the related link that Dave Prinn put out there recently on Solar panels    http://blog.petflow.com/this-invention/

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SoWeCa 2014 Chamber Music Festival – behind the scenes

Soweca_festIt is unfortunate, in a way, that the idea of “Classical Music” is so entwined with Symphony Orchestras and Symphonic Music when in actual fact there is so much more to “Classical Music” than what we normally associate with the term. Symphonic music is fine but it does imply a certain largeness of magnitude in the music, the organization and the means to bring it to an audience. It has introduced a distortion that implies that only truly good music can be produced by a symphonic orchestra. Case in point is the recent angst and anguish caused by the possible demise of the EK Symphony Orchestra. The possible demise of that orchestra was equated with the end of local “high” culture. Yet in actual fact over the past 4-5 years some very successful small scale efforts by local chamber musicians has introduced some very exciting and adventurous music to local audiences. The La Cafamore String Quartet, Trio and  Quintet, and Calgary’s Lily Quartet have performed concerts at the Knox Presbyterian Church (a wonderful chamber music venue) that included the music of Brahms, Beethoven, Haydn, Mozart, Schumann, Schubert and more importantly the modern works of Kodaly, Steve Reich (“Different Trains”) and George Crumb (“Black Angels”). These musicians have achieved a level of musical diversity and excellence without any significant financial or audience support from Symphony organizers. In the face of significant  adversity they should be commended. So, at the end of a very successful season the symphony orchestra is back on its feet and that is a good thing. And, with the expansion of the SoWeCa Chamber Music Festival  into the Kootenays,  things  are looking even better. SoWeCa has been around for a number years in Southern Alberta and this is the first year that Cranbrook has been added to the circuit. This week (Monday 19th to Friday 23rd) in May 2014 has marked a full schedule of rehearsals and performances in Cranbrook.

Act I – Cranbrook B.C

The Players: The musicians are from diverse backgrounds and geographic locations and are all major “players” in their own right.

  •  Deanna Oye – Piano. Deanna is the Associate Professor and Chair of the Department of Music at the University of Lethbridge. Over the years she has performed at the College of the Rockies in Cranbrook a number of times.
  • Gerard Gibbs – Oboe.
    Gerard is a professional oboist  who has studied and performed throughout the USA, Canada and the United Kingdom. He is currently the manager of the Key City Theatre in Cranbrook and is one of the principal organizers of the SoWeCa Chamber Music Festival
  • John Lowry – Violin
    John has been the Associate Concertmaster of the Calgary Philharmonic Orchestra since 1987. He has also performed as a guest Concertmaster in many Canadian orchestras as well as the Adelaide Symphony Orchestra in Australia.

       Gerard Gibbs - oboe        John Lowry

  • Andrew Brown – Viola.  Andrew is the Associate Principal Violist of the Vancouver Symphony Orchestra and has been a member of the CBC Radio Orchestra for over 18 years. Apart from his heavy involvement in the Vancouver music scene he has performed widely throughout North America, China and Korea.
  • Noam Buchman – Flute
    Is a highly-acclaimed flautist from Israel. He has performed in concert and recordings most of the existing repertoire for flute.Along with his extensive performing career he teaches flute at the Jerusalem Academy of Music.
  • Michael Hampton – Piano. Michael performs regularly on major stages around the world, including Wigmore Hall and Carnegie Hall, and broadcasts frequently on radio. He works both as a soloist and chamber musician.

 Andrew Brown        Noam Buchman - flute      Michael Hampton

  • Tadasuke Lijima – Violin
    Tadasuke was born in Japan and studied under the guidance of Hitoshi Maezawa, Boris Kuschnir, Toshiya Eto, Zakhar  Bron  and Mayumi Fukijawa. He is currently studying under the direction of Rivka Golani at Trinity Laban  Conservatoire of Music and Dance. He ha won many prizes and has appeared with a number of major symphony orchestras.
  • Vanessa Lucas-Smith – Cello
    Vanessa is a “Brit” who began her studies at the Royal College of Music. She is also a graduate of the Royal Northern College of Music. She has a passion for chamber music, has won many prizes and is a founding member of the Brodowski Quartet.
  • Rivka Golani – Viola
    Rivka is recognized as one of the great violists of modern times and she is the Musical Director of this festival . She plays with passion and fire and, in the vernacular, she is “a rock star”. Be prepared to be swept away by her performances during the festival. What more can one say?

 Tadasuke Lijima  Vanesa Lucas Smith - cello   Rivka Golani

  • Peter Knapp – Narrator
    Essentially he is a vocalist who has performed though out the world (Frankfurt, Zurich, Bulgaria, St. Louis, Hong Kong, Venice, Australia and South America) with many companies including his own. I believe he will be doing some vocal coaching and teaching during the festival.
  • Benjamin Ellin – Composer and Conductor
    Benjamin is an award winning and critically acclaimed British conductor and composer. He is currently the Musical Director of Thursford Productions, Principal Conductor of the Strathwaite Philharmonic Orchestra, Music Director of Focus Opera and President of Pembroke Academy of Music, London. His composition for this Festival is entitled Baker Massacre and will be premiered at Heads Smashed In Buffalo Jump, Fort MacLeod, Alberta, Sunday May 25, 2014. Benjamin will be conducting the premier performance of David Jaeger’s Thunder and Raven.
  • David Jaeger – Composer (Thunder and Raven).
    On reading his extensive resume it is evident that David Jaeger has been in the fore front of modern music for many years. His composition Thunder and Raven for solo flute, viola and chamber ensemble is inspired by a Blackfoot legend and  will be premiered at the Key City Theatre in Cranbrook on Friday May 23, 2014.

              Narrator Peter Knapp - Thunder and Raven             Benjamin Ellin

  • Other players include Charles Heller – Composer Two Ravens (it will be premiered at Heads Smashed In Buffalo Jump, Fort MacLeod, Alberta, Sunday May 25, 2014); Fred Stenson (text for Baker Massacre); Jennifer Stirling Pierre – Narrator; Adam Mason – Percussion and Matthew Heller who must be playing  the largest Orchestral Bass on the planet.

Act I – Cranbrook Key City Theatre;

Scene I – Rehearsals in the foyer of the Key City Theatre

Here are some images from at least three days of rehearsals.

 Deanna Oye       John Lowry   Rivka Golani      Vanessa Lucas-Smith    Tadasuke Lijima  Michael Hampton      Deanna Oye     Rivka Golani   Vanessa Lucas-Smith   110. John Lowry  Tadasuke Lijima      Rivka Golani      John Lowry The Brahms Quartet  Deanna Oye and Gerard Gibbs    Deanna Oye and Gerard Gibbs Gerard Gibbs      Andrew Brown - viola    164. Noam Buchman - flute The Mozart Quartet

Scene 2 – Mozart at the Heid Out – A truly pleasant way to spend a lunch time.

At The Heid Out     At The Heid Out    At The Heid Out At The Heid Out   At The Heid Out

Scene 3 – Final Dress Rehearsal On Stage at the Key City Theatre.

First the piano technician: 

The Piano Tuner  The Piano Tuner  The Piano Tuner

Then the plot:

  • Mozart Quartet in D Major K285 for flute, violin, viola and cello –
    Allegro / Adagio / Rondo

Noam Buchman – Flute; Andrew Brown – Viola; Vanessa Lucas-Smith – Cello; John Lowry – Violin

208. Mozart Quartet

204. Mozart Quartet - Noam Buchman 210. Andrew Brown - Mozart Quartet   Vanessa Lucas-Smith - Mozart Quartet   John Lowry - Mozart Quartet Noam and John - Mozart QuartetMozart Quartet     Mozart Quartet Andrew and Vanessa

  • Robert Kahn (1856-1951) Serenade Op.73 for Oboe, Viola and Piano – Andante sostenuto / Vivace / Andante sosenuto

Gerard Gibbs – Oboe; Andrew Brown – Viola; Deanna Oye

314, Deanna , Andrew and Gerard - Robert Kahn's Serenade   Gerard Gibbs - Robert Kahn's Serenade  Gerard and Andrew - Robert Kahn's Serenade    Robert Kahn's Serenade

  • David Jaeger – Thunder and Raven for solo Flute, Viola, and String Quartet With Movement / Moderato / Interlude – Allegretto / Finale – Andante

Noam Buchman – Flute; Rivka Golani – Viola; Tadasuke Lijima – Violin; John Lowry – Violin; Andrew Brown – Viola; Vanessa Lucas-Smith – Cello; Peter Knapp – Narrator; Benjamin Ellin – Conductor

Peter Knapp - Thunder and Raven    Thunder and Raven Ensemble   Benjamin Ellin - Conductor - Thunder and Raven   Rivka Golani - Thunder and Raven   Benjamin Ellin - Thunder and Raven

  • Serge Rachmaninoff – Trio elegiaque No.1 Lento lugubre – piu vivo – Lento piu vivo – alla marci funebre

John Lowry – Violin; Vanessa Lucas-Smith – Cello; Deanna Oye – Piano

Trio elegiaque

  • Johannes BrahmsPiano Quartet Op. 25 in G minor Allegro / Intermezzo. Allegro /  Andante con Motto / Rondo alla Zingarese. Presto

Michael Hampton – Piano; Rivka Golani – Viola; Tadasuke Lijima – Violin; Vanessa Lucas-Smith – Cello.

Brahms Quartet   Brahms Quartet - Rivka Golani      Brahms Quartet - Michael Hampton    Brahms Quartet - Vanessa Lucas-Smith  Brahms Quartet - Tadsuke Lijima

024. Curtain

 

 

 

END OF ACT 1

The remaining acts in the Festival

  • Fernie Knox United Church, Saturday – May 24, 2014, 3pm
  • Head Smashed in Buffalo, Fort MacLeod, Sunday – May 25th, 2014 7:30pm
  • University of Lethbridge Recital Hall, Lethbridge – May 26, 2014 8pm

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It was unfortunate that prior commitments prevented me from taking in the actual concerts but what I saw and heard was enough to convince me that this had all the ingredients of a very successful event and one hopes that it will happen annually. It was a big deal and it could become even bigger. My favourite performances were Thunder and Raven and the Brahms Quartet. The first was so thoroughly modern that I could not help but enjoy it (I like all the “weird” sounds). As for the Brahms piano quartet, well normally I don’t care for the music of Brahms but this was a real “blood and guts” performance. So much so that later  I went through my CD collection and came up with performance by Murray Perahia and the Amadeus Quartet. I have played it almost continuously for the past week.

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Is the Era of the Screaming Electric Guitar over?

If the popular press is any indicator then maybe so. Mind you the press is not usually in the fore front of news, views and cultural phenomenon. Usually they are behind in their reporting of movements etc.

The first article of note by Jenny Lee in the Vancouver Sun March 8, 2014 – “A real acoustic revival is going on now ………. guitars, mandolins banjos and ukeleles are making a comeback. The sales of high-end and custom acoustic guitars have risen by 39 percent since 2009 while electric guitar sales have plummeted, according to the National Association of Music Merchants. More than half of the guitar sales are now acoustic  as trends in popular music shift from rock to more acoustic-focused country, according to the Music Business Journal”. 

The second article, by Francois Marchand in the Vancouver Sun this past weekend in the Arts and Life Section (Saturday May 10, 2014) had a two page spread “PLANET BANJO – From Bela Fleck to Mumford and Sons and Steve Martin , five strings rule the world.”  That certainly seemed to re-enforce the notion that electric guitars no longer rule the music scene.  Maybe it is about time. The Beatles, the Rolling Stones and the whole British Invasion thing virtually invented the rock and roll quartet (lead guitar, rhythm guitar, electric bass and drums). Admittedly they took elements of popular American roots music and invented or re-invented a whole genre of music that has now held sway for around fifty years. In the process the normally quiet guitar was electrified and “amped” up to volumes that surpassed even the largest of conventional orchestras. In normal circumstances you would be hard pressed to hear an acoustic guitar across a normal sized room. The electric guitar changed all that. In the evolving popular music scene the electric guitar stepped out of the sonic shadows to dominate the landscape. The standard rock quartet or “power trio” (guitar, bass and drums) ended up featuring the likes of Jimmy Hendrix, Carlos Santana, Eric Clapton and Jimmy Page. In the 60s, 70’s and beyond a whole slew of virtuosic guitar Gods became the idols of just about every teenage boy on the planet. The electric guitar became an instant “chick magnet” and what teenage boy would not want to be part of that? Time marches on and things do change. Classic Rock still rules the air waves and yet, if you look around, maybe the younger generation of musicians are looking in a different direction.  And, if you take another look you will notice that the average age of most local rock musicians is now probably over forty and even, possibly, over fifty. The rock touring circuit seems to be dominated by musicians well past their best out date. There is a reliance on nostalgia rather than musicality and innovation.That should tell us something. In most of the social musical gatherings I have participated in over recent years the scene has been dominated by acoustic instruments. The music has returned to human scale and stepped away from the magnitudes of a rock-arena. At a recent square dance (yes, they are still happening) the dominant instruments in the hands of the under twenty five crowd was actually mandolins and banjos. In the young bands around town an electric guitar is a pretty rare sight. A young fiddle player of my acquaintance, in commenting on rock music, succinctly put it that “there are too many guitar players”. Maybe he is right and the music scene is returning to one of sonic diversity. I welcome that.

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SHEVA at the Heid Out

SHEVA – Van and Shelagh Redecopp  (Van on guitar and vocals, Shelagh on fiddle and vocals and guest Rod Wilson on cittern and percussion) at the Heid Out in Cranbrook, May 9, 2014 7:30-11:30pm.

This is not an impartial review of the night’s performance. I am completely biased. I admit it that SHEVA is one of my favorite musical groups and THE HEID OUT is one of my favorite hangouts. So put the two together and the combination is unbeatable. Great food, great beer and great ambience plus an opportunity to play back up percussion for SHEVA. What more could I want? It definitely was a great night with lots of joy and great tunes. The cream on the jellied donut or the drizzle on the Cheesecake was when ‘Gus’ MacDonald stepped out of the audience and borrowed Shelagh’s Fiddle to rip through some Cape Breton styled fiddle tunes. I was ecstatic about the evening, Hedi Romich (the owner) on looking over the full house and the appreciative audience was grinning from ear to ear. Days later the staff were quizzing me about “who was that  fantastic young fiddle player”  and when was SHEVA returning for a repeat engagement? – very soon I hope. Here are just a couple of images from the night. I was too busy trying to keep up with the band and Gus MacDonald to spend much time taking photos.

 Van Redecopp                    200. Shelagh Redecopp Shelagh Redecopp          Sheva Van Redecopp  210. Shelagh Redecopp ShevaShelagh Redecopp@@@@@@@@@@@@@@

LJO at the Heid Out

The Little Jazz Orchestra at the Heid Out in Cranbrook, Thursday May 2, 2014 7-9pm.

LJO at Heidi'sI’m happy. Why wouldn’t I be happy? Thursday was the first Thursday of the month and that meant the The Little Jazz Orchestra (Janice Nicli on bass, Graham Knipfel on drums, Jim Cameron on guitar and Dave Ward on trumpet and fluegelhorn), were playing their regular gig at the Heid Out in Cranbrook, and, even better, they played a couple of my favorite tunes (Bernie’s Tune and Manha de Carnival). Good food, good beer, great ambience and my favorite tunes LIVE!!! What more could I ask?

Dave Ward   Janice Nicli  Dave Ward Jim Cameron                               Graham Knipfel Jim Cameron Dave Ward   Jim CameronJanice Nicli                    Graham Knipfel

So, remember the first Thursday of the month 7-9pm – LIVE JAZZ WITH THE LJO AT THE HEID OUT IN CRANBROOK. Over the summer months the band is planning some “themed nights”. On the drawing board at the moment is a Blues Night, a New Orlean’s Night, Show Tune night and a Latin Night.

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Elena Yeung and the Kootenay Express

Elena Yeung and the Kootenay Express with special guests Michael and Anie Hepher at the Marysville Pub, Sunday May 27, 2014 3pm.

Mike and AnieFor some of us it was a little slice of Bluegrass heaven. Elena Yeung (banjo and vocals), her great original songs supported by Steve Jones solid bass playing;  some choice counter melodies from Karl Sommerfeldt; Keith Larsen’s  classy rhythm and flat picking guitar, plus the added bonus of the old-timey sounds of Mike and Anie Hepher on mandolin and clawhammer banjo. Yeah, for the aficionados a little slice of heaven is an apt description. For anybody else maybe it was just a relaxing Sunday afternoon of good music  – either way “just another rotten day in paradise”. Although the usual fetish of a single condenser microphone was center stage the musicians broke with tradition and “plugged in” the fiddle, bass and guitar. That suited me – I always find the dancing around a single microphone distracting and, beside you never really hear the guitar and the guitar of Keith Larsen is always worth hearing. Although Lena has recorded a lot of her material it was good to hear live versions of Dandelion, Wake Wake up Little Sparrow, Fire on the Mountain and the wonderfully dreary The Grave Diggers Daughter. One of the joys of traditional music is the sound of great melodies. Karl and Lena did not disappoint with their great banjo and fiddle duets on Dance Around Molly, and Cindy,Cindy. Mike and Anie stepped up to the plate with Steve and Keith on Lazy John. Most people don’t realize that the late rock guitarist Gerry Garcia had some pretty solid Bluegrass credentials and, to prove the point, Keith Larsen played a version of the Grateful Dead’s Friend of the Devil. He also dipped his hat to Mike Jagger and Keith Richards with his rendition of their hit song Wild Horses. There are some songs and tunes that should no longer be performed. For instance, Scottish Bagpipers should refuse to play Scotland the Brave and Amazing Grace. They have been done to death. And, normally, I would put Dueling Banjos and the Orange Blossom Special in the same category. However, this fine group of musicians breathed new life and humor into these old war horses and I have to retract my condemnation – Well done guys!!

Elena Yeung                           Karl Sommerfeldt    Karl and ElenaElena Yeung        Karl Sommerfeldt  Karl and Elena       Steve Jones                        Anie Hepher Keith Larsen                        Karl Sommerfeldt

Check the review of her last show at the Marysville Pub  Elena Yeung doing the Clinch Mountain Back Step . Elena Yeung and the Kootenay Express (Steve, Karl and Keith) will be touring around over the summer. Catch them if you can because we are going to lose Elena to Ottawa. She is relocating in the fall. Sigh!!!!! Elena Yeung @@@@@@@@@@@@

 

LOCALS – a sold out show ends a sold out season

Locals Coffee House, Saturday April 25, 2014, 7:30pm at the Studio / Stage Door, Cranbrook

As always LOCALs served up the cream of local talent in this the last concert of the 2013-2014 season. The old, the young, the novice and the seasoned performers were once again putting themselves out there. The show opened with the well known Daze of Grace and a selection of Sharon Routley’s original material with a slightly different band configuration. Sharon Routley on guitar and vocals; Jubal Routley on lead  Josh Norgardguitar; Warren Routley on Conga and Rod Wilson Percussion (Darbuka, Cojon, Djembe and Shakers). The songs included The River, Waiting in the Rain, The Balloon Song (aka as The Dream Song). The novice of the evening was Josh Norgard, and although he confessed to some nerves on this his first on stage appearance, it was not evident when he played and sung I’m Yours, Come and Feel the Noise, Say Yes and Electric Rock. Doug Mitchell (guitar and vocals) is a political satirist and humorist whoseDoug Mitchell classic line My Baby Loves Starbucks but doesn’t care a Bean About Me is forever stuck in my head. His opening assault was on Coke (Cola, that is) in Open Happiness ( Open up a Coke, add a little Ice cream, make a float)  that explored the diverse uses of the ever popular soft drink. The anti-Fracking song Fracking has found favor with the environmental activists and we are sure to hear more of this little ditty as the political debate over this technology heats up. Last but not least was the song Sibling Rivalry (I wish I was hung like Tom Bungaymy brother Dave) that raised way more than a giggle from the audience. Tom Bungay is ex-military so it came as no surprise when he selected J.P. Cormier’s ode about PTS in the song Home Town Battle Field to open his set. He followed that up with Learning to Live Again, the patriotic Maple Leaf and the trials and tribulations of domestic relationships in Get out of Here, but Come Back Soon. Erin & Ferdy Belland (“Torch Ferdy Bellandand Twitt” upright bass and vocal duo) ran through some Cole Porter, Miss Otis Regrets; Nat Cole’s It’s Only a Paper Moon (a personal favorite of mine) and Tom Waitts’ Little Boy Blue. Ferdy looked majestic, sinister and super cool dressed in black, sporting a Rasputin beard and playing that super-cool black upright bass. Robin Sudo (vocals) and Jim Cameron (Guitar) chose to do a single medley, or as Jim described it, a triptych that explored the themes of love and loss in three related songs (To Know Him is to Love Him / That Loving Feeling / and a third song whose name escapes me). In true “Goatish” style The Good Ol’ Goats finished off the evening with some new material and a charming new member on keyboard and trumpet. (The trumpet was a really nice touch). Here are some more images from the evening:

725             Angus LedtkeRobin Sudo Josh Norgard              Doug MitchellCarter Gulseth - MC              Tom Bungay  Josh Norgard              Ferdy BellandDoug Mitchell    Josh Norgard      Jim Cameron   Jim Cameron                NolanTom Bungay

Thanks Lorraine, Mark, Jon and all the LOCAL’S crew for such a great season.

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