The Third Hand

Needs must.

It's been a source of great amusement to me over a period twenty years or more to observe the incessant and pointless evolution of the simple toothbrush. Every few months there is a "revolutionary new development" in the dental hygiene technology that is essentially still just a stick with bristles on it. From putting a kink in it (remember the flip top head ads?) to tongue scrubbers, a myriad of head designs, thumb grips, vibrators and more. I can hardly wait for the next instalment. It's a bit like that with the humble capo.

A few types of capo

Like a passive third hand on your fretboard, the capotasto (to give it its full name, literally: the head of the touch) can be a simple device to raise the pitch of your instrument or a complex mechanism to contrive new tuning combinations. Gone (almost) are the days of the elastic strap and buckle systems that strangled the neck and threatened to take out an eye during an inadvertent explosive release. These days capos are engineering marvels, both simple and complex.

The main consideration is to have something closely approximating the force and form of a human finger on the strings which, in most cases, means applying pressure from around the neck. You might think that this is simple and straightforward, but the number of mechanisms developed for achieving this is startling: elastic straps, spring loading, cam mechanisms, lever-tensioning, friction locking and over-centre locking are just some of the engineering principles employed for this seemingly simple task.

Whatever its design, it's important that it applies only the necessary pressure. Too much and the tuning is compromised; too little and the strings 'buzz' on the leading fret. It should be possible to tune the instrument with the capo on (usually necessary as the intonation is inevitably compromised when capoing).


But it doesn't stop there. How about capos that only fret certain strings and leave others open (partial capoing). Or low-friction capos that are designed to be more or less permanently installed on the instrument that can be slid quickly into position for a rapid key change while playing.

Partial capoing is used on guitars, most commonly on the second fret across the A, D and G strings making the effective tuning of E,B,E,A,B,E. (Those familiar with DADGAD tuning will note that this is the same tuning ratio, 2nd fret). This gives the dubious benefit of being able to play in a faux open-tuning, but use conventional chord shapes. I've always thought this defeats the purpose of open tuning in the first place. It's not uncommon to see a player use a normal capo and a partial capo together.

The use of capos is not restricted to guitars. There are small ones for mandolins and ukes and the afore-mentioned low-friction, sliding type for use with open tuned instruments like the Irish bouzouki (or mandola, or cittern) that sit behind the nut when not in use and can be slid like a collar to the desired fret mid-tune.

Dobro capo

Not all capos press down on the strings. Some, like those designed for instruments played with a slide or steel (Dobro, Hawai'ian guitar etc) slip between the fretboard and the strings and push up, like a moveable nut (the slotted block at the top of the fingerboard that the strings run through). I've known fiddle players to carry a small length of leather shoelace to slip under the strings, making an effective capo and similarly a matchstick used in the same way on a mandolin.

Your choice of capo will depend on your style and mode of playing - many are designed to be positioned with one hand (important if you wear finger- and thumb-picks). Some are discreet and some are imposing. Another consideration (recently demonstrated to me) is that different capos make your instrument sound differently, so it's worth trying a few. That's the thing about capos. You can try them at the shop. Not like toothbrushes.

Mike Moroney

John Archer and NZ Folksong

For as many years as the Kiwifolk websites have been running (since the inception of the web itself), John Archer's NZ Folksong website has been growing and becoming increasingly sophisticated, making a huge contribution to our social and folksong histories. It is a resource of considerable depth with lyrics, histories, recording and clips of songs and waiata (importantly, the only online resource I know of that combines the two), with plenty of informed comment. John himself is known to be outspoken on issues of our social history in respect of our musical heritage, often garnering respect and opprobrium in equal measure on the nz-folk list. John writes:

"I’ve just been looking at the statistics of my NZ Folksong website for the past 12 months. For the songs I have heard sung at folk clubs, the most visited songs are:

1.  Farewell to the Gold 1890
2.  Taumarunui 1360
3.  Minnie Dean 1270
4.  Davy Lowston, She’ll Be Right, Spider in the Bath, Across the Line 850
5.  The Close Shave 730
6.  Gin and Raspberry 680
7.  Russian Jack 640
8.  Down the Hall 550
9.  (my own) Arthur Allan Thomas song 510
10.  Dugout in the True 480
11.  Wellerman 450
12.  Stable Lad 440
13.  Beautiful Coast of New Zealand 410
14.  Packing My Things to Go Home 340
15.  Gone to Invercargill 300.

In the more plebian Pakeha folk culture, the most visited songs are

1.  Ten Guitars 14,900
2.  Blue Smoke 4400
3.  Gumboot song 3600
4.  Damn the Dam 2000
5.  No Depression in New Zealand 1900

The most visited Maori-language songs get many, many more visitors...

1.  Pokarekare Ana 47,500
2.  Tutira Mai 30,000
3.  Ka Mate 25,600
4.  E Papa Waiari 20,000
5.  Po Atarau/Now is the Hour 17,100

... but I deliberately put Pakeha and Maori songs on one website so that young people coming for one type can explore the other. And so I have mixed both Maori and trad folk songs in the same topics on the School Projects page. For example, “Hunting and fishing - In My Little Whare, The Eel Song, Black Matai, Karu Karu, She'll Be Right Mate, Te Manu Titi.” 

That School Projects page has had 1650 visits, presumably by school teachers, so I hope this is helping to get the next generation on New Zealanders familiar with the old trad NZ folksongs.
It is great to see that kids are visiting the site, using their school’s computers: an average of 400 every schoolday. Visitor numbers drop from about 1500 to 1100 on weekends and school holidays. 

But kids are now getting smartphones and tablets and using them to visit the site on the weekends. Mobile visits have increased from 50 a day to 250 in the past 12 months, and those mobile visits peak up on the weekends. Guitar chords and embedded Youtube videos are big drawcards for youngsters learning the songs.  

As well as visits from Kiwis (350,000) there has been a significant number of visits from overseas.

• Australia 68,200
• USA 44,500
• UK 24,500
• Germany  7,000
• Canada  6,500
• France  4,200

Altogether there have been 562,500 visits to the NZ Folksong website in the past 12 months."

I know from my own paltry efforts that the upkeep of such a huge resource is an undertaking only for those with singular dedication, time and ultimately, generosity of spirit. The best reward for such an endeavour is to mercilessly plunder the treasure within and spread it around.

Mike Moroney

Dedicated to John, with thanks.

Wellyfest Lives Up To Its Name, Again.

Another Wellington Folk Festival has come and gone. As is usual for any event anywhere in country on this long weekend, weather is unpredictable and indifferent to what's best for your event. The Brookfields site this year boasted frost, wind, sun (a little), rain, some more rain and above all, mud. Daunted we were not.

Pat higgins writes:

"Thanks Wellington Folk Festival Organisers. We had a great weekend, in spite of the cold on Friday night and the rain on Saturday night. Very good mud-co-ordination this year, really good quality and distribution.
"The old-Timey crew from Virginia were great (Martha Spencer and Jackson Cunningham), they do great authentic mountain music, the real stuff, great frailing, dancing guitar picking and mandolin playing.
"Had some nice sessions late into the night.
"In my opinion the Wheeze and Suck band while fine harmony singers, don't really make the grade. I've seen better pub bands round Dublin. I'd stay for the whole gig, if they just sang a capella.
"Enjoyed Ian Goodsman on the slide guitar, learnt a lot from his workshop and playing.
"The coffee was disappointing this year.
"The Balladeer was a great success, nice warm atmosphere. Also the Spooky Mens Chorale were fantastic, Loved their monumental self-aggrandistic style. So much so we went to their "Monday night concert in town. What a delight, great to experience man-firmation.
"Lovely to see so many talented and well-behaved teenagers in the mix. There was no rubbish I could see left in the top field, and we were last out. Thanks Organisers for all the hard work to deliver such a great event."

Have to agree with all of that. Especially the coffee. It was all there - just needs a good barista.

The layout of the site requires that all traffic (foot and vehicle) travel through some pinch points and these are the areas that always become quagmires. Perhaps a little pre-emptive maintenance could bulk these areas up a bit. The stage looked a lot better this year with blacks extending above neck height (otherwise the Spooky Men would've looked like so many disembodied bobbing heads!).

Congratulations to Gerard and the crew - another one down in style!

Mike Moroney

(Photo by Gerard Hudson)

Come Hither, Foreign Folkie

I regularly receive emails from overseas artists and tourists looking for opportunities to play in New Zealand. I pull up short of trying to be a promoter or agent but I do like to be able to pass on any useful information I have. The easier it is for performers to make their way around the country sharing their talents, the richer the scene becomes for us all; consumers and pickers alike. To my mind it all helps to lubricate the wheels of live music and makes it more of a usual thing for people to do of a week or weekend - a culture of turning the TV off and going out.

A recent enquiry from Britain asked about the appropriate visa status required of someone coming to play (and presumably earn money) in New Zealand. I didn't know so I put the question to the NZ folk list and got a couple of insightful replies; the first from Davy Stuart in Christchurch:

"Many overseas artists don't bother for a folk club tour, most  clubs seem to be happy to operate on a cash basis and lets face it, no-one is going to be earning thousands, given the fees versus the travel expenses etc involved. The larger festivals may be slightly more problematic and subject to greater scrutiny from the relevant authorities and I would probably advise getting a visa for those. Any concerts promoted by City Councils will generally have official tax forms and withholding tax withheld, so a visa would be advisable.

"Of course there is always the slight issue of turning up at NZ airport immigration with 'musician' on a passport and a swag of work visas for other countries.... Explain that to the officer.

"Work visas are not too difficult to obtain, I had to organise the paperwork for visas for Andy Irvine and Rens van Der Zalm the last time they were here. What it did mean though was them fronting up in person to the relevant NZ High Commission overseas, money and forms in hand, cost was about NZ$200 each from memory...

http://www.immigration.govt.nz/migrant/general/generalinformation/qanda/entertainmentemployers.htm
http://www.immigration.govt.nz/migrant/stream/work/worktemporarily/requirements/specificpurpose/performingsrtistsfilmindustry.htm "

It is true that the goal posts move with the fashion - in this case our rising-star film industry. This from Sue Harkness in Wellington:

"As Davy's first reference explains, any tour of 14 days or less no longer needs a work visa.

"Work visas for musicians need to be approved by the musicians' branch of the Service and Food Workers' Union. There is a charge per person for the approval and part of the basis of the approval is that the tour involves local support acts (not normally a problem with club gigs).

"Most acts tour under the radar but, if they are regulars or well known names, it's best to go through the paperwork.  You don't want your artist left at the departing airport or denied entry here.

"Once there is a work visa on the Immigration Department's files, there will have to be visas for all the following visits.

"Musicians from countries like China or Africa - who would require permission to visit - most definitely would require a work visa."

And an interesting rejoinder from Gerard Hudson, convener of the Wellington Folk Festival:

"One thing to be aware of is that only licenced immigration consultants can legally advise visitors on their visa requirements or what their personal (as opposed to general) obligations are to comply with the process. Safest is to refer them to the immigration service web sites that Davy referenced above."

And so that, indeed, is what I recommend too.

Mike Moroney

Dedicated to Sue Harkness on the recent loss of her father.

Sure You're Insured with TravelSure?

The Little Mermaid, CPN

Bernadette and I took a three week holiday in Scotland and Denmark midyear, catching up with our many musician and other friends. Needless to say I felt the need to take my guitar with me. Preparing for such a trip these days is increasingly fraught. How to play it with the additional item, what to pack in your luggage and what to take as hand luggage. No matter how much research you do, no matter how many times you scrutinise the conditions and restrictions; in the end it seems to all come down to arbitrary decisions made by the official at the check-in desk. Sometimes it's an Extra Bag, sometimes it's Odd Shaped Luggage, and then there's the special category of "Musical Instrument" attracting special levies, and sometimes you're invited to take them on as hand luggage, only to be turned back at the gate! It's a lottery and an expensive one.

Of course, if you're taking your precious instrument with you you're going to want to make sure it's fully insured. And we said so to the travel agent who arranged for additional cover and we were charged accordingly and robustly. The policy recommended by the travel agency (Flight Centre) was with TravelSure (New Zealand). Our holiday would include renting a car and we wanted to be sure that was known and included. The guitar was specified at a value of $4000. More terms and conditions followed. Perused the document, signed and paid.

Big mistake.

Of course, the mistake was entirely mine - I should have read the policy in detail, all the dozen or more pages of small print. Even then I still might not have come to the conclusion that the policy was as useless for my purposes as it eventually turned out to be. I thought I was being pro-active by asking (and paying) for cover for things when the cover you really need is for circumstances.

In the event, nothing happened to my guitar. It remained safe and sound for the whole round trip. In the seven minutes it took to check into a hotel in the Copenhagen CBD, our car was accessed (I would say "broken into", but the thief appeared to be able to unlock the car without damaging it) and bags were taken from beneath the cover of the rear of the hatch. An inspired notion and quick action by Bernadette found one bag (with our passports!) abandoned in the foyer of a building around the corner. What was missing was a small shoulder bag containing my camera, Kindle, digital recorder and a bunch of SD cards. The only thing irreplaceable was the data. A fairly good result if you have to get yourself robbed. Good thing we had comprehensive insurance.

Everything was done by the book. A report filed with the Danish police and items itemised. When I returned home I spent half a day filling out the insurance claim. Amazingly I had purchase receipts for everything, except the actual bag, a total of $700. I filed my claim and waited.

A week later the email came back:

Your claim is declined under two separate exclusions. We refer you to the Travelsure policy wording under the heading “Luggage And Travel Documents” which states:

We Will Not Pay For:

2. items left Unattended in any motor vehicle unless stored in the boot and forced entry is gained.

4. jewellery, camera and video camera equipment, sound equipment, mobile telephones or portable computer equipment left Unattended in any motor vehicle at any time (even if in the boot).

“Unattended” means (refer to page 12)

a) You did not observe the loss/theft, or

b) At a distance from You such that You do not have a good chance of preventing any attempted theft.

So, even if I had taken onboard that valuables weren't covered under any circumstances, I might have still accepted the policy and kept them with me when leaving the car. If I had made it to page 12, I would've realised being in proximity to call out "Cease and desist, you bounder!" was a requirement. Makes you wonder what the insurance might actually be for - especially having paid extra for car-related eventualities. Additionally my claim referred to items being under the rear window cover (out of sight) in the back of the Fiat Panda hatchback. I was not able to say "they were in the boot"; there wasn't one. I was also unable to demonstrate "forced" entry as there was no damage.

So well done TravelSure. You got my money and didn't have to pay. My claim, after excess, was about what I paid in premium. Of course, Flight Centre is complicit in this too. Appeals to the travel agent who negotiated and sold us the policy could only elicit, "We can't go through every little detail with our clients". A quick 'Google' of TravelSure brings up plenty of similar anecdotal stuff. I'm sure others have positive stories to tell of either of these businesses; Lord knows there are plenty on the TravelSure site and I'd always found Flight Centre good in the past. I feel the travel agent, the one who is supposed to understand your needs, was remiss and cavalier on this occasion. Still, I am better informed after the fact and won't be making the same mistakes again. I shall probably make completely different ones.

Mike Moroney

Dedicated to Bernadette.

Confessions of a Festival Anarchist

It's getting near that time again where I plan my annual road-trip to the Wellington Folk Festival in the backhills of Wainuiomata. As usual it'll either be sunny and hot or a miserable, cold and drizzly sea of mud. It's called WellyFest and the double entendre is not lost on those who've forgotten to bring their gumboots.

I make myself useful by twiddling knobs at the sound desk as part of a highly social tech team that meets up there every year. Mostly I go to connect with my North Island music friends and play some tunes. I wrote in a previous post that I have a chequered history in this regard. As someone armed with an acoustic guitar and 50-plus years of popular song in my noodle I can keep a singing session going from sundown to sun-up if stamina serves. With great ability comes great responsibility. For many years I thought it was my responsibility to turn every gathering of four or more musicians into a raucous, full-throated Beatles singalong. To be fair, there was a considerable number of session-anarchists who supported me in this endeavour. All but the toughest and most resilient of the original musicians would pack up their instruments and slink away into the shadows. Job done.

In the last decade or so I've applied myself to playing the fiddle with murderous intent. It's been my observation that there's no skill that can't be replaced with great confidence. Witness the number of charlatans posing successfully as physicians, teachers, CEO's, airline pilots - only to be found out way down the line they have none of the qualifications they purport to have. So it can be with fiddle playing, I thought. I'll write more about the arcane nature of learning the fiddle in another post, after the psychoanalysis is complete.

Once I found out that small secret gatherings of musicians were hiding away in bunkrooms and kitchens around a given festival site; deliberately cramped in small spaces that made it impossible to wield a guitar; in tight little circles hunched inward to exclude the possibility of a singer penetrating the ring; once I found these gatherings, I would poke my elbow in with my fiddle in my fist and, oblivious to the sudden blanching of the incumbents, would assume the position. The shoe now firmly on the other foot, I did my penance.

These days as I walk around the campsites with a fiddle case, I swear I am looked upon with pity, nostalgia - even contempt - by those that still crave a good Beatles song. "He used to be one of us," I can hear them thinking.

Mike Moroney

Dedicated to Anna Bowen.

RIANZ and the Folk Tui

It's nomination time again. The nomination form and conditions of entry are here. An undisclosed number of albums will be submitted by their makers (very few are on a label these days), 12 units, 10 to be distributed among secret judges who put them in preferential order from one - n (where n = the number of albums submitted). The top three (when collated) will become finalists - an accolade in its own right; and the artists they represent will make their way to the Auckland Folk Festival this coming January to perform a 20 minute set and await the announcement of the winner. The prize is called 'The Tui Award for Best Folk Album"

It is great that we have a celebration of our particular genre and its output but there are a number of interesting variables in the process.

Artists invariably nominate their own album, so the term 'nomination' should more rightly be called 'submission'. As such, the artist selects the category that they think best fits their style. It is a testament, I think, to the folk audience that a wide range of musical styles find their way in to this category: singer-songwriters, bluegrass, bush bands, Celtic combos, even rock, pop and light classical acts - probably on the reasoning that these are the people who will give their material the best listen.

In nominating an album the artist must undertake to, in the event of becoming a finalist, travel to the Auckland Folk Festival and perform. This would seem to be an odd filtering factor on the material, immediately excluding all those who cannot make this undertaking for whatever reason. No assistance is given by either RIANZ or the Auckland Folk Festival to the artists. Last year, for example, all three finalists (being 6 or 8 people) were from the South Island. Presumably every nominee had pro-forma travel plans in place until the finalists were announced.

Occasionally one might stumble across someone who admits to having been a judge (it's a different cohort every year) and get some feedback as to what they chose and why, but there is no formal feedback to artists from the judges or RIANZ. Your nominated album essentially goes into a black hole. We take it on good faith that RIANZ has made an appropriate personnel selection - they are not revealed. Judges don't know who the other judges are either and they are asked to keep their opinions to themselves until the job is done. Reasons for confidentiality are obvious and necessary but things we'd like to know after the award might include: how many entries there were, who they were, how they fared and some comments from the judges.

If one was to use the rarefied selection of the Folk Tui finalists over the years as a barometer of folk music in New Zealand, a truly eclectic picture might be gleaned. Occasionally, just occasionally, a truly awful album is chosen; times when, in my opinion and in the interests of the genre, an award was better not made.

All in all, the process is fair and the recognition is something that we can all be proud of. The small categories like folk, jazz and country do not have the sponsoring might of Vodafone behind them and, as Chris Caddick of RIANZ admitted to me when I raised some of these issues, they do this on a shoestring budget. But unless RIANZ gets some feedback from participants and observers, things won't improve on their own. We as a community need to own it and kick it around a bit more.

Mike Moroney

Disclaimer and conflict of interest: I've been a judge, nominee and finalist over the years and none of what I've written here is in any way a personal axe to grind about my own involvement, which has always been interesting and rewarding. My thanks goes to the Auckland Folk Festival people who have always treated the finalists like royalty!

The Prickly Problem of the Session

There's nothing so divisive among folk musicians and singers as "the session". I remember a time when a session, whether it was late at night at a festival or a Sunday arvo in a pub, was an all-in kind of affair with songs and tunes and plenty banter, harmonies and guitars. The more modern trend to separate the "sing-around" from a hard-core tune session has seemed inexplicable to some and a complete necessity to others. In my observation this has developed commensurate with the increased uptake of repertoire-specific instruments like the uilleann (Irish) pipes or the open-backed banjo. Not only is the apartheid of singing in evidence, but also a further refinement into Scottish, Irish, English and American tune sessions is also occurring. Indeed, most listed "open" sessions come complete with their modifiers which might include level of expertise, banned instruments, protocols for joining in, who gets free beer, number of bodhrans permitted, unsuitable tunes and more.

Sometimes, of course, this is all left to chance. In these instances, it is not uncommon for one or two dominant players to either kill a session or build it into a tour-de-force. I know because I have done both in my time.

My travels in Ireland, Scotland and Europe have revealed a different approach to the session in many bars. One or two key musicians (usually singer-guitarists) are paid, either with money or free beer, to "make" a session. They sit at a table, invite a few friends and play songs and tunes to seed the session. There may well be a few of these in New Zealand too, but I've not found them. There's always something faux about these sessions, but the singing is often good and occasionally there is a standout musician. It's also a place where visiting musicians can engage - which may, in turn, lead to an invitation to the secret session of the old hands elsewhere in the village. If not, it's best just to assume there isn't one.

There a list of open session in New Zealand here.

Kiwifolk on Facebook

There are some things just not worth fighting. In this case it's the popularity of Facebook and its usefulness in broadcasting to a target audience. There is the legacy nz-folk listserv. that has been running for nearly two decades (!) and has a population of around 400 interested kiwi-folkies. About twice a year there's a lively discussion, but mostly it's artists and clubs promoting events and others posting interesting links and resources. A recent survey of the nz-folk listers indicated that this is the way they like it and did not see a social media alternative as a suitable replacement. However, the Kiwifolk page on Facebook has found another, perhaps younger, audience that is receptive and constructive.

John Egenes - The Stone Soup Sessions

Whare Flat Folk Festival 10/11 Review

I have been to every Whare Flat Folk Festival since I was born (in fact, even when I was in the womb). It turns up, with out fail, to end one year and bring in the next in the best way I could imagine: with good music, good friends, some dancing and (ever since I was allowed) a good whiskey or two (or maybe three). Bringing in 2011 was no exception.

Second time guests, Mara!, were as stunning as ever with their phenominal sax player, Sandy Evans, blowing everyone away with her jazz licks fused with the traditional bulgarian rhythms.

Kaitrin McMullan, Andrew Bowen and Joyce Leppard brought in the new year in glorious style (or blow up fat suits should I say) followed by King Leo playing us through to the wee smalls.

The Blues Forum had all the regulars and a few extras including guest artist Dave Murphy.

Other guests at the festival included local and national acts such as Footspa, Steve McGlone, Mike Harding, Jackie Bristow, Matt Langley, youth guest Hazel Cunliffe, as well as other youngsters (I can use this term now) BB and Alex with their dueling banjos. We can’t forget the amazing musicians from across the water though, String Contingent, who got a standing ovation from the crowd at the end of their afternoon concert. Maona House had a concert of their own this year and it was awe inspiring the power that flowed off that stage.

Lovers of dance had a great set of workshops run by Cashy Yates as well as a great surprise when a couple of Irish dancing brothers turned up from the states (one who has is currently dancing with Michael Flatly) and flailed their legs about for our delight and appreciating whoops and hollers.

But the real highlight for me was seeing Maura Hewton-Turner performing again. She has an amazing voice and is becoming a real performer. She’s one to watch for sure.

The wavering weather conditions were no match for a well-built marquee and a bunch of folkies out for a good time. Show us what you’re made of 2011, we’re ready for you!

Siobhan Moroney

Open Letter to Michael Coppel Presents

Hello,

First, thank you for bringing such a brilliant concert to New Zealand - I saw Nick Lowe and Ry Cooder in Christchurch last Wednesday. My friends and I drove from Dunedin to see them and were not disappointed!

However, I and many of my friends were extremely disappointed to find we had paid more than twice the going rate for our tickets - simply, it appears, because we had the foresight to book early. Of course we are happy to pay what an artist is worth to see them but do not expect to be the victims of a Dutch auction and subsidise those who are not prepared to pay. Our seats were ok, not particularly special, set off to one side with some of the stage obscured by speaker stacks. People paying a lot less were nicely positioned centre forward.

Out of a sample of 20 people that I new at the concert, 5 of us paid $131 and the rest all paid $59. Indeed, many other friends around the country have declared that they paid $59 for tickets in Auckland and Wellington.

We are told by promoters time and time again that acts will not be brought to our smaller centres because we are reluctant to buy enough tickets early enough. It would appear that you are encouraging this behaviour, as I for one will not be in a hurry to book early in the future.

Yours sincerely

Mike Moroney

==============
And from others:


Here's my bitter tale. The day that bookings opened for the Auckland show the ticket price was $149. I just couldn't afford or justify that so completely gave up on the idea, despite Ry Cooder having been one of my musical heroes for as long as I can remember. On the day of the concert a friend casually mentioned that he had bought tickets that day for $59. I had other arrangements made that I couldn't undo, so missed out.


and:


Sorry to hear that, Mike. Pressure needs to be brought to bear upon promoters (and kept there), which it looks like you're doing. Also, letting them know that you've blogged this and dropped it onto your facebook, myspace, digg sites, etc, will get their attention. You don't want to come off sounding like you're whining, and you haven't here. Best to keep it impersonal and professional as you've done.

Eventually, with the help of this digital, bottom up media, booking promoters will have to standardise their methods, especially since live shows have now become, far and away, musicians' primary source of income. I can guarantee that if this gets back to Ry Cooder and his people (which it probably already has...), they'll let the promoters know, and will think twice about ever dealing with them again.

Not saying the promoters are crooks or anything, but they're at the least very badly managed and informed on the process. Trying to fill a half empty show after the fact, at the last moment, just doesn't cut it when the audience can let the rest of the world know immediately, via twitter, while they're STILL AT the concert.

I know I'll think twice about buying an expensive ticket online in advance, especially if I have to travel to see the show.

And the reply:::

to Mike Moroney

date27 November 2009 16:57
subjectRY COODER & NICK LOWE - CHRISTCHURCH

Hi Mike,


Thanks for your email in relation to the Ry Cooder & Nick Lowe performance in Christchurch.


We are glad to hear that you enjoyed the night along with many others.


In regards to your complaint about the discounted ticket price, this was a promotion to push our last release of tickets for this event. As the promoter, we are in our rights to change the ticketing price at any given time. This situation is very similiar to purchasing an airline flight at full price, to then see that same flight at a reduced price weeks after your purchase - just an example of many companies running similar promotions.


We understand that you are frustrated by the reduced price being implemented to this tour. However, we are unable to offer any form of compensation.


Kind Regards,
Daniel Hearn

--
Daniel Hearn
Michael Coppel Presents
PO Box 3030, Prahran East VIC 3181


www.coppel.com.au

If it looks like a folk club, sounds like a folk club...

Interesting view on taking over a venue. It's hard to get past a proprieter's core business of booze and food to let entertainment take its course.

in reference to: Not happy with existing venues? Make a new one. | Derek Sivers (view on Google Sidewiki)

Hamsterfest 2009 Review

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/)

Bards, Ballads and Bulldust Festival

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.

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

2008 Folk Album of the Year

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

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

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/

Sam Sampson

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
---
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
---
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
---
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
---
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
---
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