STOMPIN` TOM CONNORS ENDS 12 YEARS OF

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THE MARIP0SA FOLK F0UNDATION 95 Lavinia Avenue, Toronto, 0ntario
M6S
3He (416)
76e -
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 renlind-
-
ers.
And ne's excited
Mariposa as
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
neglected by the likes of the CNE, CBC, CTV,
mosl Canadian performers. The man
and commercial radio,
for
vho
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 Austra-
lian 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
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'
songs 0n his ÂCT (Acknowledge Canadian
Talenl) label entitled Stompin' Tom Fiddle &
Song. The album features Tom on the fiddle,
lfolf,
CONTINUED PAGE
CONTINUED PAGE 13
1 1
at lhe prospecl of
it looks ahead to ils Lhird
B,B. King, and Bobby 'Blue' Bland.
person magic far exceeded any of my expec-
tations. 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
ADVERTIZE IN THE MARIPOSA NOTES
Reach Lhe grornng 0n-
tario Folk audience.
us to play?" as he surveyed the sparse
audience on the grass before the stageless
tent. BuL by the lime the hourlong harmonica
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, say,
because for lhose of us who were familiar
with their music Lhis was lo be expected,
allhough to be honest wiih you lheir in-
I
Rates are as follows:
Back cover $200
page $100
pase $l¿¡
paee $gS
1/3 page $0S
ll4 pace $45
116 page ¡35
Full
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.
2/3
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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
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,
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 HamiltonBurlington 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
pm on CKLN BB.1 FM)
Wednesdays aL 10
CANADIAN
&
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
10, followed by
Dave Bernard from B
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
in local clubs and concerts.
it came 0n the air 0ctober 26, Joel
has had live inlerviews wiLh Willie P.
Bennett, Tex Konig (with an oomlout)
appearing
Since
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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I7/[]//'7/P0S/ /V2fffi
For the long winler nights
And Lhe cold winter hands,
0r from
Downtown Tonight,
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,
E
o
t
a+
N
o
I saw a sLranger with your hair
I saw another with your eYes
5
Album: I Know
'ctjun t crerlt
!
:
dinær every night i
l¡.¡.
trD'll 5:to
¡. i.. ..¡...¡l
o. o.o..¡-.
:
595 Mqrkh¿'n 5T
(0loor
+ Ødthursl)
516-32U \\
I heard an angel with Your voice
,Arlisl: John
Gorka
Reviewer; Joel Worlzman
By the way how is my hearl
Refreshing, delightful, fun, louching, thoroughly professional: my first impressions on
hearing John Gorka's debut album. If you want
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.")
Lhe delails, read on.
My
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
choosing
from unusual perspectives or jusi
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,
The cows in the moo yard
Are making Lheir plans
,Page
4
favourite song 0n the album is Down InÏhe
Milltown. The life of a Pennsylavania mill
is brilliantly summed up in a few
verses; an adept use of understatement. Gorka
worker
uses fhe sarne technique in.lhe [itle lrack, I
Know, a subtle love song.
Musieally the album is pleasing as well
fealur-
ing 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,
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
COMIIUNI1Y ACNVI RADIO
rOR A RÄDIO AfTIVB CO}'IIIUNITY
I7/[11'4ilP05/ /V2fß
obviously Lhan in the songs written by him and
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
Jay Âdam: the
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
Árlisl: Cromdale
Reviewer: David lïarren
in this finely crafted "modern folk" album. May
Cromdale long succeed in walking the perilous
tightrope between tradilional and comtemporary.
The second album is tough. FirsL albums are
always "promising", if nolhing else. After all,
somebody, even if it's the group members, has
Pipe Dreams, Cromdale, Highland
Älbum: Pipe Dreams
decided
thal a sound, or slyle, is
worlh
Records.
(1464 Beckworth Àve,, London, Ont,, NbV ZKi)
lfRC4-5965 (I{orld Records) 1988,
preserving on vinyl and puts some effort inlo
Often what's best captured is energy and
(Ed. Note: Cromdale consists of Bobby
newness,
Guitar; Ian Anderson, bagpipes,
it.
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  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
'Watt,
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
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,
be celebrating
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
Joe Lewis's 'Labatl's
Folk Music and Folkways' has been playing
it.
that kind of music for years.
Guess that's it. Until next time,
leil,llcüge
I
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:!
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Str¡n, Fc*urc
àrrist
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97 H¡in
5¡. '0e¡cfÈs
adios.
".n
fflîllÁrilP2sÁ
l/2fffi
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
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
songs
Borllng Green John
CePhas
& Hôrnonlca Phl
l{lgglns
lhal. Well, I made (recorded) 24 songs. Didn't
have nary a word written down. i jusl reached
CEPHAS & WIGGINS:
TRADITIONAL
MUSIC
INTO THE '90's
(The Following interview was conducled by
al the 19BB Mariposa Festival)
John Maclnlyre
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
parlicularly in the Chicago style of
lhal's
mean
blues,
one reason why for a while iL stagnated.
Page
6
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
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
/H[i/4rî/P2S/ tY2fE
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,
I
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
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
young. And Iwas silling between lhem. They
didn't want me to get on Lhe sland. Everybody they brought into Lhe courthouse was
and stepped out ihe door with the gun in my
saying different things, different
hand. All them outside said, "Don'l
about
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."
I CS,
"'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
Cussl" I shol and he grabbed his
chesl, bul that bullel didn'l knock that man
it.
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
Il's in my
show them where my pistol
luggage," I said, "Don'l you give iL to theni.
is,
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,
that.
"lTell, they've been all around here."
You all hear
I said, "That's their business. They're sup-
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, ain't thinkin' abouL iL.
Because you can'L electrocute me. Because
I got a man in this court house with all kinds
to look for me. I did a crime," I said to
my daughter, "lThen them laws get here, you
posed
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,
He said,
words
Some said I came in shooling.
Some said, "l tried lo get out, I lhought he
me.
And Lhe law is siLtin' there
I
is.
lt's in my
show lhem where my pistol
I said, "Don't you give ii lo lhem.
Show them where it is and let them go in thal
lfhen they came, boy,
luggage and get
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?"
luggage,"
it."
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
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
Dec
5-10
Decl-3
ìÍ
Dec
Dec
Dec
Dec
?2-23
Jan
12-14
Jack de Keyzer
?6 Mardis Gras
29-30 Phantoms
31 Shuffle Demons
Jan 5-7 Phantoms
964_2242
Dutch Mason Blues Band
Ellen Mclllwaine
Dec
l?-?3 Paul
Dec
?6-30 Gordie Johnson wf Terry Tlilkins
James
&
Bucky Berger
New Years Eve Cheryl Lescom & Texas Hood
Jan
Jack de Keyzer
Jan 9-11 Positive Ground with Alexis
Jan 12-14 Cameo Blues Band
5-?
?99 QUEEN ST
Dec
3
Michel Rivard
2-3
Curtis Dreidger
Dec 16-17 Kurt Swinghammer
Dec
Dec
Dec
BIACK SIÏÄN
154 DÄNr0RTH AVI 469-053?
Dec
Ken iÍhileley Band
Dec B-10 Mardis Gras
Dec 15-l? Morgan Davis
_
Open StageS-6 p.m.
rith
HOTII
(AT SPÁDrNÄ) 368-0?2e
SPADINA
Dec
New Years
Ceilidh
St Patrick's Parade Soc. Fundraiser
Toronto lrish Centre 1650 Dupont St
(phone for special evenls)
460 KING ST r
Grievous Angels
2
Dec?
Dec 9
Dec 23
l0
11
Saturdays
3
1?
CABÀNA ROOM
ST 121-?689
2?03 DÂNVORTH AVE 690-5561
Michael Pickett &
Mike McDonald
Sat afternoons Kendall lÍall Blues Matinees
with guests
Dec
Morgan Davis
Dec
Fraser Finlayson
ìfednesdays Blues Jam
BRUNSIVTCK
COUNTRY UUSIC STORT
l-4
Dealh&Taxes
cR00Ks
106 I'R0NT ST
365-8906
Dec
Kendall ïlall Blues Band
[
4
l1 John Tilden w/ Tony llaim
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
Dec
Dec
Xmas Party with Rheostatics
Eve Grievous Angels, Old Peculiar lug
Band & Cajun Ramblers
CÄRLOTTA TAVIRN
Every lfed to
PAPI 466_O?03
Iri - [ddy Coffee
410 SHERBOURNI ST 92?_9010
Dec
Buckwheal Zydeco
Dec
Andrew Cash
Dec
Jane's Addiction
5
6
B
Dec9
Dec l5
Dec l8
Omar&Howlers
Miles Goodwyn
ChaìkCircle(2Concerts- family&aduìt
T'AT ALBERT'S COTFEE HOUSE
3OO BLOOR ST
3
4
?
Dec 14
Dec 21
Dec ?B
Dec
598-3301
Every Thurs thru Sat it's Steven
T
ìlednesdays
CHICÄGO'S CHECKERBOÀRÐ TOUNGI NORTH
ìr
C & Red
Open Stage
Doug Austin
Sam l¿rkin
Xmas Party
Closed
for Xmas
Rockets
TIYINC CTOUD T'OIK CLUB
CtìNTONS
ï
535-9541
693 BL00R ST
Cowboy Junkies
Dec
Mardis Gras
Ðec
Dec 8-10 Phantoms
Dec
Mardis Gras
Dec 15-1? Joanne Mackell
Dec
Mardis Gras
1-3
5
12
19
2,3
rith Norm Hacking
Dec 16,1? Norm Hacking
Dec
Paul Geremia
Dec
Childrens Benefit with Norm Hacking
Jan
Pat Logier
Dec ?4
Jan
Closed for holidays
18
?3
15
-
I
GROSSI{ÁNS TAVERN
379 SPÄDINAAVI 9??-?000
Blues Jam lïery Sunday
Dec
Michael Pickett Band
Dec 15-17 Tim Hazell Group
Dec 19-23 Morgan Davis
Dec ?6-?7 Michael Pickett Band
lan
Steven C. & Red Rockets
1-3
l-4
HARÀBOURFRONT
335 QUEENS QUAY
ï
9?3_3OOO
Brigantine Room
Jan
Shuffle Demons & Rare Air
Jan 20-21 C.J. Chenier & Red Hot Louisiana Band
14
Jan ??-?8 Santa C.l.A.
York Quay Centre
67 FRONT ST E 867_9499
Dec 2,9,16,?3,30 Rolf Kemph
Craig Riddock
Dec
Groundwork
Dec
ST
1 Marianne Girard
Don Freed w/ Anne Bourne
4 Jali l¿mine Suso
? l{ickhams
I Brian Morgan
9,10 Cathy Miller
Dec 14 Peter Boyd
Dec 15 Free Times 8th Anniversary
Dec
Dec
Dec
Dec
Dec
Jan 23-28 Mike MacDonald
DIAUOND
C'EST ìTHAT?
335 QU[[N
Tuesdays Open Stage
Jan 15-18 Larry Goodhand
Cee Dees
DANI'ORTH AVI AT
320 C0ILEGI ST 96?-10?8
llondays 0pen Stage
Dec
IIRIÄNN
[very ?nd & 1th [ednesday: lrish open stage
36?-9969
Batshiva
Robbie Burns Night with lan Bell,
Enoch Kent & Jim Strickland
Jali Lamine Suso & Daniel Janke:
Kora players
I'mE nu[s cÄr[
c0tw0cÄtl0N HÁtt
U of T CÅilPUS 8't2-22?7
292
ï
Jan
Jack de Keyzer
COMHÂLTÅS CEOTTOIRI
APPROPO
15
?2
lan 29
Jan
TRADITIONS ROO}I. SPÁDINÄ HOTII
r 651-4049
4 Two with Anne ìlalker (Mariposa)
? Delores Keane Band (Mariposa)
Dec 11 Álistair Brown & Jelf McClintock
Dec 1B Parry Family ïlinter Solstice
Jan B
Grit l¿skin (Mariposa)
460 KING ST
Dec
Dec
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
3
4
1l
Dec 18
Dec ?6
Jan I
Jan l5
Razorbacks
Dec
Coca Cola Presents Free Sunday Folk Music
Dec
Trinily Singers
Dec
Louise l¡mbert & Little Sisters
Junior Jug Band
Sneezy
llaters
Caitlan Hanford & Chris'llhiteìey
Linda Morrison
Jan 20-22 Znd Line Fever
Jan 2?-29 Los Tropicales .
trlf rfltVPQSl lV2fffi
HORSESHOE TÄVIRN
SIIVIR
3?0 QU[[N ST rÍ 598-4?53
Dec
Figgy Duff
Dec
Morgan Davis
Dec
Mondo Combo w/ Nancy Nash
Dec
Plying Bulgar Klezmer Band
Dec
Basic English
Mondo Combo w/ Ken lThiteley
Dec
Dec
Lost Highway
Blue Rodeo
Dec
Dec
Michelle Sright
Dec
Burt Lincolns
MondoCombow/MalcolmTomlinson
Dec
184 SPADINA AVE 92I_?I1I
Dec
Nakupenda (Soca/reggae)
Dec 16-1? Bourbon Tabernacle Choir
1,2
3
5
?
B
12
13
i4
15
i6
19
Dec 23
DOIJÁR
?-3
SNEÄI(Y
D[['S
r
õ62 Bt00R ST
Sundays American Music Jamboree
595 t{ARKHÁt{ ST 526-321 I
Thursdays Cajun Ramblers
1-3
Dec
GOID BÂRBIL
93S QUIEN ST
Mondays
il
(AT SHAT{)
320 C0LLEGE ST 96?-10?8
Monday & Tuesday Nights
T'AT
AIBIRTS COFI'[[ HOUSI
3OO BLOOR ST I{
ìlednesdays
9? MAIN ST. 691-rl13
Dec
Tish McSorley
BACKIYOODS
3
2
3
Dec 4
Dec 16
(Live on CIUT 89.5 from
till I a.m.)
HÂtt
Dec
Zamlir
Dec
MARIP0SA SONG CIRCLE
2
Dec 16
Jan 6
Jan 20
Ieb 3
Dec
595-6000 or 536-9515
Vicki Obedkoff
40 Concord Ave 538-3981
Jane Adams 275 Major St 9?1-3489
Karen 0ster ?? Heathdale ?8?-1105
BobBiderman4S0BriarHill 483-1409
laugh & Spend 292 Brunswick Si.
JAITHOUSI CATI
97
MAIN
ST 691-1113
ERIN FOLK CLUB
155 MAIN ST, ERIN, ONT
CTUB
14
THI SCHOOI"S 46?-9400
(Calì for Public Library Events)
MARIPOSA IN
117 MARKET ST, BRÁNTFORD, ONT
(519) ?59-7676 0R 752-4671
0pen Stage Dec 9, Jan 6 & 20
4
AUCUSTÅ AVE
for Flying Cloud Folk Club)
BRANTF'ORD F'O[J( CLUB
ST PAUL'S CINTRI
42? BLOOR ST T B?2_22??
Dec
Loreena McKennitt
t69
Catchpenny Record Release
Pridays
53-ì.|USIC
Japanese Music For flectroacoustics
Christopher Blasdel, Hirokuzu Fujii,
Kayoko Fujii, Mika Kimula
Glass Orchesira
Jali Lamine Suso & Daniel Janke
at SIMCOI ST
SIBOM
with Anne ÌValker
Grit Laskink
Two
Ìt0N[YDEr CÁrE
220 COI{AN AV
ï
KING ST ìY
lB
4
B
5
midnighl
Eric Nagler
Polka Dot Door Live
ROY THOMPSON
TOK CIUB
I19 ST. CEORGE
Thursdays
MINXI,IR AUDITORIUM
SINECA COIJ,IGE FINCH CAMPUS
Dec
Dec
Jan
Feb
I'R[[ T|UIS CÄI'[
JÅILHOUSE CÄFE
108? qUEEN ST
4
15
(See Iistings
3351 ELTESMERE RD 281_ 1BB5
Dec
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
MUSIC GÂIJJRY
Rainbow.Sundays
Dec
Caroline Perry
Yarko Antonevych
Jan
292 Brunswick St.
[ve
HURRICANES
11
3
MARIPOSA FOLI TOUNDATION
Ilying Cloud Nights
Jack de Keyzer
Jan 16-21 John Hammond with Paul James Band
Dec
Jan
Church of St George The Marfyr
Stephanie & McCaul
Dec 10
95 IdVINIÄ AVE ?69_FOLK
SOUTHINN ACCINT
Razorbacks
Dec 29,30 The Jillers
Nerv Years
MÄRIPOSA COUNTRY DANCE
977-42'.t7
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
(519) 833-2035
Song Circle & Open Stage
Dec ll, Jan B & 22
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
tonevych.
Yarko ÄnPage
I
CIUT 89.5 FM
CKLN 88.1 FM
Pasquali's Ranch Radio
(Country)
Tuesday 2:30-5 pm
with Pascal Sharp
llariposa Radio lolkraves
(llariposa lolk Show)
Sweet Patootie
(},tomen in Blues, Gospel & Jazz)
Tuesday 8-9 pm
with Mary Millen
Guns, Iloney, Lalyers
(Country Roots)
llonday
rith
l0-ll
Steve
pm
lruitman
lorlds of llusic
(ìtorld Music)
Sunday 3-1 pm
with Lise Waxer
Ìrlonday 11-12 pm
Caribbean Sring
(Caribbean)
Sunday 6:15-? pm
with Gord Curnming
with Denise Jones
Acoustic Routes
(Contemporary Singer/Songwriter)
lYednesday 5-? pm
'lÌith Joel lVortzman
Rarities
Iatin Beat
(Hard to Find)
llednesday 10-11 pm
with Lorne van Sinclair
Sunday
Dr leelgood's Blues [mporium
Urban Underground
Ilidnight Celebration Starsong
(stues)
ìÌednesday
(lndependant Canadian Music)
lfednesday 11-1? pm
with Judy Perry
Sunday 10-12 pm
8-10 pm
with Dave Bernard
(tatin)
(New Age)
with Renee Gelpi
Thursday llorn rith Ras Rico
(ìlest lndian Rebel Music)
Radio Boogie
(Hillbilly)
lVednesday 10-11 pm
with Steve Pritchard
Thursday
6-9
CJRT 91.1 FM
am
with Ras Rico
9-10 pm
with Memo Acevedo
Iolk llusic
& Iolktvays
(roll)
B's Hurtin' Hour
(Hurtin' Country)
l0-11
pm
with Basia Urbanczyk
Thursday
The Jeff Healey Hour
Saturday 12-3 pm
(Jazz from ?8's)
Thursday 1-2 pm
with Joe Lewis
with Jeff Healey
The Blues Hour
(Blues)
Swear To Tell The Truth
(Blues/Rt g/cospel/Soul)
latin Party
(l¡tin)
Friday 6-B pm
with Richard Paul/Rico Paradez
Thursday l0-11 pm
wilh Chris Compton
(Reggae)
Friday 9-12 pm
Saturday 8-9
with David Kingston
with Marc Coulivan
lrom There
Africa lnternational Radio
(Anti-Aparthied }lusic)
Saturday 11-12 pm
with Michael Stohr
To Hear
(lrorld l'lusic)
-
I
pm
with Brenna MacCrimmon
Sounds of Äfrica
(African Contemporary)
Saturday 4-6 pm
with Sam Mensah & Twaddy Ulzen
Gospel }lusic llachine
(Gospel)
Sunday
6-9
am
with Courtney lfilliams
The Long Note
Raices
(lrts¡/celtic)
(latin Ämerican)
Sunday ll-12 am
with Rual Llarlull, Daniel
Sanchez. and Edgardo Escobar
Sunday
8-9
pm
with }lick Casey & Colm O'Brian
Rock
Simply
(Gospel)
Page ,10
pm
94.1 FM
lolk
(ron)
Saturday 1l:05 am -12:00 pm
with Mitch Podolak
llax lerguson Shoç
([thnofolk)
Sunday 10:05 am-12 noon
with Max Ferguson
The
The [ntertainers
(rolk)
-
Sunday 3:05 4:35 pm
with Ralph Benmurgui
CKWR
98.7 FM
Kitchen er-llaterloo
(
lly Soul
Sunday 9-10 pm
with Lorne van Sinclair
3-4
cBc
Top 0f The Bops
(Roots l{usic)
Reggae Showcase
Saturday 12 noon
Saturday
with loe Lewis & John Valenteyn
lrom
)
The
llood
Kaleidoscope
(Childrens Comedy)
Songs
Sundaynoon-lpm
ì{ednesday 8-10 pm
with Doug Gibson
(rolt)
i¡ri6
STOMPIN'TOM
CHRY 105.5 FM
m
FIDDI"E&SONG
Radio York
l0?.9 Rogen Cable
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
,,
:'F,ùß$6
l{&Mbatsx*çG¡sútè.-
*s?iåsäHü;#HT5.
B
STOMPIN'TOM
The Google Dust Shon
(¡tues)
Sunday
NTINUED FROM PAGE
PAGE I
- CONTINUED
whrch he picked up a couple of years ago
8-10 pm
doing reels and Lhe
with Dr Lorne Foster
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
CBL 740 AM
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
Performance
She
(ro*)
SaLurdayS:05-6pm
with Bob Knapp
Saturday Night Blues
(Blues)
Sunday12:08-lam
with Holgar Peterson
The [nlertainers
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
(rolk)
Sundayl:33-3pm
with Ralph Benmurgui
Simply Folk
(Folk)
Sunday3:08-4pm
with Mitch Podolak
crAo
790 AM
are.
VOLUNTEERS NEEDED
Iriends & Neighbours
For occasional help at
News)
Sunday 9-10 am
with Bob Cousins
MARIPOSA FOUNDATION
office and events
Mailouts, comupter data entry
decorating, door duty, bar help
MARIP0SA FESTIVAL preparations
*
++
HAVE FUN TOOI!
:
!
David l. Warren, 8.A., M.Sc. (Econ.), LL.g.
Earris¡er ¡nd
103 Old Forest
Road.
M5P 2i8
s!,|¡c;ior
+
Leave your name and day/night
i
!*
:
Hill
Tnronro, ontario
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.
firsl
Cephas
B episodes
featured artisLs such
& lliggins, Loudon llainwrighl
as
III,
Donovan, Don Ross, Leo Kolke, Moses Rascoe
and Norm Hacking to mention buL a few.
Catch
on lÍednesdays aL 10 p.m. 0r
it
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
-
MAKE A D]FFERENCE &
3
*i
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
A
The
(Brampton)
(Maritime Music &
lH[ i{ÁflPqsl il2rffi
r1
G:
(4rol
rgl.¡g:z i
phone numbers
ÌYith MARIPOSA at 769-F0LJ(
or cail 366-5225 (machine)
Gord Hines
-Volunteer Coordinator
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 pres-
enLalion of Pentangle in performance at
Diamond Dec. l, 3:30 pm or Dec 3, B;00
K
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?
'!{ell
as far as records is concerned, in the
JC:
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 lradiLional 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
to do with the way
John plays, the
Piedmont slyle, coz it's real busy. I used to
has
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
been in power, 'glas.nost' as we understand
iL,
is a very good thing as far as people
is
concerned. The Russians are very enthusiasLic about wanting to bring our (U.S.) tradi-
tional 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.
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
the same song.
JC: That's whal's kinda unique about lhe
ways,
blues: almost everylime you play it's differ-
ent, you know.
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
Pï:
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.
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
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
Executive Direcior.
new
IHf 'l//flPQ9/ lV2fffi
again."
CONTINUED FROM PAGE
In
1
1988, Richard Flohil and Associates were
hired to handle media and publicity for the
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
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 pre-
sented 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
al a
involvement in other kinds of music
variety of levels - and my own eclectic, idio-
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
the head, the hearl and the feet, and
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
that the sort of people who performed at
Mariposa in 19BB represented lhe right 'mix'
part of the feslival.
So thai jusi aboul vraps it up. Any last words
and the right direclion [o carry the event into
Richard? (He doesn't hesiiate a second before
answering) "No while limos on site this year."
-
syncratic 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 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
'hip'
people who will make it - once again
and fashionable while al the same time true to
its past."
-
95 LAVINIA AVE., TORONTO.
ONT
M
$ar{,rrr
il co'nî
Brendon
Phil cunningham
1
$É0'
DÉCETBÉR
ç.oLK
1\\É
cL0$0 ( ltlst souih
1$s
gt
ç L1
g-r
BY iIARIPOSA & THE LOIIG I{OTE
uns{
or'Bloorl
t cx
-- $14 for
nembers
Tlckets aYatlable at l{ariPosa
769-F0LK
29L
PRESET{TED
CL\}B
$16
IH[illilP2$l
lY2ruT
T'OR
llIHAT T]ME
-
CONTINUED PROM
PAGE 7
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
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."
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
See you."
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?"
He said, "Look, Pete, are you
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)
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
MA]L]NG LIST.
herel ïhal kinda man is this?
I said, "llhat about me?"
herel
Looka
CEARLI.r
F'RIDAY NIGHTERS
OLD TYME SQUARE DANCING
t'<{'íl'.N0MN ITS
43rd YEAR***
PAPE & GERRARD RECREATION CENTRE
(953 Gerrard St. E. at Pape Ave.)
2 & 16
JANUARY 6 & 20
F'EBRUARY 3 & 1?
MARCH 3 & 17
APRIL 7 &.21
MAY 1,?,, 1,9 &.26
JUNE 2, 9, 16 & 23
DECEMBER
Caller: Bill
Myles
FREE ADMISSION
No experience necessary
-- REF'RESHMENTS $1.00
SINGLES ÌTELCOME
Page 14
COT'I'TFT
RtcoRDs
ITD
BLT'¡OBA!!
Àcctãlonfl'
- TarË -
Speciolizing ln
Bluegross, Cojun, Vorious Styles of
Fiddle, Troditionol lt,lusic From
Conodo's
tost Coost
Also Records By Populor
Folk Artists Like
Leon Rosselson, Tom Poxton, Utoh
Phillips, Eric Bogle And Mony More!
22()3 DANFOFTE AYË. TiOROlrnO XaC rñg
(alor de().õÍlo{ (t¡'o Bbcrr l¡¡r or wæDrtt¡l
/7/f l//n/P2S/ /Y2fffi
iTILIJAMS CONTINUED F'ROM PAGE 6
shaped
him,"
Dr. Harry 0sLer' who firs[
recòrded Williams at Angola wrote: "The blues
of Robert 'PeLe' i{illiams are more original,
more directly personal, and more evocalive in
lheir
expression
of love, frustration,
despair."
Williams performed
and
DON'T
al [he
1976 Mariposa
Folk Festival where he spoke his story for For
'lrha[ Time
I
Âm In This
lïorld'
MARIPOSA NOTES
...
*,r"^Í:PffirT.o"
';
/ ki tl3jo rt/ ^.
FUTURE
coPlEs oF THE
He died
December 31, 1980 and rryent up into ihe sky.
Frn,{k. E.
MISS
.:,1
if
/rrl|¡ r<
læt the Ìtarlposa
Orl$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.
Page
/5
oooooooo oo ooooo
sïlll0ïI;r BIILK
THE BULK FOOD EMPORIUM
Years ago, all food
was sold in bulk
Strictly Bulk lets the
natural beauty
of
*no f ancy or
food speak for itself
instead of hiding it
behind a slick halff illed package that
ends up as landf ill.
excessive packaging
of
landfill, The Toronto
claims
*no exagerrated
'new & improved'
And speaking
Re
cycling
*just basic food
at basic prices
You bought only
what you needed,
Action
Committee (tnnC)
recommends buying
bulk to reduce gar-
it was two
ounces, or ten
whether
bage.
So if you feel
that you're paying
too much for packaging, and you
don't like creating garbage, give
Strictly Bulk a try. It's an idea
whose time has come...again.
pounds.
At Strictly Bulk, we liked the
idea so much that we built a store
around it.
That's why Strickly Bulk offers
over 500 bulk products at prices
that will keep you coming back.
STRICTLY BI]LK
THE BULK F'OOD EMPOR]UM
2389 BLOOR ST. tr.
(Between Runnymede & Iane)
Tel.
766-3319
924 Bt00R ST.
1{.
(0ne Street tÍest 0f Ossington)
Te]. 533-3242
BECAUSE YOU DON'T EAT PACKAGING
Page 16
*rh