stompin' tom connors ends 12 years of - Mariposa Folk Festival

stompin' tom connors ends 12 years of - Mariposa Folk Festival stompin' tom connors ends 12 years of - Mariposa Folk Festival

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ffig# WÆflr ffi#^Æ Kffi THE MARIP0SA FOLK F0UNDATION 95 Lavinia Avenue, Toronto, 0ntario M6S 3He (416) 76e - plans an excitLng Maríposa t8 STOMPIN' TOM CONNORS ENDS 12 YEARS OF RETIREMENT WITH NEW RECORD RELEASE He relired in the mid '70s; the reason he Night, who was manied on the Elvood Glover gave was that Lhere was so litlle Canadian Shov, who had his own CBC television show, content, bare minimum, on the Canadian saw too many good Canadian performers airwaves. Commereialradio had no time for neglected by the likes of the CNE, CBC, CTV, mosl Canadian performers. The man vho and commercial radio, wrole Bud The Spud and Sudbury Saturday These days he's something of a hero, a cull figure to many young people, especially university studenLs. His songs have been performed by lhe Grievous Ängels, Reostatics, Old Peculiar Jug Band, even Australian band lfeddings, Parties, Änything who, before departing for home afler a 6 month stint in this country, called Stompin' Tom Lhe epitomy of what Canada's all aboul. And now he's released a new album of 15 songs 0n his ÂCT (Acknowledge Canadian Talenl) label entitled Stompin' Tom Fiddle & Song. The album features Tom on the fiddle, CONTINUED PAGE 1 1 The Mariposa Folk Foundation has recently appoinied a new Arlislic Direclor (ÁD) for lhe 1989 festival to be held Lhe weekend of June 23-25 at Molson Park in Barrie. IL Look him a quarier of a century bul Richard Brian Flohil has finally fulfilled an unfulfilled ambiLion: Lo be involved wilh Mariposa's arlistic direcLion, especially in Lhis, our 29th year. Richard Flohil has been building sleadily on a carear thal has spanned 31 years. He loves the music of Randy Nevman (Shorl People) even though he is a short people himself He lives in a small downtown apartment filled wilh walls of records (he eslimates lhat he's got 5,000). And his Bay St. office is music business - pr0m0 kits, more records, books, reviews, lrlende.lson Joe's phoLo, poslcards and renlinders. And ne's excited at lhe prospecl of Mariposa as it looks ahead to ils Lhird decade. Flohil firsi got involved wilh Mariposa in ils fourth year, at Innis Lake. He recalls silling on Lhe sleps of Lhe parly hall wilh Phil 0chs, while he tried Lo wrile 'Changes'. He also claims [o have accidenLally gotten blues singer, The Rev. Gary Davis, drunk, hosted a workshop with Sippie lfallace and Sonny Terry, and "heard more music lhal was wonderfully sLrange to me than I believed possible." Flohil has been heavily involved with the Canadian music scene almost from the very momenl that he stepped on Canadian soil way back in 1957. He came over from England as a newspaper reporler anxious to meel new challenges, and being a music fan his ullimate dream was [o meel bluesman Muddy lfaters, which he did, He settled in Toronto and edited a trade magazine while on the side he brought in his favorite blues arlisls since "it was safer to bring them here Lhan to go to Chicago lo hear lhem," He arranged the first visits [o Toronto for blues players like lfaters, Howlin' lfolf, B,B. King, and Bobby 'Blue' Bland. CONTINUED PAGE 13

ffig#

WÆflr

ffi#^Æ

Kffi

THE MARIP0SA FOLK F0UNDATION 95 Lavinia Avenue, Toronto, 0ntario M6S 3He (416) 76e -

plans an excitLng Maríposa t8

STOMPIN' TOM CONNORS ENDS 12 YEARS OF

RETIREMENT WITH NEW RECORD RELEASE

He relired in the mid '70s; the reason he Night, who was manied on the Elvood Glover

gave was that Lhere was so litlle Canadian Shov, who had his own CBC television show,

content, bare minimum, on the Canadian saw too many good Canadian performers

airwaves. Commereialradio had no time for neglected by the likes of the CNE, CBC, CTV,

mosl Canadian performers. The man vho and commercial radio,

wrole Bud The Spud and Sudbury Saturday These days he's something of a hero, a cull

figure to many young people, especially

university studenLs. His songs have been

performed by lhe Grievous Ängels, Reostatics,

Old Peculiar Jug Band, even Australian

band lfeddings, Parties, Änything who,

before departing for home afler a 6 month

stint in this country, called Stompin' Tom

Lhe epitomy of what Canada's all aboul.

And now he's released a new album of 15

songs 0n his ÂCT (Acknowledge Canadian

Talenl) label entitled Stompin' Tom Fiddle &

Song. The album features Tom on the fiddle,

CONTINUED PAGE 1 1

The Mariposa Folk Foundation has recently

appoinied a new Arlislic Direclor (ÁD) for lhe

1989 festival to be held Lhe weekend of June

23-25 at Molson Park in Barrie. IL Look him

a quarier of a century bul Richard Brian Flohil

has finally fulfilled an unfulfilled ambiLion: Lo

be involved wilh Mariposa's arlistic direcLion,

especially in Lhis, our 29th year.

Richard Flohil has been building sleadily on

a carear thal has spanned 31 years. He loves

the music of Randy Nevman (Shorl People)

even though he is a short people himself He

lives in a small downtown apartment filled wilh

walls of records (he eslimates lhat he's got

5,000). And his Bay St. office is music business

- pr0m0 kits, more records, books, reviews,

lrlende.lson Joe's phoLo, poslcards and renlinders.

And ne's excited at lhe prospecl of

Mariposa as it looks ahead to ils Lhird decade.

Flohil firsi got involved wilh Mariposa in ils

fourth year, at Innis Lake. He recalls silling

on Lhe sleps of Lhe parly hall wilh Phil 0chs,

while he tried Lo wrile 'Changes'. He also

claims [o have accidenLally gotten blues

singer, The Rev. Gary Davis, drunk, hosted a

workshop with Sippie lfallace and Sonny Terry,

and "heard more music lhal was wonderfully

sLrange to me than I believed possible."

Flohil has been heavily involved with the

Canadian music scene almost from the very

momenl that he stepped on Canadian soil way

back in 1957. He came over from England as

a newspaper reporler anxious to meel new

challenges, and being a music fan his ullimate

dream was [o meel bluesman Muddy lfaters,

which he did, He settled in Toronto and edited

a trade magazine while on the side he brought

in his favorite blues arlisls since "it was safer

to bring them here Lhan to go to Chicago lo

hear lhem," He arranged the first visits [o

Toronto for blues players like lfaters, Howlin'

lfolf, B,B. King, and Bobby 'Blue' Bland.

CONTINUED PAGE 13

Every festival has its undiscovered gems and

Lhose forlunate enough to catch Bowling

Green John Cephas and Harmonica Phil

lïiggins al lasl summer's Mariposa Festival

will fully undersland what I'm gelting ai.

This soulful duo, almosl lotally unknown in

Lhese parls excepl for a few noble blues fans

in the know, made Lheir Canadian debut at

l{ariposa and surprised the life out of almosl

anyone who saw them. Älmost, I say,

because for lhose of us who were familiar

with their music Lhis was lo be expected,

allhough to be honest wiih you lheir inperson

magic far exceeded any of my expectations.

They simply blew me awayl

Cephas & Wiggins were the I 987 recipients of

lhe lf.C. Handy Ávards for'Blues Entedainers

of the Year' as well as 'Best Traditional Blues

Album' for their t'lying Fish recording 'Dog

Days of Âugust', These annual awards are

presented every November in Memphis by [he

Blues Foundation.

For their firsl performance at Mariposa they

were shown to a remote corner of the site, the

semi-remole workshop stage. John Cephas

(the older of the two, somewiat of a veteran)

complained: "lfhat? This iswhere they expect

us to play?" as he surveyed the sparse

audience on the grass before the stageless

tent. BuL by the lime the hourlong harmonica

workshop was over those woods were rocking

with the Piedmont blues. "Hell," he said later

while packing away his guilar, "people was

jusl appearing oul of the ireesl If [he rest of

the festival is gonna be like this we're gonna

have the time of our lives."

Before they left on Sunday nighl they were

presented with two gold-plated Mariposa pins

that they swore they'd wear in ihe Soviet

Union in August. More than anything else,

Mariposa made itself a couple of good friends.

0n page six John Cephas and Phil }liggins

were interviewed by Äxleman John Maclnlyre

aL Molson Park, site of [he Mariposa Folk

Pestival'BB.

Steve Fruitman

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11IB BOIRI) OF DIRETIORS

Lynne Hurry. President

Ann Smiley, Vice-President

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Well howdy folks, and welcome once again to

Sleve's Country Corner, a regular Notes column

focusing on the country aspects of folk

music, or aught thal be lhe folk aspects of

counlry music? Il seems to me thal fhe two

terms, basically speaking, are inlerchangeable.

As a matter of facl a good example which

appeared in the lasl NoLes (No. 5) where we

discussed how bluegrass, which is simply one

aspect of counlry music, has affected folk

feslivals. ll's clear to me at leasl, that both

musics interchange, and feed off each other.

In lhat light I would like [o urge some of you

'unenlightened' folkies to discover bluegrass.

A music which almost perfectly blends the

best in folk and the besl in country.

But Sleve! Ilhere can I find bluegrass; I've

searched high and lonesome and can't find it

anywhere?

l{ell, since you asked, and as it happens to

be, one of the hide-outs for bluegrass is right

here in Toronlo. As a matLer of fact it's aL the

Diplomat Tavern, 3622 Dufferin St, That's

righl pickers, there's Canadian bluegrass

hidden upsLairs in the Diplomai every Thursday,

Priday and Saturday. And, yes neighbours,

ihis finger-pickin' music is offered

wilhout a cover-charge in a comfortable

lounge setling. The band plays [hree 45

minule sels which are superbly enhansed by

lhe room's spendid acoustics. So lake it from

your old pal Steve, The Diplomat is a good

place Lo hear bluegrass for old and new fans

alike. So why nol pick iL ouil

Now lhat you know about The Diplomat, the

nexl slep in your bluegrass educalion is Lo

expose you Lo lhe Canadian Bluegrass Awards,

and as fale would have i[ they're coming up on

December 3rd, This year marks the decade

milestone for this annual evenl which takes

place, as usual, in the beauliful Academy

Theatre in Lindsay, 0nt. The event gets

underway wilh two hours of bluegrass seminars

from 1 till 3 pm. It conlinues at 3 with

a three hour new lalent show. The actual

awards show takes place from B-ll pm. If you

are interested, tickels are $S. ($10 at the door)

and are available at lhe Country Music Store

2203 Danforlh Ave, 690-5564.

By the way, if you live in the Hamilton-

Burlington area, and you're still reading this

- you may be interested in joining the Skyway

Bluegrass Club, which can offer you regular

jam sessions, a newsletter, and a very well

organized and enthusiaslic atmosphere. The

Skyway Club helped organize Lhe recenl

Toronto Area Bluegrass Committee re-union,

and that was a resounding success, mainly

because of Skyway's involvemenL, At one point

during the aflernoon aL Lhe Burlington Legion,

lhere were no fewer lhan five jam sessions -

ihe place was just-a-flyin' wilh music, It is

no wonder Lhat the Skyway Club has tripled its

membership in the last year, Maybe the High

Lonesome sound isn'L so lonesome anymorel

For more info call ScoLL Donaldson, President

at 689-8186.

So thal's it for bluegrass - il's out there so

why not discover iL? In the next issue of The

Notes I'll be looking al the amazing growth of

independeni counLry music presently coming

oul of the Atlantic Provinces and Newfoundland.

Till then, happy trails.

(Listen to Steve Pritchard's Radio Boogie

Wednesdays aL 10 pm on CKLN BB.1 FM)

It was a long enough wait but CKLN BB.1 t'M

has finally found a replacemenL for Tim

Harrison's folk show Acouslic Espionage

Lhat went bye-bye last spring when Mr,

Harrison decided to leave the slalion for

his band. But Lhey've finally buckled

under pressure (not Lhal anyone actually

had Lo twisl any arms): from now on you

can listen to Âcoustic Routes hosled by

Mariposa member Joel lfortzman lïednesdays

from 5 - ? p.m. [n facl, it makes for

a great nighl of listening wilh Dr,

Feelgood's Blues Emporium hosted by

Dave Bernard from B - 10, followed by

another Mariposa member on radio, The

Radio Boogie with Steve Pritchard till 1 1.

By then you'll probably want Lo go to sleep.

So what kind of sluff is }lortzman gonna

play? According to him Lhe accent wiÌl be

on conLemporary singer/songwriters with

a high degree of Canadian conlent, often

showcasing upcoming talenL. He promises

Lo keep you up Lo date on whal's happening

in ihe world of acousiic music in

Toronto and afar featuring regular interviews

and music of musicians currenLly

appearing in local clubs and concerts.

Since it came 0n the air 0ctober 26, Joel

has had live inlerviews wiLh Willie P.

Bennett, Tex Konig (with an oomlout)

Eileen McGann, and Bob Bossin, He also

promises salirical sets based on alhletes

and drugs, politicians and elecLions. He's

a good guy and a pretty decenl record

reviewer for The Notes on a prelty decent

staLion aL a prelly good Lime.

Acoustic RouLes, lfednesdays 5-7 pm on

CKLN BB,1 T'M

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For the long winler nights

And Lhe cold winter hands,

0r from Downtown Tonight,

E

o t

a+

N

o

5

Album: I Know

,Arlisl: John Gorka

Reviewer; Joel Worlzman

Refreshing, delightful, fun, louching, thoroughly

professional: my first impressions on

hearing John Gorka's debut album. If you want

Lhe delails, read on.

The album was released back in I 987, but I feel

should be reviewed even at this time. Few

people in the southern 0ntario region are

aware of Gorka. I Know has received significanL

airplay on public radìo statisns in the U'S.

but has gone relalively unnoticed in Canada.

Corka and his album came to my atlention

lhis past August when he performed at 0wen

Sound's Summerfolk and followed that with a

one nrghl stand at Toronto's Free Times Cafe.

John Gorka is one of lhe up-and-coming new

breed of songwrtters from the NorlheasLern

U,S, To be exacl he is currently living in

Easlon, Pennsylvania, where also resides former

heavyweight boxing champ Larry Holmes

(separate residences I am sure), The twelve

songs 0n lhis, his firsl album, provide us with

a good insighl of what this songwriter is all

about.

Gorka has a penchanl for looking at [he world

from unusual perspectives or jusi choosing

unusual subjects; Branching Oul is from lhe

poinl of view of a Lree, Like My Ìfatch from his

timepiece and other possesions, Heart Upon

Demand aboul Judy Garland, Down In The

Milliown from a steelworker's viewpoint of the

world, Along with these inleresting ouLlooks

come some Lruly unusual, but thouroughly

delighLful and refreshing combinations of

images, For example from llinter Cows,

,Page 4

The cows in the moo yard

Are making Lheir plans

Dodging Lhe blues but Lhe blues were

gaining fast

Riding the news knowing news just

doesn't last

And he sings these well-scripLed songs in a

rich, pleasing voice Lhat is as suited to his

serious songs as his comedic ventures, I Saw

I Stranger Tith Your Hair is as fine a lamenl

for a lost lover as I've heard,

I saw a sLranger with your hair

I saw another with your eYes

I heard an angel with Your voice

By the way how is my hearl

0r for comedy and some good time r&b B.B.

Kmg Uas lïrong is a treat, (ln the liner notes

Gorka writes, "ln real life B.B. King is right, the

song is wrong.")

My favourite song 0n the album is Down InÏhe

Milltown. The life of a Pennsylavania mill

worker is brilliantly summed up in a few

verses; an adept use of understatement. Gorka

uses fhe sarne technique in.lhe [itle lrack, I

Know, a subtle love song.

Musieally the album is pleasing as well fealuring

a lol of clean guitar work by Gorka, The

acoustic sounds of guitars, fiddle and mandolin

are tastefully blended with electric guitars,

drums and bass. There are also some fine

tnckup roeal arrangement"l fealuring Shavn

Colvin & Lucy Kaplansky (Aside: watch for

Shawn Colvin, another rising star,in [he near

fulure).

In lalking wilh Gorka I found him to be shy and

unassuming. The final chorus on [he album

may well have been written for himself as for

his milltown worker;

And if my dreams treat me badlY

And I cry out at night

Shake me to my senses

And I will be alright

Yes I will be alrighi

P,S. Iwill be playing cuts from this album and

a Shawn Colvin tape as well as an inierview wilh

John Gorka on the Dec. ? edition of Acoustic

Routes (CKLN BB,1 t'M, Wednesdays 5-?)

Red House Records

P.0. Box 4044

St. Paul

Minnesola 55104 U.S.A,

'ctjun t crerlt

! dinær every night i

: trD'll 5:to :

l¡.¡. o. o.o..¡-. ¡. i.. ..¡...¡l

595 Mqrkh¿'n 5T

(0loor + Ødthursl)

516-32U \\

MARIPOSA RADIO FOLKWAVTS

with STEVE FRUITMAN

CIUT-FM 89.5

MONDAYS ot 10 p.m

FOLK MUSIC, FOLK NEWS,IN-

TERVIEWS, LIVE IN-STUDIO

PERFORMANCES, MUSICAL

WORKSHOPS ON THE AIR

ctuT-Iï 89.5

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rOR A RÄDIO AfTIVB CO}'IIIUNITY

Älbum: Pipe Dreams

Árlisl: Cromdale

Reviewer: David lïarren

The second album is tough. FirsL albums are

always "promising", if nolhing else. After all,

somebody, even if it's the group members, has

decided thal a sound, or slyle, is worlh

preserving on vinyl and puts some effort inlo

it. Often what's best captured is energy and

newness, and that was ihe case with

Cromdale's first effort, "Time to Spare".

Perhaps the title rvas prophetic. Cromdale

had time to spare and perhaps shouldn't have

rushed to record. While the two bagpipes were

really someihing and some maierialwelldone,

some of it was only sort of half-baked. 0n ihe

oLher hand, it meant thal once Cromdale had

the time, it easily mel the challenge of the

second album -- it hadn't shot its bolt with

Lhe firsl.

0f course, part of the reason for the quality

is the evolu[ion of the group. If a sound

remains slatic, what is new eventually becomes

boring. The addition of Jay Adam in

1985 on keyboards and guitar was critical to

the developmenl of the currenl contemporary/traditional

(ok--you come up with a

phrase) sound, no less for his songwriLing

abilities than for his musicianship.

Pipe Dreams is a particularly apt title, The

blend of synthesizers and tradilional inslrumenls

works. The album is meant for 3 am.

wiLh single malt scolch in hand (lsle of Jura,

hopefully--ed.) especially the laller half of

Lhe first side, which mighl be called the

"noslalgia sel". "Miner's Lullaby" by Matt

McGuinn is effeclively counLerpointed by Ewan

Macoll's "Schoolday's Over"; the end of a

miner's day and Lhe beginning of a miner's

life, This is followed by Bobby lYall's version

of Robbie Burns' "Gin I llere Â Baron's Heir",

wiLh maravelous pipe accompaniment--the

old tale of do I have Lo be rich for you lo love

me?

Bobby's mellow and expressive voice is of

course a major asset to the group, never more

obviously Lhan in the songs written by him and

Jay Âdam: the memorial to "Matt McGuinn" and

Lhe lamenting "The Bloom's Aff the Rose". If I

had a quibble--which of course I do--it's that

the dialecL is prehaps too autheniic in some

songs for us non-Cells--a[ leasl without a lyric

sheet.

There's a good mix of vocal and instrumenLal.

"Old John's Jig" is perhaps the best reminder of

the "old" Cromdale, very traditionally ryfhmic,

even danceable. "Dolina MacKay" shows the

strong beat bui the synthesizer blends with the

bagpipe for the old, yet new, (new, yet old?) feel

of much lhe album.

Both the hardcore traddie and Lhe fan of

singer/songwriLers will finds something to enjoy

in this finely crafted "modern folk" album. May

Cromdale long succeed in walking the perilous

tightrope between tradilional and comtemporary.

Pipe Dreams, Cromdale, Highland Records.

(1464 Beckworth Àve,, London, Ont,, NbV ZKi)

lfRC4-5965 (I{orld Records) 1988,

(Ed. Note: Cromdale consists of Bobby 'Watt,

Guitar; Ian Anderson, bagpipes, mandolin,

whislles, cittern, bodhran; Millar Hodgarl, Bass;

Iay Adams, keyboards, guitar; and soundman

Ron 'Scooby' Moore.

SOME LIKE IT HOT

Harbourfrontwill be presenting a special serious

of weekend events in January entitled Tropicanada,

Á lÍinter Heatwave. the events will feature

a wide array of special activities for the whole

family including Ice Canoe Races, barrel jumping

compelitions, maple syrup demonstrations,

reindeer pelting zoo, dog sledding demonstrations,

logging contesls and hayrides elc. Inside

the York Quay Centre, the mood is hot, Events

focus on the deep south, Latin America and the

Caribbean.

Jan 21 & 22: Tex/Mex, Dixieland & Cajun Music

and culture

Jan 28 & 29: Latin themed music and culture

Feb 5 & 6: Caribbean music and cullure

The music of C.J. Chenier (son of the lale Cliflon

Chenier) and the Red Hot Louisiana Band, Los

Chaskis, Cajun Ramblers, Znd Line Fever are

fealured. For more info contact Harbourfront

aL 973-3000.

FREExB=

0n December the 15th lhe Free Times Cafe will

be celebrating ils BLh anniversary. Home of local

(and sometimes, surprisingly out of town) arlisls

of folk music (almost literally in Lhe case of

Mose ScarleLL and Jim Layeux) the Free Times is

whooping it up with the music of Norm Hacking

and who knows wha[ else. Be there,

I7/[11'4ilP05/ /V2fß

Âh, yes, our favorite columnl lfe've been

withoul it for quite sometime but it is nice

to have it back,

Our postal code has been wrong. And ihe

post office is getiing uptight about it. M6S

3H9 is Lhe correct code.

Major blunder department: lfe incorreclly

lisled Sustaining members as SupporLing

members and vice-versa. lÍell look at it this

way, il is a humbling experience,

Somy to inform: Iust afler going to press

we learned thal'The Daddy Cool Show'was

yanked off the air coz it didn't quile fit CFNYs

new format. lYe also learned that Joel

lfortzman's 'Acoustic Routes' program came

to life on 88.1.

Sorry Joe: It has been broughL to our

attenlion thal Sleve Pruitman's claim lhaL

'Mariposa Radio Folkwaves' is nol the only

show 'filling in the holes in Canada's largesl

city', as Steve put it. Joe Lewis's 'Labatl's

Folk Music and Folkways' has been playing

that kind of music for years.

Guess that's it. Until next time, adios.

I

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97 H¡in 5¡. '0e¡cfÈs

fflîllÁrilP2sÁ l/2fffi

Borllng Green John CePhas & Hôrnonlca Phl l{lgglns

CEPHAS & WIGGINS:

TRADITIONAL MUSIC

INTO THE '90's

(The Following interview was conducled by

John Maclnlyre al the 19BB Mariposa Festival)

J[{: How long have you Lwo been togelher?

John Cephas: Well, Phil and I have been

logeLher for aboul Lwelve or thirteen years, lïe

mcl al a folk feslival in Washinglon 0.C., The

American Folklif e Feslival, and we've been

playin' together ever since.

Jlri: It seems lo me LhaL a lot of blues songs

came oul of a Lime and we're not hearing many

nerv 0nes anymore. Do you think that's true?

JC. No, you're right, because iimes has

changed. What motivated the Black man lo

wnle lhe songs thal he did, thal you listen lo

righl now, those condiLions don't exist no

more, There's relalively - 'relalively' - no

more segragalion. And, Lhere is more equal

opporlunilies for Black people allhough Lhere

is an underlow of segragalion and prejudice

LhaL slill exisls. However, the conditions are

not lhe same n0 more. One is really nol

moLivated to wrile about siluations LhaL really

do no exisL anywhere.

Phil Wiggins: I guess ihaL's true, I mean

parlicularly in the Chicago style of blues,

lhal's one reason why for a while iL stagnated.

Like, you got guys like Robert Cray who have

a lol of noteriely now, and guys like the Kinsey

Report and guys like me and John, you know,

who do wrile new songs, and I think thal's good,

I think that's what's gonna help this music to

survive and Lo flourish: Lhe new blood in it,

Ìfhen we write we use lhe tradilional format

of the Piedmon[ blues and all, bul we wrile

about whaL's happening in our lives right now

and I think Lhat that's just as much parL of

tradition. People that catagorize it sorL of

lhink of il as frozen in Lhe past and it's slill

living now, slill growing, developing, you know,

1re have songs like'Dog Days of August',

'Roberla', and 'Black Cat on the Line'and songs

like lhal lhal we write in lhe [radiLional slyle

bul they're contemporary too because they're

new sOngs.

JM: Have you been writing any songs la[ely?

JC: Ya, 'Black Cat'is new, and anolher one,

'Back-biter Blues', and 'Guitar Man'...

PIT: 'Guitar Man', il's fabulous...

JC: Then we gol 'BuLL-Naked Blues' which

deals wilh drugs,..

P1{: Ya, Lhe drug problems in (Washinglon) D,C.

JC: WiLh young people.

JM: So I guess the plo['s slill the same; maybe

Lhe environment's changed a liLtle bil?

JC: Ya, the environment.

CONT]NUED PAGE 12 _ CEPHAS

Louisiana on March 14, 1914. His firsl

instrument was a cigar-box home*made

guilar on which he learned lo play lhe blues.

From the mid 1930s to the mid '50s he moslly

worked outside of music perferrrng Lo slay

close to home and family. Still he was a

popular local performer and worked fish fries,

country suppers, parties and dances. ln 1956

he was convicled of murder and senlenced to

'nalural life' in Angola prison, one of the

roughest jails in lhe U.S

llrilliams, like so many other 'delta' Blacks,

never learned Lo read nor wriLe, but this didn't

slop him from playing original blues. His blues

were what he called 'sky songs', a lerm many

LradiLional blues singers used Lo describe

songs thal jusl came Lo lhem 'outa lhe air',

This is how Booker l{hite, another 'sky song'

player described his songs:

"[ have an imaginary mind lo do things like

lhal. Well, I made (recorded) 24 songs. Didn't

have nary a word written down. i jusl reached

up and gotlem. l{hen I got lhrough, though,

I couldn't go back over 'em if you gave me a

thousand dollars."

Roberl 'Pete' lfilliams sang improvisational

blues based on tradilional lyrics that he'd pick

up from olher performers or records. Basically,

his blues are spontaneous, lransforming

even lraditional and commercially recorded

blues into deeply personal songs of

expression. He jusl plays 'em like it is,

whichever way they come out, According to

David Evans in Big Road Blues (Da Capo Press,

1982), "singers who perform in this slyle do

so mainly for their own benefil, and Lheir blues

are direct personal responses to the conditions

of their lives and their feelings. Nowhere

is Lhe therepeutic function of blues more

evidenL Lhan in pieces of this sort."

RoberL 'Pele' Williams was firsl recorded aL

Angola prison by Lhe Louisiana Folklore Sociely

for an album called Angola Prison Blues

released on Arhoolie, along with fellow inmaLes

Hogman Maxre and Guitar Ìfelch (all used the

same guilar). Upon his release from Angola he

wenl on lhe folk circuil and became quile

popular with while folk revivalisLs. Blues

professor Samuel B Charlers in his Legacy 0f

The Blues wrole of llilliams: "He is almosl, in

himself, a definition of the counlry bluesman

- poeL of his own counlry background Lhal

CONTINUED PAGE 15 _ WILLIAMS

Page 6

I had a job driving and I used to take my people

to lhe picture show and let them see the show,

llhile they did that I'd go back to the bar and

sel down and drink. Itwas a place where I had

been going for years, But when I walked in

there thal nighl, there was two men leaning up

on the bar. I walked in there, slopped at the

cigaretle machine, and I gol me a package of

cigarelLes. Ä friend of mine said, "Hello, Pete,

how you doin'?" I ryrid,

"Hello, Lee."

This great big fell-q_fwho was leaning against

the bar raised up and said, "lïhere you come

from?"

I said, "l come from Zachary, Louisiana."

He took his finger and he pul it on my nose.

"You better go back to Zachary and pick you

some more cotton, 'Coz if you hang around

here..." His eyes were red. "You hang around

here," he says, "and I'll mess you up,"

I'm looking up at him, He didn't know how

hol I was inside, There ain't no way I coulda

whipped him, now, because he vas too much

of a man over me. I said, "l don't have to do

lhat," and I walked away from him. He leaned

back up on lhat bar. Him and that other guy

were watching me, watching me. I went to a

table and sat down,

"You see that so-and-so yonder?" the big

guy said to Lhe other guy,

I CS,

He said, "'lfatch me mess him up if he hangs

around here," But he didn't say it in that

presentable a way, you know? lfell, that kinda

scared me, because the guy didn'[ know

nothing about me, and I ain't knowed the guy.

So I told Lee, I said, "l'm goin'. I'm gonna pick

up my people at the picture show, and then I'm

goin' home."

Ilhen lhat guy saw I was gonna leave, he

broke for me, He grabbed me and put a knife

up Lo my eyes, You ever seen them kniveswith

a curve in them? Ä linoleum knife? I broke

loose from him and got to the door, and that

was as far as I could get, The man come

towards me wilh the knife and I pulled out my

gun righL quick. I said to myself, "l just got

Lo do it. Cussl" I shol and he grabbed his

chesl, bul that bullel didn'l knock that man

down. Thal man slraightened up, he was a big

man, and lried to gel to me. I looked around

and looked around, I knew if he'd got his

hands on me then, he was gonna kill me. So

I aimed aL his heart, I aimed at his hearL,

Bullet cut Lhrough and turned him a flip and

show them where my pistol is, Il's in my

luggage," I said, "Don'l you give iL to theni.

he fell on his face. That lasl bulleL that got shoL

made the lights tremble. You know, a .45 is a

hard-shooting gun, And then I got some r00m

and stepped out ihe door with the gun in my

hand. All them outside said, "Don'l come

thisaway, don't come thisawayl"

I said, "l'm not after irobody, nobody. I jusl

wanna get to my car and go pick up my people

at the picture show."

I got in that car and went and got my people

and went home and vas silling on my porch. I

was staying in an apartment house. And the

people ran oul on the porch saying, "0h, Mr,

Pete, Mr. Petel Them law's been all around here

lookin' for you, lookin' for you, Go out there,

ihink you can find 'em."

I said, "ls you crazy? I'm gonna go out there

lookin' for the law and they're gonna blow my

brains out? They'll think I'm dangerous, comin'

out there, I'm gonna sit right here and smoke

my cigarelte."

"lTell, they've been all around here."

I said, "That's their business. They're supposed

to look for me. I did a crime," I said to

my daughter, "lThen them laws get here, you

show lhem where my pistol is. lt's in my

luggage," I said, "Don't you give ii lo lhem.

Show them where it is and let them go in thal

luggage and get it." lfhen they came, boy,

lhey're like lhe leaves on the trees. I'm lookin

up all kinds of gun barrels. And Captain Green

said, "Peie, where's your gun?"

I said, "lt's in there in my luggage. My

daughler will show you where my army suitcase

is." He venL on in there and goi ihe gun, And

so they carried me on to jail,

Ând [hen, when they tried me - do you know

your life ain'l worth fifteen cents? I wanna tell

you all something. You can be right, fending for

your life, and people lhat you know and that

know you will go against you, Because they pay

them to come down there and protest againsl

you. You understand me? And they knowyou're

going for the electric chair and lhey'll sit on the

corner: "Hell, I know Pete's gonna gel electrocuted,

but this money sure looks good." They'll

be drinking thaL winde and talking with one

another and laughing, "ha-ha-ha," and lhey

know you're gonna get eleclrocuted.

They had two young lawyers for me. Very

young. And I was silting belween them, They

didn'L wan[ me to get on the stand. Everybody

/H[i/4rî/P2S/ tY2fE

young. And Iwas silling between lhem. They

didn't want me to get on Lhe sland. Everybody

they brought into Lhe courthouse was

saying different things, different words

about me. Some said I came in shooling.

Some said, "l tried lo get out, I lhought he

was shootin' at me." All of lhem had

different tales to tell. I'm lookin' up lhere

at one lawyer and then aL the other lawyer,

I said, "Look, man, you see them people how

they're gettin' up there lyin' on me? Lel me

get up there and say somethin' myself."

They said, "No, PeLe, they don't want you

on [he stand."

I say, "l r{anna go on lhe stand."

So the lawyer said, "Robert lfilliams wants

to get on the stand."

I got up there and I said, "Gentlemens of

the jury," I said. "These men are comin' in

here tellin' different tales. Everyone of

them's got a different story to tell on me,

You all hear that. And Lhe law is siLtin' there

sayin' I resisted arrest, But that law there,

he didn't capture me. You know who I was

captured by? Lieulenant White and Captain

Green. ,{nd they turned me over to these

laws here on the road. lïhat are they doin'

lyin'? Let me tell you somethin'. You can tell

the lruLh in this courl house and il'll Lake

it maybe six months to get into New 0rleans.

But you can lie in this court house and il'll

be in New Orleans in the next hour or two."

I'm looking lhern dead in the eye. I said,

"Now, lel me tell y'all somethin' else. Your

electric chair, I ain't thinkin' abouL iL.

Because you can'L electrocute me. Because

I got a man in this court house with all kinds

of power."

"lfhat man? lrhat man?"

I said, "God above. God above," Then I

pointed down at that Bible. Looked like Lhe

courL house shook. I said, "You can send me

lo your prison. I'm goin' there, and I won't

be there long,"

They looked at me and looked at me. IL took

them lwo days to try me. Two days of irial.

One thing made them find me guilly. They

said, "When you went down Lo the piclure

show lo pick up lhe people, what did you do

with your gun?"

I said, "l left it in the car."

"You could have left you gun in ihe car

when you was in the place drinkin'."

I said, "Maybe so, but I didn'l. You know

the people around that place are dangerous,

You've got to pack a gun around there, Ii's

a tricky place, a dangerous place."

But they senl me Lo Angola prison and Lhey

gave me "natural life".

Now - to show you how God works: I was in

jail a while and I saw lhis fella watching me.

CONT]NUED PAGE 13

Page 7

lH[,,]//fl/P2S/ /Y2fffi

ALBERT'S HÂIT

4BI BLOOR ST ìÍ 964_2242

Decl-3 Dutch Mason Blues Band

Dec 5-10 Ellen Mclllwaine

Dec l?-?3 Paul James

Dec ?6-30 Gordie Johnson wf Terry Tlilkins &

Bucky Berger

New Years Eve Cheryl Lescom & Texas Hood

Jan 5-? Jack de Keyzer

Jan 9-11 Positive Ground with Alexis

Jan 12-14 Cameo Blues Band

APPROPO

?99 QUEEN ST ï 36?-9969

Dec 2-3 Curtis Dreidger

Dec 16-17 Kurt Swinghammer

BIACK SIÏÄN

154 DÄNr0RTH AVI 469-053?

Dec l-4 Ken iÍhileley Band

Dec B-10 Mardis Gras

Dec 15-l? Morgan Davis

ìfednesdays Blues Jam rith Michael Pickett &

Mike McDonald

Sat afternoons Kendall lÍall Blues Matinees

Dec 3 Morgan Davis

Dec 1? Fraser Finlayson

with guests

CABÀNA ROOM _ SPADINA HOTII

460 KING ST r (AT SPÁDrNÄ) 368-0?2e

Dec 2 Grievous Angels

Dec? Dealh&Taxes

Dec 9 Cee Dees

Dec 23 Xmas Party with Rheostatics

New Years Eve Grievous Angels, Old Peculiar lug

Band & Cajun Ramblers

CÄRLOTTA TAVIRN

DANI'ORTH AVI AT PAPI 466_O?03

Every lfed to Iri - [ddy Coffee

C'EST ìTHAT?

67 FRONT ST E 867_9499

Dec 2,9,16,?3,30 Rolf Kemph

Dec 3 Craig Riddock

Dec 4 Groundwork

CHICÄGO'S CHECKERBOÀRÐ TOUNGI NORTH

335 QU[[N ST ìr 598-3301

Every Thurs thru Sat it's Steven C & Red Rockets

CtìNTONS

693 BL00R ST ï 535-9541

Dec 1-3 Cowboy Junkies

Ðec 5 Mardis Gras

Dec 8-10 Phantoms

Dec 12 Mardis Gras

Dec 15-1? Joanne Mackell

Dec 19 Mardis Gras

Dec ?2-23 Jack de Keyzer

Dec ?6 Mardis Gras

Dec 29-30 Phantoms

Dec 31 Shuffle Demons

Jan 5-7 Phantoms

Jan 12-14 Jack de Keyzer

c0tw0cÄtl0N HÁtt

U of T CÅilPUS 8't2-22?7

Dec 3 Michel Rivard

COMHÂLTÅS CEOTTOIRI IIRIÄNN

292 BRUNSIVTCK ST 121-?689

[very ?nd & 1th [ednesday: lrish open stage

Dec l0 Ceilidh

Dec 11 St Patrick's Parade Soc. Fundraiser

Toronto lrish Centre 1650 Dupont St

COUNTRY UUSIC STORT

2?03 DÂNVORTH AVE 690-5561

Saturdays Open StageS-6 p.m.

(phone for special evenls)

cR00Ks

106 I'R0NT ST [ 365-8906

Dec 4 Kendall ïlall Blues Band

Dec l1 John Tilden w/ Tony llaim

Dec 18 Eugene Smith

Dec ?5 Closed for Xmas

Nerv Years f,ve Morgan Davis

Jan B Cuban Fence Climbers

Jan 22 lames Gordon Band

Jan ?9 Hock ïlalsh

DIAUOND

410 SHERBOURNI ST 92?_9010

Dec 5

Buckwheal Zydeco

Dec 6 Andrew Cash

Dec B Jane's Addiction

Dec9 Omar&Howlers

Dec l5 Miles Goodwyn

Dec l8 ChaìkCircle(2Concerts- family&aduìt

T'AT ALBERT'S COTFEE HOUSE

3OO BLOOR ST T

ìlednesdays Open Stage

Dec ?

Doug Austin

Dec 14 Sam l¿rkin

Dec 21 Xmas Party

Dec ?B Closed for Xmas

TIYINC CTOUD T'OIK CLUB

TRADITIONS ROO}I. SPÁDINÄ HOTII

460 KING ST r 651-4049

Dec 4 Two with Anne ìlalker (Mariposa)

Dec ? Delores Keane Band (Mariposa)

Dec 11 Álistair Brown & Jelf McClintock

Dec 1B Parry Family ïlinter Solstice

Jan B Grit l¿skin (Mariposa)

Jan 15 Batshiva

Jan ?2 Robbie Burns Night with lan Bell,

Enoch Kent & Jim Strickland

lan 29 Jali Lamine Suso & Daniel Janke:

Kora players

I'mE nu[s cÄr[

320 C0ILEGI ST 96?-10?8

llondays 0pen Stage

Tuesdays Open Stage

Dec 1 Marianne Girard

Dec 2,3 Don Freed w/ Anne Bourne

Dec 4

Dec ?

Dec I

Jali l¿mine Suso

l{ickhams

Brian Morgan

Dec 9,10 Cathy Miller

Dec 14 Peter Boyd

Dec 15 Free Times 8th Anniversary

rith Norm Hacking

Dec 16,1? Norm Hacking

Dec 18 Paul Geremia

Dec ?3 Childrens Benefit with Norm Hacking

Jan 15 Pat Logier

Dec ?4 - Jan I Closed for holidays

GROSSI{ÁNS TAVERN

379 SPÄDINAAVI 9??-?000

Blues Jam lïery Sunday

Dec 1-3 Michael Pickett Band

Dec 15-17 Tim Hazell Group

Dec 19-23 Morgan Davis

Dec ?6-?7 Michael Pickett Band

lan l-4 Steven C. & Red Rockets

Jan 15-18 Larry Goodhand

Jan 23-28 Mike MacDonald

HARÀBOURFRONT

335 QUEENS QUAY ï 9?3_3OOO

Brigantine Room

Jan 14 Shuffle Demons & Rare Air

Jan 20-21 C.J. Chenier & Red Hot Louisiana Band

Jan ??-?8 Santa C.l.A.

York Quay Centre

New Years [\e Pmfessor Piano & Canadian Aces

with luly }lassi, Sattilites, Ilying Bulgar Xlezrner

Band, Second City Touring Co., lhe Vaudevillians.

Jan 20-22 Cajun Ramblers

Jan 27-29 Los Chaskis

ìlater's [dge Cafe

Dec 3 Razorbacks

Coca Cola Presents Free Sunday Folk Music

Dec 4 Trinily Singers

Dec 1l Louise l¡mbert & Little Sisters

Dec 18 Junior Jug Band

Dec ?6 Sneezy llaters

Jan I Caitlan Hanford & Chris'llhiteìey

Jan l5 Linda Morrison

Jan 20-22 Znd Line Fever

Jan 2?-29 Los Tropicales .

trlf rfltVPQSl lV2fffi

HORSESHOE TÄVIRN

3?0 QU[[N ST rÍ 598-4?53

Dec 1,2 Figgy Duff

Dec 3 Morgan Davis

Dec 5 Mondo Combo w/ Nancy Nash

Dec ? Plying Bulgar Klezmer Band

Dec B Basic English

Dec 12 Mondo Combo w/ Ken lThiteley

Dec 13 Lost Highway

Dec i4 Blue Rodeo

Dec 15 Michelle Sright

Dec i6 Burt Lincolns

Dec 19 MondoCombow/MalcolmTomlinson

Dec 23 Razorbacks

Dec 29,30 The Jillers

Nerv Years [ve Jack de Keyzer

Jan 16-21 John Hammond with Paul James Band

HURRICANES

3351 ELTESMERE RD 281_ 1BB5

Dec 1-3 Larry Goodhand

Dec 8-10 Robbie Rox

Dec 15-1? Mike MacDonald

Dec 22-23 The Headhunfers

Dec 29-30 Mondo Combo

New Years Eve Mondo Combo

JÅILHOUSE CÄFE

9? MAIN ST. 691-rl13

Dec 3 Tish McSorley

MINXI,IR AUDITORIUM

SINECA COIJ,IGE FINCH CAMPUS

Dec 11 Eric Nagler

Jan 3 Polka Dot Door Live

MUSIC GÂIJJRY

108? qUEEN ST ï 53-ì.|USIC

Dec 2 Japanese Music For flectroacoustics

Dec 3 Christopher Blasdel, Hirokuzu Fujii,

Kayoko Fujii, Mika Kimula

Dec 4 Glass Orchesira

Dec 16 Jali Lamine Suso & Daniel Janke

ROY THOMPSON HÂtt

KING ST ìY at SIMCOI ST

Dec lB Zamlir

ST PAUL'S CINTRI

42? BLOOR ST T B?2_22??

Dec 4 Loreena McKennitt

SIBOM CTUB

t69 AUCUSTÅ AVE 977-42'.t7

Dec 14 Benefit for Jasmin Lauzanne with

Mike MacDonald, Picture This, and

Too Rude

Alta Moda

Hopping Penguìns

A.C.T. Xmas Party with Crash Vegas,

Basic Bnglish & Bobby llizeman

SIIVIR DOIJÁR

184 SPADINA AVE 92I_?I1I

Dec ?-3 Nakupenda (Soca/reggae)

Dec 16-1? Bourbon Tabernacle Choir

SNEÄI(Y D[['S

õ62 Bt00R ST r

Sundays American Music Jamboree

SOUTHINN ACCINT

595 t{ARKHÁt{ ST 526-321 I

Thursdays Cajun Ramblers

GOID BÂRBIL

93S QUIEN ST il (AT SHAT{)

Mondays

I'R[[ T|UIS CÄI'[

320 C0LLEGE ST 96?-10?8

Monday & Tuesday Nights

T'AT AIBIRTS COFI'[[ HOUSI

3OO BLOOR ST I{

ìlednesdays

BACKIYOODS TOK CIUB

I19 ST. CEORGE

Thursdays

(Live on CIUT 89.5 from

midnighl till I a.m.)

Ìt0N[YDEr CÁrE

220 COI{AN AV

Pridays

JAITHOUSI CATI

97 MAIN ST 691-1113

BRANTF'ORD F'O[J( CLUB

117 MARKET ST, BRÁNTFORD, ONT

(519) ?59-7676 0R 752-4671

0pen Stage Dec 9, Jan 6 & 20

ERIN FOLK CLUB

155 MAIN ST, ERIN, ONT

(519) 833-2035

Song Circle & Open Stage

Dec ll, Jan B & 22

MÄRIPOSA COUNTRY DANCE

Church of St George The Marfyr

Stephanie & McCaul

Dec 10

MARIPOSA FOLI TOUNDATION

95 IdVINIÄ AVE ?69_FOLK

Rainbow.Sundays

Dec 4 Caroline Perry

Jan 15 Yarko Antonevych

Ilying Cloud Nights

292 Brunswick St.

Dec 4 Two with Anne ÌValker

Jan B Grit Laskink

Feb 5 Catchpenny Record Release

(See Iistings for Flying Cloud Folk Club)

MARIPOSA IN THI SCHOOI"S 46?-9400

(Calì for Public Library Events)

MARIP0SA SONG CIRCLE 595-6000 or 536-9515

Dec 2

Vicki Obedkoff

40 Concord Ave 538-3981

Dec 16 Jane Adams 275 Major St 9?1-3489

Jan 6 Karen 0ster ?? Heathdale ?8?-1105

Jan 20 BobBiderman4S0BriarHill 483-1409

Ieb 3 laugh & Spend 292 Brunswick Si.

t'amily events at 95 l¿vinia called 'Rainboç

Sundays'. These events allow young people

to get their hands on banduras, flutes, arts

and crafis and all sorts of things, Concerts

are usually an hour long crafts are Lhere for

lhe making. Free to members and $3 for

others. December 4 features Caroline Perry

doing "Celebrations" forXmas & Channukah.

Jan l5 its 'the bandura' çith Yarko Äntonevych.

Page I

CKLN 88.1 FM

Pasquali's Ranch Radio

(Country)

Tuesday 2:30-5 pm

with Pascal Sharp

Sweet Patootie

(},tomen in Blues, Gospel & Jazz)

Tuesday 8-9 pm

with Mary Millen

Acoustic Routes

(Contemporary Singer/Songwriter)

lYednesday 5-? pm

'lÌith Joel lVortzman

Dr leelgood's Blues [mporium

(stues)

ìÌednesday 8-10 pm

with Dave Bernard

CIUT 89.5 FM

llariposa Radio lolkraves

(llariposa lolk Show)

llonday l0-ll pm

rith Steve lruitman

Guns, Iloney, Lalyers

(Country Roots)

Ìrlonday 11-12 pm

with Gord Curnming

Rarities

(Hard to Find)

llednesday 10-11 pm

with Lorne van Sinclair

Urban Underground

(lndependant Canadian Music)

lfednesday 11-1? pm

with Judy Perry

lorlds of llusic

(ìtorld Music)

Sunday 3-1 pm

with Lise Waxer

Caribbean Sring

(Caribbean)

Sunday 6:15-? pm

with Denise Jones

Iatin Beat

(tatin)

Sunday 9-10 pm

with Memo Acevedo

Ilidnight Celebration Starsong

(New Age)

Sunday 10-12 pm

with Renee Gelpi

Radio Boogie

(Hillbilly)

lVednesday 10-11 pm

with Steve Pritchard

B's Hurtin' Hour

(Hurtin' Country)

Thursday l0-11 pm

with Basia Urbanczyk

latin Party

(l¡tin)

Friday 6-B pm

with Richard Paul/Rico Paradez

Reggae Showcase

(Reggae)

Friday 9-12 pm

with David Kingston

lrom There To Hear

(lrorld l'lusic)

Saturday 12 noon - I pm

with Brenna MacCrimmon

Sounds of Äfrica

(African Contemporary)

Saturday 4-6 pm

with Sam Mensah & Twaddy Ulzen

The Long Note

(lrts¡/celtic)

Sunday 8-9 pm

with }lick Casey & Colm O'Brian

Rock lly Soul

(Gospel)

Sunday 9-10 pm

with Lorne van Sinclair

Thursday llorn rith Ras Rico

(ìlest lndian Rebel Music)

Thursday 6-9 am

with Ras Rico

The Jeff Healey Hour

(Jazz from ?8's)

Thursday 1-2 pm

with Jeff Healey

Swear To Tell The Truth

(Blues/Rt g/cospel/Soul)

Thursday l0-11 pm

wilh Chris Compton

Top 0f The Bops

(Roots l{usic)

Saturday 8-9

with Marc Coulivan

Africa lnternational Radio

(Anti-Aparthied }lusic)

Saturday 11-12 pm

with Michael Stohr

Gospel }lusic llachine

(Gospel)

Sunday 6-9 am

with Courtney lfilliams

Raices

(latin Ämerican)

Sunday ll-12 am

with Rual Llarlull, Daniel

Sanchez. and Edgardo Escobar

Kaleidoscope

(Childrens Comedy)

Sundaynoon-lpm

CJRT 91.1 FM

Iolk llusic & Iolktvays

(roll)

Saturday 12-3 pm

with Joe Lewis

The Blues Hour

(Blues)

Saturday 3-4 pm

with loe Lewis & John Valenteyn

cBc 94.1 FM

Simply lolk

(ron)

Saturday 1l:05 am -12:00 pm

with Mitch Podolak

The llax lerguson Shoç

([thnofolk)

Sunday 10:05 am-12 noon

with Max Ferguson

The [ntertainers

(rolk)

Sunday 3:05 - 4:35 pm

with Ralph Benmurgui

CKWR 98.7 FM

( Kitchen er-llaterloo )

Songs lrom The llood

(rolt)

ì{ednesday 8-10 pm

with Doug Gibson

Page ,10

CHRY 105.5 FM

Radio York

l0?.9 Rogen Cable

i¡ri6

r1

STOMPIN'TOM G:

FIDDI"E&SONG

lH[ i{ÁflPqsl il2rffi

lveryday I have The Blues

(Blues)

Monday 10-12 am

with llince Vitacco & Jim Chiapetta

Scott B Radio Hour

(Canadian Acoustic)

Tuesday 4-5 pm

with Scott B

The Google Dust Shon

(¡tues)

Sunday 8-10 pm

with Dr Lorne Foster

CBL 740 AM

Performance

(ro*)

SaLurdayS:05-6pm

with Bob Knapp

Saturday Night Blues

(Blues)

Sunday12:08-lam

with Holgar Peterson

The [nlertainers

(rolk)

Sundayl:33-3pm

with Ralph Benmurgui

Simply Folk

(Folk)

Sunday3:08-4pm

with Mitch Podolak

crAo 790 AM

(Brampton)

Iriends & Neighbours

(Maritime Music & News)

Sunday 9-10 am

with Bob Cousins

* ++

3 David l. Warren, 8.A., M.Sc. (Econ.), LL.g. i

* i

Earris¡er ¡nd s!,|¡c;ior !*

: 103 Old Forest Hill Road. :

! Tnronro, ontario M5P 2i8 (4rol rgl.¡g:z i

+

m,, :'F,ùß$6

l{&Mbatsx*çG¡sútè.-

*s?iåsäHü;#HT5.

STOMPIN'TOM - CONTINUED FROM PAGE

I

whrch he picked up a couple of years ago

doing reels and Lhe like. lt's mostly a serious

album though, nol the funny, witty stuff that

he used to write. Excepl for Lady kd Lang

kd Lang, kd Lang

She jumps around like a

'rangee-tang

Lady kd Lang

He may be back but there somelhing differenl;

he's more inlo himself now, more setlled

in his life, he doesn'L Lour from lown to torm,

bar to bar, like he used to. He doesn'L meet

the people and listen Lo their tales like he did

in his innocenL years. Still, iL's good to have

him back again and hear what he's got Lo say

about our Country while il sits a[ the brink of

whole-scale Americanization, lleddings, Parties,

Ânything whipped a sold-out Sibony Club

inlo an anii-free trade frenzy before launching

into their rip-roaring version of Bud. Jusi

think what Stompin' Tom could do if he would

have loured the nation.

lfe need you Slompin' Tom, wherever you

are.

VOLUNTEERS NEEDED

For occasional help at

MARIPOSA FOUNDATION

office and events

Mailouts, comupter data entry

decorating, door duty, bar help

MARIP0SA FESTIVAL preparations

MAKE A D]FFERENCE &

HAVE FUN TOOI!

Leave your name and day/night

phone numbers

ÌYith MARIPOSA at 769-F0LJ(

or cail 366-5225 (machine)

Gord Hines

K

-Volunteer Coordinator

A litlle late but vrorthy of menlion,

I['s been a decenl year for ToronLo's Don

Ross: first his band (Eye Music) gels accepted

to perform aL Lhe Montreux Jazz

Festival and now he caplures the l9BB

National Fingerpick Guitar Championship

in Hinfield, Kansas, lhe firsl Canadian lo

ever win this presligious prize, and more

importantly, lhe firsl Native person to do so

(Don is a SLaLus Micmac lndian).

The championship marks an important

milestone in Don's career and Lhe Mariposa

Notes congratulales him - we throw our

centrefolds into the wind.

llhen Don is noL busy performing his

brand of jazz wiLh Eye Music, he may be seen

and heard performing more tradilional folk

musie in Lhe Harbord Trio with Kelly

McGoran and Oliver Sehroer. He is planning

to release a solo album next spring, as well

as releases with Harbord Trio and Eve Music,

Rogers Cable 10 will air the remaining

episodes of UÄRIP0SA'BB, THE SERIES on

Highway 10. If you missed the firsL B

episodes, be sure to calch the last 4,

Produced by Jonathan Lynn, the series

fealures footage of last June's feslival:

workshops, concerts, interviews, Lhe people.

The firsl B episodes featured artisLs such as

Cephas & lliggins, Loudon llainwrighl III,

Donovan, Don Ross, Leo Kolke, Moses Rascoe

and Norm Hacking to mention buL a few.

Catch it on lÍednesdays aL 10 p.m. 0r

Saturdays al 7 p,m. 0nly Rogers subscribers

will be able to receive iL,

The remainder of lhe series is as follows;

Dec 3 - Lyle Loveit & Ken Whiteley

Dec 7 & 10 - Jonalhan Edwards/ San

Murata & Terry Jones

Dec 14 & 17 - Bob'Bossin/Miridie-lged

Guys lfith Guitars

Dec 21 & 24 - Ricky Skaggs/lfrap-Up

Although Lhese promise lo be great shows,

l'm afraid thal the ones you missed are the

ones you would 'ave loved Lhe mosl.

Also on Highvay 10, eatch Mariposa's presenLalion

of Pentangle in performance at

Diamond Dec. l, 3:30 pm or Dec 3, B;00

Page 1.1

IHI,t1Áfl1P05,4 //0rñ

CEPHAS CONTINUED FROM PAGE 6

Pì{: Ya, lhe motivafion is the same, the

purpose is Lhe same, you know, how you feel,

coz Lhe blues is sori of like a cure for what ails

you, and a way of communicatin' things ihat

you need Lo say whelher it's trouble with your

woman, lrouble wiLh your job or livin' condilions,

The motivalion is the same but like you

say, lhe environmenl has changed.

JM: Can you tell us a lillle about your style?

JC: My slyle is basically whal you call the

'Piedmont' style. The slyle is an alternaLing

thumb and finger-picking. Like the thumb

keeps a steady back-beat and the finger, or

'fing-ers', picks oul the melody, a rich, full

melodic sound. And Lhat's basically if.

JM: llhal's ihe hislory of it, where did it come

from?

JC: '!{ell as far as records is concerned, in the

easlern part of Lhe Uniled States where they

used Lo have house parlies, planlalion owners

and slave masLers, used to have parües and

dances and the Black slaves used to have to

play for 'em, you know. It's called a dance

music, party music, something like that, you

know, lhal rich, full melodic sound, I guess

lhat's parl of it.

I know it's been associated with lhe way that

lhey play the 'kora', The kora, which is an

Áfrican inslrument which is played with lhe

fingers, and iL has that alternaling finger

pallern like that, Coz you know ryhen the

Africans came from Africa they broughl their

instruments like banjo and some kind of

guilar. They say thal lhumb and fingerpicking

was influenced by the kora, you know,

when they had the 'don-son'(?) which was

from Mali. And they played wilh a 'thomp

lhomp Lhomp ba-toomp thomp thomp', a

sound like LhaL.

Jlr{: Phil, were Lhey blowing harmonica at Lhat

Lime?

(ed. note: This was asked tounge in cheek and

set John Cephas laughing for more than a

minule while Phil Wiggins aitempted [o answer)

P}{: Ya, (litlle chuckle) we did a tour of Africa

and.,.

JC; (Siill laughing) Man, I never heard

anyLhing like LhaL before,..

P}{: Ya well we ran into some 'howal' players

and there was a 'howat' harmonica player in

Ghana, And also rn Madagascar, the Malagasy

people use a lot of harmonica in lheir lradi-

Lional music too, so I don't know aboul 'way

back' but,,,

Jlil: Perhaps you can Lell us about your siyle?

P}f: 0h boyl lfell, I guess a lol of whai I do

has to do with the way John plays, the

Piedmont slyle, coz it's real busy. I used to

play in some Chicago sLyle bands and rock and

roll bands, eleclric harp and so on, and you

Pa¿e 12

have the bass and drums and guitar and

maybe saxophone, and then you want to

remain just mainly in the pocket, you know,

and play in the groove. And even when you

wanna Lake a break lhere's all lhe distorLion

in there that you get with electric harmonica,

it really limits what you can do, it's more

simplified.

JM: You mean like a horn section?

Plf: Exactly, ya. Like with John, you know, I

love the rhythm of the Piedmonl slyle so I use

it io play a lot, it's sorl of like a bouncing kind

of rhythm so I can go nuts. Ând lhe thing

about iL, you know, when I'm goin' crazy takin'

a break and John is playing that steady bass

paitern wilh Lhe thumb, I can go way off and

still know iryhere it is.

But the firsl harmonica player lhal I ever

heard of was Sonny Terry and then after a liltle

while I got into Litlle ifalter. I used to lislen

to his records a lol but I never listened to (ihe)

records with harp in them io try to copy fhem

- I used to listen to them because I liked them

a lot. And Lhen from listening to them they

influenced me for sure, bul I never got inlo

learning Little lÍalter's tunes note for note.

JM: You basically caugh[ the feeling and then

inierpreted back through lhe instrument?

PIT: Ya, because all them instrumentals thaf

he (Litile t{alter) pul out right, a guy put a mic

in front of him and he improvised and then

you got all these guys learnin' the song off the

record and then probably the next night Litlle

llalter'd play the thing entirely different.

JM: The old blues weren'L as homogenized as

it is now.

P'lT: Ya, well.,. I listened [o Mississippi John

Hur[ and I heard him play a song lwo different

ways, the same song.

JC: That's whal's kinda unique about lhe

blues: almost everylime you play it's different,

you know.

Pï: Ya, there's a lot of improvisation and it's

directly connected wilh your feelings.

JC: Ya, your feelings - how you feel aboui it.

PH: 0n a given night you might be pissed-off,

you might feel good - you know - it changes

iL,

JC: I played some of my besl stuff man,,, when

I walked in a place and said, "Godamn, I feel

badl Man, I feel like shil tonighl," I just gol

up there and played my ass off. Once you gel

that feelin', you know, you can't slop.

An audience has a lot to do wilh iL Loo. A

responsive audience has a loL to do wilh it.

JM: So you're goin'to Russia? How do you feel

aboul LhaL?

JC: 0h man, Lhat's gonna be one of lhe high

poinls of our careers, going lo Russia. We've

been to many foriegn lands in conjunction

with cultural exchange, and communist and

socialisL countries have been kind of out of the

mainslream and now, since Gorbachev has

been in power, 'glas.nost' as we understand iL,

is a very good thing as far as people is

concerned. The Russians are very enthusias-

Lic about wanting to bring our (U.S.) traditional

acts.

PIT: Righl now in llashington lhere's a loi of

Russians down on [he Smithsonian Mall, dancing

and singing with traditional instrumenLs.

lfhen we go there we'll be travelling with some

of lhe same people we're getting to know now,

so it's definately a cultural exchange.

JM: Hope lo get to Siberia?

JC: NoL if we behave ourselves.

Liz Dusome, Executive Director of the Mariposa

Folk Foundation since February 1988, has

resigned from that position as of January

1989. Liz's main reason for leaving is a

logistical one: she and her husband have sold

their home and are moving out of torm, near

0rangeville. lfith a young family and distance

fiom Toronto, Liz decided to leave. lÍe wish her

all the best,

Veteran board member David lfarren has

decided not to run for a fifth term. David's

reasons for stepping dorm are obvious: "After

eight years you need a break. lfhat more can

I say?" He has, hovever, vowed to continue on

the Concert Committee and has also accepted

a position on the newly formed Ârtistic Direction

Committee to act as an advisor to Artistic

Director Richard Flohil. Ànd yes, he's slill

going to be our lawyer.

0ther board members who have decided to

step down are Heather Bakker, Michael Blugerman

and Steve Starchev. Those seeking reelection

at the November 27th annual general

meeiing are Ânne Smiley, Michael Boshes,

Steve Fruitman and Jan Tilston. Those not up

for election are President Lynne Hurry, Treasurer

Ken Conners, Joe Benarroch and Norman

Greer.

In the next iszue of The Notes we will introduce

you to ihe new board of direclors. lle will also

do a profile for you on Mariposa's new

Executive Direcior.

CONTINUED FROM PAGE 1

In lhe mid-60s t'lohil formed his own

company, 'Richard Flohil and Associates' to

handle publicity, freelance editing, wriling,

and promotional aclivilies. In 1970 he became

edilor of The Canadian Composer, the members'

magazine of the Composers, ÀuLhors and

Publisheis Ässociation of Canada (CAPAC), a

position he sLill retains, Furthermore, Flohil

is also CÂPAC's special representative dealing

wilh membership relalions, publicity, and

public relations. This has given him a high

profile over the years with Canadian arlists

from coast to coast.

Since 1981 Flohil has been edilor (till 1987)

and 'reviews editor' (and s:till is) of The Record,

a Canadian music business trade magazine

that he co-founded, As well, he has promoied

artists such as Loreena McKennitt, Slan Rogers,

Randy Nenman, Benny Goodman, Ellen

Mclllwaine, Ry Cooder, Amos Garret and John

Prine, just to drop a few names.

Asked why he wanted to be Mariposa's AD for

'89, his response was lhat he vas hesitant at

firsi, "but became involved when lhe direction

I had proposed (and had been pushing for

some Lime)was adopied. I had been dismayed

by reports of the 1987 festival, in terms of

organization and attendance, and was anxious

io help Mariposa chart an'-upward course

again."

In 1988, Richard Flohil and Associates were

hired to handle media and publicity for the

festival. He was also involved with lhe selecLion

of 'star' artists, many of whom had been

suggested in earlier meetings with which he

had been involved. "The opportunities presented

by the involvement of major names

allowed me, in my role as publicist, lo interest

the media in the evenl once more."

So whal can we expect for '89? According to

Plohil, a loi of the old and a lol of the new.

"My parameters of whal music is 'folk' are

wider than those of the traditionalists; my

involvement in other kinds of music - al a

variety of levels - and my own eclectic, idiosyncratic

musical [asles has given me a

breadih of musical awareness that's quite

rare. I believe that music must appeal to

preferably two of the three physical/menlal

areas - the head, the hearl and the feet, and

that the sort of people who performed at

Mariposa in 19BB represented lhe right 'mix'

and the right direclion [o carry the event into

the fulure."

He has reservalions, or course.

"Basically, to keep currenl, it must mix

strong new ariists with veterans who have

remained relevant. The festival has to get

people who will make it - once again - 'hip'

and fashionable while al the same time true to

its past."

IHf 'l//flPQ9/ lV2fffi

Flohil hopes to be able to better integraLe

'name' performers into the daytime programming,

and bring a variety of 'daylime' performers

from a variely of different musical

idioms onto the night programs. "This way,

daytime and nightime segments 'sell' each

other." He hopes to place emphasis on

performers who are not familiar to festival

àudiences, "l've always fell that audiences

naturally go to see 'stars', bul the delighi of

having a job like AD at an event like this is the

chance to introduce people to totally amazing

artisis people wouldn't normally go across the

road to see." He gives examples like Inuit

throat singers, strange cowboys, and mutani

dub-poels. "Hopefully, the festival will have

a sense of humour - a sense of fun." Änd yes,

there will be traditional performers: "There

will be a blues lenl agaiu people will geL to

dance a whole lot; the Folk Play area will be

there again, in fact I ihink ii's a marvellous

part of the feslival.

So thai jusi aboul vraps it up. Any last words

Richard? (He doesn't hesiiate a second before

answering) "No while limos on site this year."

95 LAVINIA AVE., TORONTO. ONT

M

$ar{,rrr il co'nî

Brendon

cunningham

Phil

PRESET{TED BY iIARIPOSA & THE LOIIG I{OTE

DÉCETBÉR

$É0'

CL\}B

ç.oLK

cL0$0

ç L1 1$s gt

( ltlst

1\\É

g-r uns{ t cx

29L

Tlckets aYatlable

1

souih

or'Bloorl

$16 -- $14 for nembers

at l{ariPosa 769-F0LK

IH[illilP2$l lY2ruT

SUBSCRIBE TO THE MARIPOSA NOTES F'OR

$Ig I YUIR, NOT ONLY TIILLYOU RECEIVE

YOUR COPY OF THE NOTES IN THE MAIL,

BUT YOU TÍILL RECEIVE AN INDIVIDUAL

MEMBERSHIP TO THE MAR]POSA F'OLK

F'OUNDATION T{HICH ENTITLES YOU TO THE

F'OLLOWING

BENEFITS: EARLY BIRD DISCOUNTS ON

PESTIVAL TICKETS; UP T0 20% OFF THE

PRICE OF F'ESTIVAL TICKETS, CONCERTS,

]TEMS AND OTHER MARIPOSA EVENTS; 10%

OFF BOOKS, RECORDS, TAPES AND OTHER

MARIPOSA SOUVENIR ITEMS; PLUS AD_

VANCE NOTICE OF ALL MARIPOSA SPON.

SORED EVENTS. BY BECOMING A MEMBER

YOU GET TO ÁTTEND OUR ANNUAL GEN_

ERAL MEETING AND EXERCISE VOTING

PR]VILEGES. ALL FOR ONLY $18.

CALL '769-F'OLK' TODAY AND GET ON OUR

MA]L]NG LIST.

T'OR llIHAT T]ME - CONTINUED PROM

PAGE 7

I'm working and this fella was just vatching.

So I buill up my nerves there one day and

I asked him, "Hey, partner, why you watchin'

me like Lhat?"

"Uh,..l ain't watchin' you,"

I said, "Yeah, you been watchin' me around

here for three or four days."

He said, "Yes. Don't they call you Pete?"

I said, "Yes, I'm Pete."

He said, "Look, Pete, are you lhe one that

killed that man al Bradley's place?"

I said, "Yeah."

He said, "You ain't gol not business here,

l'm Lhe one who was standin' up there by the

man you killed, That guy took you for the

wrong man."

I said, "Took me for thw wrong man?"

He said, "Yeah. Ând Bradley and them paid

Lhe people [o go against you. Paid Lhem to

go againsi you. But," he said, "Lhis guy was

dangerous, He rryoulda killed you if he woulda

got to you. He woulda killed you." So I told

that lo the Captain.

They carried me up to Ångola on April the

sixth, 1956. And I was out in 1959. Outl I

was out!

The prisoners said, "Looka herel Looka

herel ïhal kinda man is this? See you."

I said, "llhat about me?"

They said, "You is a hoodoo. You got to be

a hoodoo,"

I said, "l sure is. lÏith thal man up there.

lfith that man up there."

So I got parole. Out on parole is harder [o

do than time in Angola. It is, 'cause everybody

watching to see rvhal you gonna get into. See

if you gonna go to the bar and drink. So my

parole violaior, he come around to check up

on me, He asked me, "Pete, where you was

SaLurday night?"

I say, "l was at home."

(Reprinled from "For vhat time I am in this

world" Stories from Mariposa, edited by Bill

Usher & Linda Page-Harpa, Peter MarLin Associates,

19?? Mariposa Folk Foundation)

F'RIDAY NIGHTERS

OLD TYME SQUARE DANCING

CEARLI.r

7/f l//n/P2S/ /Y2fffi

iTILIJAMS CONTINUED F'ROM PAGE 6

shaped him," Dr. Harry 0sLer' who firs[

recòrded Williams at Angola wrote: "The blues

of Robert 'PeLe' i{illiams are more original,

more directly personal, and more evocalive in

lheir expression of love, frustration, and

despair."

Williams performed al [he 1976 Mariposa

Folk Festival where he spoke his story for For

'lrha[ Time I Âm In This lïorld' He died

December 31, 1980 and rryent up into ihe sky.

*,r"^Í:PffirT.o" if

DON'T MISS

coPlEs oF

FUTURE

THE

MARIPOSA NOTES

... .:,1

Frn,{k. E. '; / ki tl3jo rt/

^. /rrl|¡ r<

læt the Ìtarlposa

Orl$naty desþned by famous singer and songwrlter

t'lunay Ùtctawhlan, the lvlartposa Sunburst ts a memory you

may wear on a cloudy day to ftll your heart wtth sunnY

memorles of Ùlarlposa.

Gordon llghtfoot, )imt Hendrlx, lanis )oplln, )ohn

Schlestnger, Helen Shaver have each deltghted in the etpertence

of IVAAl.l's art.

Commisstons from Festtval of Festtvals, Tetley Tea,

CHUIVI-FI{, Bluegrass Canada and Burks Falls Btuegrass Festtval

arc but a few of IVAAI'{'s saüsfied customers.

IVAAN has bullt one of the ftnest reputatlons in Noúh

Amerlca for a desþner and producer of high guality hand

craftediewellery.

Salvador Dali embtaced young IVAAI'I's tvork, no\'v You can

touch the excellence.

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