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Gettin' Higher Choir
Live at the Kaleidoscope Theater

Features many songs from the South African Freedom Movement, and several from the African American tradition, as well as six of composer Harold Moses’ Sacred Geometer Canticles.

Greg Joy and Mark Bracken
A Magical Christmas

label:North Star Records

 

Well-known traditional Christmas carols are delicately and intricately plyed on psaltry, hammer dulcimer, 6 & 12 string guitars, cello, flute and recorder. There is a strong "Olde English" Elizabethan feel to this album.

Greg Joy
Celtic Secrets

very very rare

Highly decorative "folk-baroque" guitar compositions combined with the beautiful sounds of flutes, dulcimer and viola da Gamba weave a magical spell upon these enchanting traditional Celtic melodies.

Harmonic Hatchery Band Leave It All To The Music

Jazz, funk, and more in an album that is ostensibly "for kids", but who's to say what "kids" are, anyway......?

Music and Lyrics by jazz pianist Ron Hadley (ASCAP)

Personnel:

Ron Hadley: piano, all instruments (in real time via midi keyboard), sound samples & voice; Sue Klassen: voice; Gail Heavilin: voice; Jim Cameron: tenor & baritone saxophones; Jack Carder: trumpet & flugabone; Bob Neale: bass; Ray Brunelle: drums

Copyright 2001 by Ron Hadley

All Rights Reserved

Harry Aoki
Wind Song / Haida Dawn

 

 

 

 

 

 

This unique CD "Wind Song / Haida Dawn" produced by Harry Hiro-o Aoki a still-active 78 year old Nisei (Second Generation) who was among the 20,000 Japanese Canadians evacuated from their homes in the 1940s in a disguised agenda of ethnic cleansing. 20 musicians and several composers from all over the world contributed their talents for this project which was completed in 1998.

"Wind Song" is comprised of 13 tracks divided into three sections:

Preludes: The Sounds of Powell Street
Wind Song: A Musical
The Ethnic Cleansing of Japanese Canadians
The sections reflects the oppressive lives of the Japanese Canadians who were evacuated from their homes in 1942.

PRELUDES: THE SOUNDS OF POWELL STREET

From the late 1800s to 1942, Powell Street in Vancouver's Downtown Eastside was the neighbourhood settled by most of the Japanese Canadians of that time.The koto and piano were instruments of choice for the young women of Powell Street.

The three tracks of this section features traditional compositions arranged by Aoki.

WIND SONG: A Musical

On February 24th 1942, the McKenzie King government issued order-in-Council PC 1486 forcing 20,000 Japanese Canadians living in the Vancouver area into exile. They were uprooted and 'dumped' on the sugar-beet farms of southern Alberta.

Track 4 was composed by Hiro-o Aoki. Tracks 5,6,7,8,9 & 10 were composed and arranged by Aoki, Cheryl Kuniko Cooney with Libretto by Carol Briosi-Maier. Aoki was a labourer in the sugar-beet farms of southern Alberta. The libretto was inspired by Carol Briosi-Maier's personal observations and experiences on her family farm in Alberta.

ETHNIC CLEANSING OF JAPANESE CANADIANS

Even after the war ended, the Japanese Canadians were clearly not wanted in British Columbia. The federal government sold all of their property to non-Japanese permitting unconscionable profits to be made. After depriving the Japnese Canadians of all their assets, the government then gave the Japanese Canadians two options. They could be deported to Japan or resettled East of the Rocky Mountains. Many evacuees moved to Ontario to avoid being "deported" to Japan. Initially they experienced hostility in finding accommodations and employment. Unexpected practical assistance came from members of the Jewish communites and the advice was given "go to the Jewish people...they will help you". This took place about the time that a shipload of Jewish survivors from Europe were repulsed from landing in Montreal, Canada. When Aoki spoke of this to New York clarinetist Johanna Hauser she impressed him with her simple answer, "of course, it is a mitzva, our LAW"

The three tracks of this section features traditional compositions arranged by Aoki.

PRELUDES: THE SOUNDS OF POWELL STREET

From the late 1800s to 1942, Powell Street in Vancouver's Downtown Eastside was the neighbourhood settled by most of the Japanese Canadians of that time.The koto and piano were instruments of choice for the young women of Powell Street.

The three tracks of this section features traditional compositions arranged by Aoki.

1. HA-YA-SHO (Hana Gasa) 1.40

In celebration for a bountiful harvest, the specific leaning of which is obscure within Shintoism, might have been in any of the ancient Altaic languages stretching from Finland, Turkey, Japan and from the Inuit peoples to their counterparts in Lapland. It expresses most satisfyingly some obscure but intuitive feeling and also serves to identify the enigmatic position of the Nisei who live within the hyphen of "Japanese-Canadianism" and the hybridity of society.

2. KOJO NO TSUKI 2.49

Virtuoso violinist Stephanie Griffin, recipient of the Lillian Fuchs award as a doctoral candidate at Julliard, while enroute from Tokyo to London was waylaid by the irrepressible Aoki to play this famous Japnese compositions by Taki Rentaro.

3. ROKU DAN NO SHIRABE 6.16
this sound file is an excerpt

Literally "Six Steps (of) Study" is one of the oldest known compositions in Japan. Teresa Kobayashi-Tabo performs on the silk strung KOTO.



WIND SONG: A Musical

On February 24th 1942, the McKenzie King government issued order-in-Council PC 1486 forcing 20,000 Japanese Canadians living in the Vancouver area into exile. They were uprooted and 'dumped' on the sugar-beet farms of southern Alberta.

Track 4 was composed by Hiro-o Aoki. Tracks 5,6,7,8,9 & 10 were composed and arranged by Aoki, Cheryl Kuniko Cooney with Libretto by Carol Briosi-Maier. Aoki was a labourer in the sugar-beet farms of southern Alberta. The libretto was inspired by Carol Briosi-Maier's personal observations and experiences on her family farm in Alberta.

4. TSUI HO (The Outcast) 1.10

The peaceful ambience of life on Powell Street was shattered by the Expulsion Order of February 24, 1942 issued by the federal government and carried out provincially. As a victim who was ordered to "leave with what could be carried" Hiro-o Aoki expresses his bitterness in this composition which came to him while labouring on a sugar-beet field.

5. CHERRY TREES 1.33

In the opening scene at a railway station, the confused evacuees sing "...nothing left...all is gone..."

6. CHILD LABOUR 3.16
this sound file is an excerpt

Undernourished, poorly clothed children as young as five and six had to work up to 12 hours daily for the sake of family survival. The children experienced fatigue, workplace hazards such as fingers amputated by topping knives and accidental drownings in irrigation canals.

7. YOKO THEME 2.22

Two cousins hopefully await their family's reunion "Soon all this sadness will end, we'll be together again..."

8. BEAUTY 1.51

The relationship between the teenage daughters of the landowner and tenant changes from hostility to friendship when they discover their shared artistic interest.

9. WINDSONG 4.17

A young teenager, sung here by Rhonda Newton feels a glimmer of hope during the Chinook winds of Alberta that foretell of the spring to come.

10. SOLILOQUY 4.05

A Zen priest reflects on the human condition. Dale Throness is the soloist. Psychologists have remarked on the mental resilience and endurance of the Japanese evacuees.



ETHNIC CLEANSING OF JAPANESE CANADIANS

Even after the war ended, the Japanese Canadians were clearly not wanted in British Columbia. The federal government sold all of their property to non-Japanese permitting unconscionable profits to be made. After depriving the Japnese Canadians of all their assets, the government then gave the Japanese Canadians two options. They could be deported to Japan or resettled East of the Rocky Mountains. Many evacuees moved to Ontario to avoid being "deported" to Japan. Initially they experienced hostility in finding accommodations and employment. Unexpected practical assistance came from members of the Jewish communites and the advice was given "go to the Jewish people...they will help you". This took place about the time that a shipload of Jewish survivors from Europe were repulsed from landing in Montreal, Canada. When Aoki spoke of this to New York clarinetist Johanna Hauser she impressed him with her simple answer, "of course, it is a mitzva, our LAW"

The three tracks of this section features traditional compositions arranged by Aoki.

11. SIM SHALOM (Bring Peace) 2.56

Despite government policy, many individuals offered help and encouragement to the evacuees. Sim Shalom has been included to acknowledge the kindness of those of like minds.

12. WEDDING DANCE 1.47

Aoki learned about Klezmer music from a Jewish musician born in India. It is now obvious that Aoki's experience touring for Overture Concerts and Columbia ARtists had expanded his musical and cultural experiences to a degree unimagined at the time of his evacuation. Wedding Dance is an example of artistic melding. Aoki challenges us to separate the Arabic, Jewish and Ukrainian contents of this piece and still retain the whole. The earthy unlady-like Klexmer played by Johanna Hauser (winner of the Andrea Goodman Award in New York) goes against all rules of orthodox classical clarinet playing!

13. HAKONE HACHIRI/AR TI CUEN 2.33

During the course of performances with Mary Murphy, harpist-singer from County Sligo, Ireland, Hiro-o Aoki was "noodling" on a Japanese "doina" (soul music). Behind him Ms. Murphy spontaneously joined in with an Irish lament. A performance of this so intrigued Prince and Princess Takamoto of Japan that they sought out the two artist to express their delight at the "unusual example of intercultural connections between peoples of the world."

"HAIDA DAWN"

Comprising the last 4 tracks of the CD, "HAIDA DAWN" is an account of how some Hebrew words and ceremonial rites came to be incorporated into the First Nations languages and religious practices west of the Rocky Mountains. It is also an interwoven web of historical fact and fiction. The distinctions may blur, but the physical presence of Jewish Traders in Kaifeng as well as Hebrew words in the native tongues, as discovered by linguist-priest Father Lejeune, are established fact. The rest is speculation and I leave it to you, dear listener, whether or not this story will in time, become a "truth"?????

Irish Rovers The Best of the Irish Rovers

(Remastered)
Released in 2003 by UNIVERSAL MUSIC .

Ivonne Hernandez
Playing With Fire

As one of Canada’s hottest young performers, Ivonne has performed with or opened for Alan Jackson, Carolyn Dawn Johnson, The Paperboys, Barachois, Natalie MacMaster, Jann Arden, Julian Austin, Ben Heppner and Oscar Lopez. Her talent, passion and charm have taken her all over North America.

A consummate entertainer, she is constantly in motion, whether dancing, fiddling or singing...an energy that is passed on to the audience wherever she performs.

About Ivonne's debut cd 'Playing With Fire'

Guests include Scott Henderson on saxophone and Daniel Lapp on keyboard and guitar. As Daniel writes in the liner notes, " Enjoy this album, the first from a young fiddler whose splendid technique commands attention and deserves accolades but which never interferes with a spirited and soulful performance, which is at the heart of all great fiddling."

 

Musicians on the CD include: Ivonne Hernandez (Fiddle, Stepdancing, Vocals, Percussion) Adam Dobres (Guitar, Bass, Percussion) Jessamy Zeeman (Keyboard, Percussion) Mike Alton (Drum Kit) Daniel Lapp (Keyboard - tracks 2 & 6, Tenor Guitar - tracks 7 & 11) Scott Henderson (Tenor Saxophone - track 3) Produced by: Ivonne Hernandez Recorded and Mixed by: Bill Crappelle Mixed and Mastered by: Hugh McMillan Recorded at: The Recordists Workshop, Victoria, BC, 2001

Jaime RT
REACH

Jaime RT hails from the Kootenay’s where she began her performing career at 12-years-old with family band “The Huscroft Family Fiddlers”. She took her love of music and created a career after university with teaching, establishing the Salt Spring Fiddle Workshop that draws fiddle lovers from all over the globe to the founding of Fiddleworks, a teaching series of music books and CDs.

Performing with numerous players over the years such as Kettle of Fish, Song of the Isles and The Billy Goats Gruff, Jaime has honed her dynamic live performance and has established herself as one of the top fiddlers in the country. Summers find Jaime teaching and performing at fiddle camps across Canada and the US, sharing the stage with fiddlers such as Oliver Schroer, Pierre Schryer, Jerry Holland, Gordon Stobbe, Ian Fraser, & Catriona MacDonald. Sharing her talents in Canada’s arctic and northern communities with Andrea Hanson and Strings Across the Sky, an organization committed to restoring the historic fiddle legacy among youth, is another one of Jaime’s passions.

At home on Salt Spring Island Jaime can be found performing at community events and teaching fiddle, violin, piano, theory and composition in her unique straw bale music studio.

Reach is a rich combination of sounds, a merging of the classical with a folk soul that takes listeners on a journey of melodic pathways. Imaginative, joyous, and rich with stylistic mergings, this album establishes Jaime RT as an innovative artist willing to bring fiddle music to new palates. A contemporary folk album, Reach blends new and old music, celtic and Jazz, classic and Acadian to create a uniquely west-coast inspired world approach to the fiddle. Woven with the support of mandolin, guitar, accordion, bass, cello and tabla, Jaime’s violin and viola take us on a journey that keeps us wanting more. Reach brings a stellar line-up of some of the best talent in folk music today such as the prodigious, cutting-edge fiddle composer Oliver Schroer on violin, Canada’s top mandolin player John Reischman along with Juno-nominated musicians Glen Manders and Andrian Dolan of The Bills. Reach is a fresh new canvas that has allowed Jaime RT to create a picture of fiddle music that is both new and familiar, a sound that is “out-of-the-box” and ultimately captivating.

Jaiya
Firedance: Songs for Winter Solstice

Celebrate the yearly return of the light with songs full of Celtic soul, poignancy and fire.

This collection of songs celebrating Yule is a fresh alternative to the usual seasonal fare. The album consists of five original songs and five rare traditional tunes. All original pieces and musical arrangements are written by band members.

Songs range from warmly good-natured party tunes, such as To Drive the Cold Winter Away, and the quirky 15th century English tavern ditty, Bring Us in Good Ale, to tender ballads such as Gaia’s Lullaby, with its yearning for communion with the earth.

The album’s title track, Firedance, is a slowly-building dervish, with modal, arabic flavours. Swirling accordion riffs and hypnotic vocals invite us to "Cast the old year into the flame." The instrumental jig, The Turning Tide, poignantly conveys the transition from old year to new.

A highlight of the album, Yule is Come, literally turns historical precedent on its ear. In this exuberant piece, a haunting fragment of medieval plainsong chant, "Gaudete, Christus est Natus" (Christ is born) is abducted and transformed into a timeless call to celebrate Yule.

Jeremy Walsh
Self-Titled Debut

A talented entertainer and songwriter in the tradition of Paxton and Guthrie, Jeremy Walsh draws from many different traditions of folk music including Celtic, Appalacian, French Canadian, Bluegrass, Irish, Maritime and Newfoundland. Produced by High McMillan of "Spirit of the West", "Self Titled Debut" follows Jeremy's successful stint as a key performer, vocalist and writer in the Canadian band "Scruj MacDuhk." While his music ranges from lilting celtic to furious folk rock, all is delivered with passion and a highly infectious energy. It's no wonder he has shared stages with Eileen Ivers, Lunasa, James Keelaghan, Dervish, The Paperboys and Great Big Sea.