Kiwifolk Blog

Hamsterfest 2009 Review

2009-04-19T13:12:00.002+12:00

Hamster Fest at Matamata

One of the beautiful things about going to a festival is bringing bits of it home with you. I was driving up the long straight stretch of route 27 when I started belting out Mike Harding's Eketahuna with full lung capacity then realized he'd taken the tune from Yellow River. I don't know how much of the original he'd changed but some of the lines are classic like 'Eketahuna where the women are real with their bouffant hair and stiletto heels' This took me right back to growing up in the 50/60s and helping my mother to bouffant her hair before she put on her stilettos and went dancing with my father. It is always heart-warming to hear Mike at festivals bringing us back home with his collection of New Zealand songs. Although David Barne's rendition of Cohen's 'I lit a thin green candle' came a close second. I'd never quite got the full implication of this song until I heard his strident version. I think the black humour of it was a bit lost on the audience although I heard a few laughs. Perhaps being in love with people who make you act crazy is either out of folkie experience or too close to the bone to make one laugh.

It's always a pleasure for me to experience the continuing evolution of the music of Marion Arts. I sense a need for some kind of spiritual expression in her later songs, 'Love is a sacred river flowing down into love..... ' and the song titled My Sacred Heart gives the message of how precious love is yet love can beget love. I enjoyed being reminded too of what a fantastic musician Robbie Laven is with his bass playing enhancing everything Marion did. A musical partnership at its best.

It was a festival with no dramas I was told by one of the organizers and for a festival noted for its relaxed atmosphere everything was remarkably on time. Even the song-writers concert which had too many performers was neatly finished between two other acts on the Sunday. ( Two song-writers concerts next time please guys ) The weather was cooler than last year but there was still heaps of tent jamming and no one would have frozen in the averagely cool and fine weather. One thing I did notice was the Ceilid exuded a strong odor of sweat and beer as did the home brew unaccompanied session. It took a few deep breaths of cool night air to enter these events but once inside the music and dancing were worth it.

I always like the way the final concert includes a few standouts from the blackboard sessions. This year we were blessed with two dynamic young men whose names I did not find out but who referred to themselves as the second best shanty group, and Erin, the teenage performer of the weekend with her passionate version of Wild Mountain Thyme.

Judith McNeil (from her blog: http://judithjazz.spaces.live.com/)

Canterbury Folk Festival Easter 2009 - a birds eye view

2009-04-15T13:15:00.002+12:00

Way back in the day's on yon (1991) I went to my first Canterbury Folk Festival at Loburn. It's a festival still fondly remembered and discussed for the rich diversity of talent and the activities of all who braved the sunny clear days and the wintry Ice cool nights (which of course is a rather good excuse for the imbibing of the well known elixir Laphfroig, who cares about the spelling, it's like an internal hottie when you need it).
Anyway, this years festival was wonderful and as always the incredible weather during the day meant that some chairs were empty in the afternoons as there were water holes and adventure playgrounds and just purely 'waking up and dressing' activities to attend to. Not to mention the brilliant impromptu jams that roll out every second by those diehards who literally live in the forest and miss most concerts in favour of their own excellent music!
Andrew White was one of our superb guests line up. He was the first MSG I fell in love with at Loburn, this was a great time to recollect just how much his music has been an integral part of my folk music life. His album 'Pray For Rain' is my desert island pick, his live performances are a treasure and I'm completely biased as ever.
The second MSG I was to fall for immediately (fickle eh) at Loburn was the emerging, engaging and utterly delectable music of Owen Hugh, his fingers shook so badly that it was impossible not to notice but he rocked the house with his nylon strings at the time. I hear he lives in Auckland and it's about time he got himself a gig at the Christchurch Folk Club so we could all swoon again.
Speaking of which, it's about time we toured more NZ'ers at our clubs (read 'I'm about to need gigs all over the North Island I'll be in touch soon').
Back to Easter - Graham Wardrop in a new line up with Naomi Ferguson launched their first album together which is an eclectic choice of folk songs we all know and adore sung with the utmost clarity and perfection by Naomi with Graham's great guitar work complementing every note.
There were some visiting Bluegrass players from Auckland who came along and reckoned our festival is pretty damn impressive and who were delighted to be invited to perform in the final concert, which was a delight for us all, the sound of banjo on stage is quite a rarity in these parts you know. Bicycle tires aside, Michael Young and his merry band will be back- you promised didn't you?
I'm a huge fan of Jon Hooker, James Wilkenson and Denny Stanway so I can't say anything about their concerts except I loved their Saturday night performance. There is nothing to compare in NZ with this line up, I'm so proud of them and just wish there was more and more opportunity for them to play and be extremely well paid for the rest of their lives and all musicians of their ilk. They are so good.
I have a partner who isn't fond of diddley but no fear we caught some of the finest acts from overseas and innerseas. Can't say much as I was probably preoccupied alot of the time getting hot water bottles for those that could no longer stand up etc.
Lastly there is nothing on earth that can explain the 'Silver Beaver Lodge' whose theme this year was Fawlty Towers. Pas Possible!! Those French maids costumes and Mrs Fawlty appeared in many guises and raucous laughter could be heard at the end of the field and across the river.
Oh and apart from some badly sung accapella at midnight til 3 after the final concert (there were some excellent harmonies so long as the key was friendly) what a great festival.
Thanks to the committee and volunteers for a really special time. We know it only happens because year after year you know when and how to water the seeds to make the flowers grow.. Some of us can't raise a house plant. Your dedication is appreciated and revered. Even tho you probably heard me blabbing my mouth off about how there is nowhere warm to play after the concerts (read heated) that's central. The trouble is I can drink to keep warm but then I can't sing or play guitar except badly........... Also because of my antics in the bedroom wrapping my vocals and guitar around the bunk bed step ladders, I got Merv out of bed in his pyjamas and that's not something I want to repeat even tho they were winsiette and quite fashionable..
To think that the original idea for attending the folk festival at Loburn was because the pubs were closed all Easter in those days and drinking to celebrate Jesus was frowned upon.
Keep an eye out over the next century for the flowering orchard we planted before departing the site, blackboy peaches and walnuts down by the BMX track where the kids play.. not on the track, beside..
Also what was that fire George had burning in the brazier? Iillegal by the committee (but the committee were all in bed by then, not together) but condonned by the park ranger who simply acknowledged the fact that it was probably only - 1 degree and probably agreed campers should avoid hypothermia. Lovely how youth can talk their way up a gum tree and sit on the end of the furtherest branch without falling.....
Kind Regards,
Jan Elliott
Canterbury
New Zealand

Bards, Ballads and Bulldust Festival

2009-03-06T15:32:00.002+13:00

Easter weekend 10 - 12 April 2009
The beautiful high country town of Naseby is presenting the 4th Bards Ballads & Bulldust Festival at Easter 2009.
www.kiwifolk.org.nz/festivals/BBB/index.htm
The weekend activities will be presented by 'Tui Award' winning high country balladeer, Phil Garland and based around the historic Ancient Briton Pub, which is hosting the event. Festival goers will be treated to some top quality Kiwi Country / Folk music and bush poetry relevant to the New Zealand High Country. As well as being home to Ross 'Blue Jeans' McMillan, one of the finest bush poets in the country, the Naseby festival will also play host to a trio of bush balladeers from across the Ditch.

The Bards, Ballads & Bulldust festival is the only one of its kind in the country, where the emphasis is on the spoken word in the form of bush poetry, which has a huge following throughout Australia. Bush balladry has been an integral part of our national heritage since the 1890s, but its profile has remained small, going largely un-noticed and un-recognised until the birth of Bards Ballads & Bulldust. Our bush poets are finally getting some of the accolades they richly deserve thanks to Naseby and the Bards, Ballads & Bulldust Festival.

Naseby (2000 feet above worry level) is the historic capital of the High Country and home to curling. Where better to experience high country life at its exhilerating best. Visitors can see a town changed little from the earliest beginnings of the Otago goldrush, whilst at the same time visit wonderfully preserved and historic buildings set amidst some of the oldest gold diggings in Central Otago.

2009 featured guests include:-

Milton Taylor - Highly entertaining award winning bush balladeer from Australia returns by popular demand.
Melanie Hall - Acclaimed bush poetry reciter from Australia
Suzie Carcary - 2008 champion prize winning bush poet from NSW. Originally of Scottish ancestry & respected singer of Scottish songs.
Marcus Turner - Mere words cannot describe this brilliant singer/songwriter & multi instrumentalist from Dunedin
Martin Curtis - Highly acclaimed and popular Kiwi reciter & balladeer from Cardrona
Keith Scott - Expat Maniototo oral historian and playright from Sydney.
Ross McMillan - Famed local poet & High Country balladeer.
Des Styles - Local goldfields poet from Naseby
Roger Lusby - Popular Kiwi balladeer and bush poet from Nelson.
Dusty Spittle - Legendary Kiwi story teller and country balladeer, who has just been inducted into the American old-time Country Music Hall of Fame.
Basil Fitzpatrick - Popular performance poet from Chch
Bush Telegraph - Renowned Kiwiana bush band and barn dance specialists from Canterbury.
Phil Garland - Multi award winning folklorist, singer / songwriter and backblocks balladeer from Culverden.

Programme:-

Good Friday - Welcome and informal gathering in the Ancient Briton Pub, Naseby with music session from Phil Garland & Bush Telegraph - a chance to join in!
Saturday - Live performances throughout the day from invited poets and musicians in the Ancient Briton Pub.
Saturday Night - Miners & Musterers Ball with Bush Telegraph in the Naseby Town Hall. Admission $20 - supper included.
Sunday Morning - High Country breakfast with live poetry, songs & yarns from invited guests and local Syndicate farmers.
Sunday - Live performances continue throughout the day from invited poets and musicians in the Ancient Briton.
Sunday Night - Open poets night at the Ancient Briton, when invited guests will share the stage with all comers.
Busking throughout the weekend in the Main street and outside the local cafe - hosted by Basil Fitzpatrick.

Admission free to most events.
Tickets to the Miners & Musterers Ball are $20 incl supper.
Well priced meals & snacks available from the town hotels and local Cafe throughout the weekend.
Accommodation should still be available at the two local hotels, two motels and the camping ground. Further accommodation can be found at Ranfurly only 20 minutes away. However early bookings are advised!

For further information contact the programme oganiser Phil Garland pgarland@xtra.co.nz or view the frestival webpage www.kiwifolk.org.nz/festivals/BBB/index.htm

ANCIENT BRITON HOTEL & MOTEL
Leven St, Naseby, Central Otago, New Zealand.
Phone 03 444 9992, Fax 03 444 8232, E-Mail

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HE WAHI RA
Naseby, Central Otago, New Zealand.
Phone 03 482 2553, Fax 03 482 2553, Mobile 021 460 284, E-Mail

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LARCHVIEW HOLIDAY PARK
Swimming Dam Rd, Naseby, Central Otago, New Zealand.
Phone/Fax 03 444 9904, E-Mail

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MOUNTAIN VIEW ACCOMMODATION
13A Channel Road, Naseby, Central Otago, New Zealand.
Phone 03 444 9972, Fax 03 444 9972, E-Mail

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ROYAL HOTEL
1 Earne St, Naseby, Central Otago, New Zealand.
Phone 03 444 9990, Fax 03 444 9704, E-Mail

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THE OLD DOCTOR'S RESIDENCE LUXURY BED AND BREAKFAST
58 Derwent Street, Naseby, Central Otago, New Zealand.

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GLENSHEE PARK HOMESTAY
Tel: (03) 4449624 Fax: (03) 4449624 e-mail: mas.glenshee.park@xtra.co.nz

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SHORTLAND STATION HOMESTAY.
Glenis & David Crutchley 114 Kyeburn Diggings rd, R.D.2 Ranfurly Ph (03) 444 9621 or 0800 375247. Fax: (03) 444 9610 d&gcrutchley@xtra.co.nz

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WEDDERBURN TAVERN
SH 85, Central Otago, New Zealand. Ph/Fax 03-444 9548 :: Email: wedderburntavern@clear.net.nz

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NASEBY TRAIL LODGE
Corner Derwent & Oughter Streets, Naseby, New Zealand.
Phone 03 444 8374, Fax 03 444 8222, Reservations 0508 NASEBY (0508 627 329), E-Mail

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DANSEYS PASS COACH INN
Phone/fax 64 3 4449048 Email: booking@danseyspass.co.nz

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Ranfurly Lion Hotel & Highland Wine Bar & Cafe
www.ranfurlyhotel.co.nz
10 Charlemont Street East, Ranfurly, Otago 9332. (03) 444 9140

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WEDDERBURN LODGE
State Highway 85 , Wedderburn, , New Zealand.
Lorraine- 03 444 9194, or Alison- 03 444 9124

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For cribs available to rent in Naseby contact jan@weddingarranger.co.nz

Ka Mate and the folk process.

2009-02-16T17:20:00.003+13:00

From John Archer (www.folksong.org.nz) on the nz-folk list

I was rather astonished to find that the Waitangi Tribunal declared that Te Rauparaha composed Ka Mate, so I have dashed the following letter off to them.

As far as I can see, Te Rauparaha evaded the avenging relatives of a group of travellers he had murdered by crouching in a pit with his head jammed into an old lady's crotch for an hour or so, and to ease his embarrassment when he was released, he simply repeated a well-known bawdy parody of Ka Mate.

Dear Tribunal members,

May I enquire as to what evidence you based your decision that “Ka Mate” was composed by Te Rauparaha? I have searched for evidence of this for seven years, but all sources I have found indicate otherwise.

A search of articles about Te Rauparaha in old newspapers back to 1843 finds no mention at all of his use of, or his connection with, Ka Mate.

However in the Daily Southern Cross 23 March 1867 noted its use by Kereopa during the trial of the Rev Volkner at Opotiki, as “a song composed that could convey two exactly different meanings.”

And in 1901 it was performed at Rotorua by Tairawhiti men at the welcome for Prince Albert as “an an ancient and universal war ngeri used to welcome illustrious guests.” (Wanganui Herald and Lyttelton Times, June 1901)

Margaret Orbell (Maori Poetry 1967) noted the ancient usage of the Ka Mate haka. She said "te tangata puhuruhuru" (the hairy person) symbolised unified strength. Brave warriors are the "hairs on the legs" of a strong chief. She also explained that "Whiti te ra" (the sun shining) symbolised light, life, peace.

E H Schnackenburg of Kawhaia (J. Poly. Soc. 1948) was told that this haka formerly celebrated the triumph of Maui in capturing the sun, as an allegorical story telling how brave men could work together with a strong, ingenious leader to ensure peaceful times when "sunny days" (times of peace) were too short and "dark nights" (periods of war) were too long.

Sir John Grace (Tuwharetoa, 1959) tells how, on emerging from beneath Te Rangikoaea, Te Rauparaha chanted “Kikiki kakaka kau ana! Kei waniwania taku tara... Ko wai te tangata kia rere ure... Ka mate, ka mate...”

James Cowan (NZ Railways Magazine 1935) describes Kikiki Kakaka as “A very old chant, long antedating Te Rauparaha's period. It goes back several centuries...an ancient song of reunion and felicitation, often chanted at occasions of peace-making and such gatherings as marriage feasts."

Kikiki Kakaka was indeed very appropriate for wedding feasts, as it is a very factual account of a the sequence of emotions exerienced by a young lad in his first encounter with an amorous woman. (“I’m stuttering, trembling, naked! I’m brushed by your crotch... forbidden secrets are revealed... I’m trapped by your snare... who is this man with a thrusting penis? I’m investigating the hot moist depths... I’m dying! I’m dying! No, I’m really alive, a virile man who can make the sun shine for both of us.”)

Arthur Thompson (The Story of New Zealand, 1859) explains that “Singing, or the haka, was the amusement of village maidens and young lads on fine evenings... Most songs were accompanied with action...” And Arapete Awatere (1973) explained that "Most songs were composed as a group effort... Songs were reworked because the melody and symbolism of the words were liked, and to make the song appropriate to the new context."

It would appear that this is what occured when a group of flirtatious “village maidens” amused themselves by taking the old Ka Mate words and reworked their meaning into a bawdy sexual context by adding them to other sexually descriptive verses with which they teased bashful young men.

This old chant would have come to Te Rauparaha’s mind when he was trembling with fear in a kumara pit with old Te Rangikoaea’s crotch brushing his head. And I suggest that this is what he chanted when he was released from “the hot, moist depths.”

A song as complex and clever as Kakaka Kikiki would have taken a group of people a week or more to compose. A terrified, exhausted, humiliated and half-suffocated fugitive would have been unable to compose this off-the-cuff.

I have had most of the above information on my Ka Mate webpage for the past 7 years, and this page has been visited by approximately 400,000 people, but no one has sent me any claim or evidence of composition by Te Rauparaha.

Ngati Toa can rightfully claim ownership of the new meaning attached to Kikiki / Ka Mate, but I have found no evidence, either documentary or contexual, that Te Rauparaha was its composer. Instead, all the evidence points to Ka Mate being an ancient and universal haka with vivid symbolism conveying great wisdom.

Your recent decision has downgraded Ka Mate from a national literary taonga to a pathetic story of how a mass murderer on the run escaped justice.

Here's my two penneth worh - For years I've been led to understand that here in the south Ngai Tahu simply won't have anything to do with the Ka Mate haka because of its association with Te Rauparaha. They will never forget the atrocities he committed around the Mainland.

Bearing this in mind how can New Zealanders see this haka as something to unify the nation - particularly on sporting occasions, when not all Maori can agree on its use, let alone even think of unification.

The ABs deserve our support and thanks for coming up with something new andmeaningful to them!

Cheers

Phil Garland

===

I've been waiting for the media to raise this question about the origins
of the haka, but it doesn't seem to be happening. Just had a couple of
comments to add to John and Phil's.

First, the case appears to develop a kind of indigenous copyright concept,
one that doesn't expire 50 years after the (supposed) composer's death.
This sets a rather interesting precedent: could decendants of non-maori
composers now also claim similar
copyright-forever-and-ever-until-the-end-of-time?

Second, has any other Maori iwi claimed ownership of "Ka mate" over the
time in which the Te Rauparaha authorship has been widely believed? If
not, this could indicate tacit acceptance of the Ngati Toa association.
Such a hybrid "Maori copyright" concept doesn't fit tidily into Western
legal frameworks, but nonetheless is perhaps acceptable to other Maori
iwi.

Third, agreed: Te Rauparaha sounds like a very frightening person. I grew
up on the Kapiti Coast and he was still spoken of with a bit of dread;
later I read some of the details of the musket wars, the torturing,
war-mongering etc. But Ngati Toa can thank him for saving their iwi from
extermination. When the tribe's original lands in Kawhia Harbour were
invaded by overwhelming Waikato forces, he successfully led them on a
fairly desperate journey down the North Island to relative safety in the
Horowhenua. Of course, in doing so he displaced others (Rangitane,
Muaupoko) from their lands - but he is by means exceptional in this
regard. Yes, he did some terrible things - but he seems to have mostly had
his tribe's interests at heart.

M D Brown

APRA's Anthony Healey on the Copyright Act

2009-02-04T09:28:00.004+13:00

New Technologies Amendment – Section 92A

After some time in the pipeline the NZ government last year passed into law new copyright provisions with the stated goal of promoting innovation, creativity and economic growth. The amendments are a range of initiatives that both support the needs of consumers by improving clarity around the law and modern practice and provide further certainty over the scope and enforcement of intellectual property rights.

Included in the legislation were significant provisions that benefitted consumers (format shifting rights), ISPs (safe harbour provisions or protection from liability for infringing material flowing along their lines) and provisions that in our view assist in educating consumers of the importance of copyright.

One of the key provisions in the Act for creators is the introduction of Section 92A which contains a requirement for internet service providers to have, and reasonably implement, a policy dealing with repeat copyright infringers in appropriate circumstances. This may include policies to disconnect repeat infringers in certain circumstances.

APRA supports its implementation.

Criticism has however been labelled at the legislation. Publicly I have indicated that such criticism is premature and that any opponents to the copyright legislation should wait until such time as the ISPs draft code of practice is released. We have been involved with the ISP working party in developing their Code since the outset and have had the opportunity to offer productive suggestions in the formulation of the Code. In our view the Code will dispel the issues that have been raised.

The Code of Practice put forward will ensure that education is the primary focus of notices given under Section 92. It will ensure that the level of evidence required to create such education notices in the first place is high, so high that there will be little chance of mistaken identity or misinterpretation. There will be safeguards. It will not be "guilt by accusation" and there will be opportunity for those that receive education notices on the basis of infringing material, to issue counter-notices in reply. The hysteria that has developed around the issue is unwarranted.

Of course I understand that APRA is a large organisation and the views of our members are diverse. There are a few members that do not share the Association's view of this process and they have made their opposition clear. However, the vast majority agree that we cannot sit idly by and watch the disintegration of these core crucial rights. Just because technology makes an act easy does not make it right. These are the views that we must represent.

Whilst I am not naïve enough to believe that this is the simple answer to all problems, I do believe that ISPs must play a part working towards a solution. This is a step towards a solution.

Anthony Healey
Director, NZ Operations APRA

Thanks Mike for broaching the matter of Section 92A.

This is an impending law change of great significance, far greater than it is receiving in the mainstream media at present. APRA certainly have their point of view on this issue, but it should be pointed out that this law was passed against a select committee's findings and very quietly and speedily last year - all of which are hardly the signs of good legislation. A similar planned law has just been tossed in the UK because it was deemed unworkable:
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article5586761.ece
Arguments in opposition (which APRA has painted as "mischievous") might be helpful for people to make up their own minds:
ISPANZ (ISP groups): http://www.scoop.co.nz/stories/BU0901/S00209.htm
LIANZA (Library Association): http://www.scoop.co.nz/stories/PO0901/S00143.htm
And an artist-run organisation: http://creativefreedom.org.nz/

2008 Folk Album of the Year

2009-01-25T21:31:00.003+13:00

DIY ethic sees Otago trio scoop top Folk Award

An unsigned all-women three-piece from Dunedin has won the Tui for Best Folk Music Album of 2008. Delgirl’s self-released debut album ‘Two, Maybe Three, Days Ride’ was awarded the Tui at the Auckland Folk Festival in Kumeu tonight. The acoustic group describes its sound as “skiffily, folky, country, jazzy, bluesy roots music with a Pacific edge bordering a swamp”, and creates harmonies built around the double bass, guitar, ukuleles, banjo, snare and percussion. Delgirl is made up of Deirdre Newall, Erin Morton and Lynn Vare.

The trio formed eight years ago and released its debut album in November 2007. The track ‘Ride’ from the album has been selected by NZ Trade & Enterprise to feature on a music placement export disc entitled ‘New Zealand-New Music’ which is distributed to music supervisors in TV and film worldwide.

The other finalists were Cardrona-based singer-songwriter Martin Curtis for ‘Sea To Summit’ and the Hamilton County Bluegrass Band with ‘Way Down South’. Recording Industry Association of New Zealand (RIANZ) CEO Campbell Smith says: “Folk music is in good health in New Zealand. Delgirl’s album is highly deserving of a Tui – and another fine example of how some of this country’s best music and talent can do-it-themselves to create amazing work. “Dunedin has a history of fine musicians, and Delgirl shows that this talent and passion is alive across a range of genres.” The Best Folk Album award is part of the New Zealand Music Awards and it is the fifth year it has been presented at the Auckland Folk Festival. The festival is currently in its 35th year, and its 18th year at the Kumeu Showgrounds. Information about the event is available at www.aucklandfolkfestival.co.nz

The Tui for Best Folk Album 2008 is for recordings released between 16 November 2007 and 15 November 2008. The Folk category was introduced to the awards in 1984.
Recent previous winners of the Tui for Best Folk Album2005 - Lorina Harding for the album ‘Clean Break’2006 - Ben the Hoose (Kenny Ritch and Bob McNeill) for ‘The Little Cascade’2007 – Phil Garland for his 18th album ‘Southern Odyssey’.
Or refer to www.nzmusicawards (see history section).
Delgirl: www.delgirl.co.nz

About RIANZ: The Recording Industry Association of New Zealand Inc (RIANZ) is a non-profit organisation representing major and independent record producers, distributors and recording artists throughout New Zealand. RIANZ works to protect the rights and promote the interests of creative people involved in the New Zealand recording industry. Issued for the Recording Industry Association of New Zealand by Pead PR Contacts:Campbell Smith, RIANZ. Tel: 0-9-361 3967; Mob: 021-666 399; campbell@rianz.org.nzQuentin Reade, Pead PR, Tel: 09-918 5552, 021 847 908, quentin@peadpr.co.nz

Leonard Cohen in Wellington

2009-01-22T10:32:00.002+13:00

From Dave Barnes:
Dear nz-folk,
Well, last night I had the delight of attending Leonard Cohen's concert in Wellington. I am happy to say it surpassed all my expectations.
Held in a venue reputed to have possibly the worst acoustics in the entire universe, LC and his crew produced an exquisite sound. That voice was captured and presented to us in all its impossible depths. Perhaps one key point was holding the volume to absolute perfection rather than blasting us out of our seats. We were there for his voice and his words, and we got them in style.
And the man himself - a nimbleness that belied his 74 years as he skipped onto the stage and as he knelt to add an emphasis to various of his lyrics. Supported by 9 outstanding musicians who played with consumnate skill to showcase his performance, he delivered a mix of the old favourites along with newer works. Perhaps some of his most poignant presentation, though, was in a couple of his renditions of his unadorned poetry - just him speaking it. That reminds you of the power of his lyrics.
Whilst I, being one of the long-time converted, would be totally happy with the man and maybe just one guitarist, I have to acknowledge that brilliance of the presentation undoubtedly allowed his work to be absorbed by a far wider audience. And they were there - from 1 month old to over 80, with all generations between being well represented. An emotive night - the newer numbers, and there were many that as a devotee particularly of his first two albums I was not familiar with, were wrapped with a warmth that made them instant old friends. And for those familar ones the power of his voice brought them oh so much closer.
He displayed a superb relationship with the crowd despite not undertaking a concert for some 15 years ("when I was a young man with a crazy dream")prior to this tour. And his warmth spilled over to the "handrail crisis" (the papers had obviously had not enough real news) with the comment "I suggested that they removed the handrail, thus removing the visual barrier [for the "vertically challenged" in the front row of the galleries], but the management felt that due to the nature of my work some of the audience might choose to hurl themselves over the edge". You certainly couldn't feel short-changed - an immensely long performance that would shame many younger acts, with an impressive range of encores. He thanked all of us for keeping his songs alive - I for one will endeavour to continue to do so!

Folk Tui finalists announced 2008

2008-12-22T11:13:00.005+13:00

The finalists for New Zealand’s Best Folk Album of 2008 include an enduring crooner, a celebrated bluegrass band and a trio of relative new kids on the block.

Cardrona-based singer-songwriter Martin Curtis is joined by the evergreen Hamilton County Bluegrass Band and Dunedin trio Delgirl in the finalist line-up announced today 22 December by the Recording Industry Association of New Zealand (RIANZ).

Curtis’ ninth album of New Zealand folk songs is titled ‘Sea To Summit’ and features a range of new songs, several of which have already attracted local and offshore interest. ‘Sir Ed’ has been picked up by Kiwi Kids Songs for inclusion in its next release and the album is airing regularly on BBC Radio in Cardiff and Gloucester.

Currently Curtis’ main focus is on school work, presenting a programme for primary children about New Zealand history, wildlife, conservation and way of life. The work has also spread to regular visits to schools in the UK, where he illustrates his ‘Kiwi’ show with posters and pictures of New Zealand.

Formed in the 1960s, the Hamilton County Bluegrass Band continues its legacy of authentic bluegrass music with a Kiwi twist. The band’s fifth and latest album is ‘Way Down South’ which features 13 tracks. The title song is a Paul Trenwith original, recounting his first appearance at American festivals where he was accepted as true Southerner and ‘bluegrass musician.’ The Hamilton County Bluegrass Band is still the first and only New Zealand band to play The Grand Ole Opry in theUSA. Compared to Curtis and the Hamilton bluegrass quintet, the Delgirl trio is a relative newcomer.

Formed eight years ago the girls admit to playing “skiffily, folky, country, jazzy, bluesy roots music with a Pacific edge bordering a swamp”. ‘Two, Maybe Three Days Ride’ is the debut album from Delgirl’s Deirdre Newall, Erin Morton and Lynn Vare. ‘Ride’ from the album has been selected by NZ Trade & Enterprise to feature on a music placement export disc entitled New Zealand-New Music which is distributed to music supervisors in TV/Film worldwide.

Recording Industry Association of New Zealand (RIANZ) CEO Campbell Smith likes the spread of folk styles across the finalist artists. “Folk music has wide appeal in New Zealand across many different styles,” Smith says. “And, it’s great to see that we have three finalists with quite different approaches”. The Folk Music Tui for the best album of 2008 is to be presented on Sunday 25 January at the final concert of the Auckland Folk Festival. The Auckland Folk Festival is held in Kumeu (West Auckland) from the 23 to 26 January 2009 (http://www.aucklandfolkfestival.co.nz/)

NOTE TO EDITORS:The Tui for Best Folk Album 2008 is for recordings released between 16 November 2007 – 15 November 2008The Folk category was introduced to the awards in 1984. Recent previous winners of the Tui for Best Folk Album

2005 - Lorina Harding for the album ‘Clean Break’

2006 - Ben the Hoose (Kenny Ritch and Bob McNeill) for ‘The Little Cascade’

2007 – Phil Garland for his 18th album ‘Southern Odyssey’.Or refer to http://www.nzmusicawards/ (see history section).

Finalists’ websites

Martin Curtis: http://www.martincurtis.co.nz/

Hamilton County Bluegrass Band: www.myspace.com/hamiltoncountybluegrassband

Delgirl: http://www.delgirl.co.nz/

Davy Graham RIP

2008-12-17T15:58:00.002+13:00

Davy Graham died yesterday (Monday UK time). Here's the Guardian report:
Legendary folk musician Davy Graham passed away on Monday. He was 68. Graham's manager Mark Pavey told the Guardian: "He was diagnosed with lung cancer only weeks ago and suffered a seizure at his home at around 3.30pm yesterday."
The guitarist was noted for his role in the 1960s folk revival, and his impeccable acoustic style influenced everyone from Bert Jansch to Paul Simon. Born to a Guyanese mother and a Scottish father, Graham took up the guitar in his teens and was later discovered by blues musician AlexisKorner. Korner once wrote that Graham was "a genuinely gifted guitarist who, rightly, refuses to let himself be fenced into one field of music."
His debut release in 1962, the EP 3/4 AD, contained his most famous composition, Anji. Inspired by his girlfriend at the time, the song took on a life of its own (hence the varied spellings of its title) as it was covered by many artists, including Simon and Garfunkle on their 1966 album Sound of Silence.
Graham is credited with touching on a wide range of influences in his music, particularly jazz and blues, as well as elements from a wider world of sounds, such as Indian or Arabic, that were not particularly well-known at the time.
Pavey said there would be a private funeral held for Graham this week and a public memorial service is being planned for January. Further details of the service will be posted on Davy Graham's website.
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As an add, another influential (in NZ anyway) was the Decca album "Folk Routes, New Routes", on which Davy Graham backed trad singer Shirley Collins and played some instrumentals. It came out in the 1960s; in 2008 thearrangements are still fresh (and hard to play).
Alan Young
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Hi folks,Been asked to pass on this sad news: "Davy Graham has passed away 15 December 2008, London Sad news indeed, one the the very best has left the building. I used to see Davy in a pub called Finch's in Nottinghill I think it was. He was truly a legend and his playing inspired many many great British players. Some say he never reached his full potential as he was plagued with addiction and ill health during his life, but the early work he did was and still is among the most brilliant of an era. Check out his album with Shirley Collins or hissolo masterpiece Folk Blues & Beyond. He was "world" music before the termwas even thought of.

RIP Davy Graham.

Sam Sampson

2008-12-13T13:16:00.006+13:00

Dominion Post 13/12/2008:

SAMPSON Charles William. "Sam the Fluid Druid of Stewart Island"._Sam passed away peacefully at home with friends on Monday 8th December 2008, at Stewart Island, aged 65 years.Privately cremated. Sam would like to welcome all his friends and colleagues to a memorial service to celebrate his life at the Stewart Island Community Hall on Monday 15th December at 2:00pm.Messages to PO Box 65, Stewart Island, New Zealand.Avenal Park Funeral.

One of our original kiwi folkies back in the 60s.She'll be right mate!
Sadly,
Robyn Park
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I was sorry to hear of Sam's passing. I recall the times at Frank & Mary Fye's Balladeer coffee lounge in Willis Street around 1965, when Sam would appear, pretty much fresh from the bush & perform his own & collected poems. I believe he was an avid tramper & tall stories, poems & songs were often shared in tramping huts. Sam has now joined those other loved & missed performers of that era: Frank F, Max Winnie & Warwick Brock...Boy, that place fair hummed at times, with others too, such as Val Murphy, Frank Povah, Ron Davis, Joan Prior & Bill Taylor, not forgetting Mitch Park & others who's names slip my mind.

Rest in peace, Sam.
Best...Dave Hart
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Al and I remember Sam Sampson from the days of the sixties.He was a regularperformer at The Devonport FC when it was held in the Church Street churchhall and also the Wynyard Tavern. A compelling performer, he stays vividlyalive for me because of his incandescent singing of The Lags Song. So passionate a rendering. It was astounding singing to me, just a youngteenager then.
We were also fond of his hairy mein and roman sandals/black seaman's jerseypersona. Al's mum came across him recently in Stewart Island, he was a tour guide and noted character down that way. By his look and his singing Jean Young asked if he knew of the DFMC and he remembered many of us by name and fondly recalled his times in the clubs and parties of Auckland. A true original who lived life to his own prescription, he is fondly remembered by us and, I'm sure, many others who came across him.
Beverly Young
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Very sad news indeed. Sam hadn't been well for some time, but his demise was still somewhat unexpected.
Sam Sampson was one of Folk Music's great characters with his big black bushy beard, booming voice and enthusiastic persona and a lovely bloke to boot. He will be fondly remembered by many for his contributions to the folk scene by way of singing Peter Cape songs, which one could almost swear were written especially for and about him.
Sam and I became good mates over the years and I managed to spend time with him on Stewart Island on a number of occasions and certainly whenever I was performing in the area. I doubt if I would have ever sung on the Island as many times as I did, if it hadn't have been for Sam's ongoing support and encouragement. He was a keen tramper and knew many bawdy tramping songs from his days as a member of the Victoria University Tramping Club, going on to spend some time as an outdoor pursuits teacher at Rotoiti and later Tautuku during the 1970s & 80s.
From all accounts school kids absolutely adored him. He used to visit my family in Chch regularly back then and and my kids loved hearing his bedtime stories, which he spontaneously composed, weaving each of their names into the tales and stories he was telling. Sam collected many yarns, stories and songs along the way and was happy to share them with anyone who was interested. he manage to incorporate some of these into his spiel while transportng tourists around his beloved Stewart Island. N.Z. Folklore Society archives have preserved a few of his observations and verses etc.... some of which will appear in my forthcoming book "Faces in the Firelight."
I have many stories to share about me old mate, but this one in particular truly resonated with me. In my collecting/songcatching capacity, I often asked Sam to record some of his Kiwi songs for posterity, but he always declined saying he wasn't ready yet. One day in the early 1980s he arrived on my doorstep clutching a large bottle of whisky and announced himself by saying "Phil I'm ready mate, do your thing!" I spent the next few hours recording every Kiwi song he could remember punctuated by copious swigs from the bottle........It became a very special evening. That invaluable tape is now in N.Z. folklore archives. I'm really going to miss Sam and his spontaneous phone calls from Stewart Island whenever he'd had a few too many drams. This world is a far worse place without his presence.
You may have gone mate but not forgotten!
RIP Sam Sampson
Phil Garland
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Likewise, I am saddened to hear news of Sam's passing.
Compared to others on this list, I had only a short-term acquaintance with Sam, comprising some long whisky-fueled phone calls and a visit to his Oban abode in January 2007. We were there on Stewart Island to do some tramping and learned from Sam how he'd helped pioneer the epic northwest circuit route back in the 1970-80s, cutting the track and helping with the hut construction. Just another string to his bow.
Sam told us an interesting anecdote about the 1960s folk scene. Apparently there was a folk concert in the Wellington Town Hall for the benefit of theNZ Folklore Society in the mid-late-1960s. The concert was being live broadcast on 2YA. All was going well until Sam stepped up and launched into"Kiwi Keith's Back Again", his own piece about Keith Holyoake being re-elected in 1966. As lines such as "Since Holyoake's been elected / Thepoor will be neglected / We'll be standing on the breadlines once again" resounded around the hall, the radio broadcast mysteriously ran intotechnical difficulties and could not be resumed. Perhaps others may know more about this case of state censorship of NZ folk music...?
RIP Sam
Michael Brown
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After getting computer sorted and catching up on messages feel I have to express my sadness at Sam's passing. Like others on the list I too have so many memories of the man and they will stay forever.
Briefly I would like to share a couple with the list. Sam was a frequent visitor to home and also to my mother to whom he was unfailing kind and gentlemanly (I realise that this may surprise some who knew him as a larger than life character). My mother liked him immensly along with some others no longer with us eg; Brockie. Frank Fyfe. She enjoyed his company and I would find them both in animated discussion laughing and smiling - she always said Sam was so good to see.
Personally my favourite memory comes from a time in the early 1990's when I was working as a salesman for one of the North Canterbury Wineries making sales trips arond the South Island. On one of those trips I was in Invercargill and had called into the Hotel/Restaurant opposite the railway station. I was in the main entrance to the Hotel concluding a good sale when the door behind me from the street opened and a familiar voice asked if a room was available. Upon being asked by the manager what was he doing there the reply came that he had just flown over from Stewart to collect his tax refund from 3 years before! I turned round saying, "Gidday Sam" whereupon his reply was, "Good grief ! A little Garland - what are you doing here " . As a result Sam took me out to dinner that night at a upmarket restaurant and insisted on paying pointing out he could afford it. Sadly that was the last time I saw him altho' like Phil I did receive those spontaneous phone calls from time to time. I'll miss him.
RIP Sam
Mike Garland

Middle classes and music

2008-09-10T13:14:00.002+12:00

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

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

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

Stolen: Ulleann Pipes, Wellington

2008-04-28T11:10:00.001+12:00

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

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

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

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

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

Peter

Mahinarangi Tocker, MNZOM, 1956 - 2008

2008-04-15T13:20:00.012+12:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Richard Gilewitz NZ Tour

2008-04-09T18:25:00.003+12:00

Flying Piglets present Richard Gilewitz

Acoustic Adventures on Guitar

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

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

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

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

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

All About Richard Gilewitz

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

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

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

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

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

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

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

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

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

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

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

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

[Nz-folk] Social Dancing in New Zealand

2008-04-09T11:17:00.004+12:00

Chris Brady wrote..

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

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

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

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

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

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

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

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

This is how I originally wrote it:

**Auckland Bridge** 3 cu. circle

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

A1 Circle left and circle right

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

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

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

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

Enjoy.

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

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

Bob Fox NZ Tour

2008-01-18T10:54:00.000+13:00

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

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

Stolen Harp

2008-01-15T09:03:00.000+13:00

From nz-folk, Celia Briar:

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

2007 Tui Finalists

2007-12-19T12:19:00.000+13:00

News release
December 19, 2007

Experienced artists lead folk music finalists

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NZ Folklore - Swaggers

2007-12-13T13:20:00.000+13:00

From the nz-folk list:

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

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

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

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

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

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

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

Chris Brady

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

John Carty and Mike Considine

2007-12-12T11:53:00.000+13:00

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

Mike Harding, Down the Hall on Saturday Night

2007-12-12T11:39:00.001+13:00

Davy Stuart and Mary Dunne at Nut Point Gallery

2007-12-12T11:34:00.001+13:00

Phil Garland at Nut Point Gallery

2007-12-12T11:31:00.000+13:00

Stolen Fender Telecaster - Auckland

2007-12-11T13:00:00.000+13:00

RECOVERED.

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

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

Uncle Earle Clip

2007-12-06T16:21:00.000+13:00

Posted on nz-folk: