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

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

Mahinarangi Tocker, MNZOM, 1956 - 2008

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

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

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

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

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

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

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

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

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

Thanks for all your thoughts; if this list is about anything it is about mutual support and expression. I came upon the news that she was terminally ill rather circuitously, through a friend of a friend, then arrived at my office to hear the news on the radio. More than this I do not know, I don't pretend to any inside knowledge. I think Laura Quinn is closer to the whanau, and will be able to provide those details that they want us to know. For now we'll respect their grief and share our own thoughts here.

I am to present a songwriting seminar next month for the New Zealand Songwriters' Trust in Gore and was to be presenting it with Mahina. I'd been unable to get hold of her to discuss this; and this was not like her - even when she was unwell she would always communicate with me.

Mahina was a long-time friend of my family. My daughter, Siobhan, stayed with her when she was on placement at BFM for her broadcasting course. Bernadette and I saw her last, and so stupidly briefly, at the Auckland Folk Festival where she told us how happy she was to be in employment, something she hadn't done since her nursing days, and a big deal for someone recovering from a mental illness.

It was 24 years ago when we first met Mahina, she was a guest at Whare Flat - her first folk festival. She was a tiny figure then, chain smoker, nervous, agoraphobic. She warmed to us (and we to her) and stayed with us for a further week. She's been back several times since. One time she sat in front of my cassette recorder and went through every page of her songwriting books singing song after song into the mic. I still have that tape somewhere.

When she turned up that first time, I was hugely aware of her politics (Maaori, feminist, lesbian...) and was watching my every p and q, desperate not to make a Political Correctness blunder. I needent have worried. She was the most irreverent, crude, funny woman I've ever come across but taught me so much in the process. There's never been a time I've been with her that we haven't ended up in fits of giggles, like smutty schoolkids. I've been backstage with her many times, my sides hurting with laughter, only to watch her walk out onstage (with something approaching composure) to deliver the most heart-wrenching performances.

She was a spontaneous collaborator too. "I want you to play this one with me, Moroney." When the time comes, I'm called up, I'm capoed up, D-tuned, all ready.. "Oh, we're not doing that one now, " and launches into something she's just made up, or her own inimitable version of Somewhere Over the Rainbow, for which there is no right chord! Such was her trust in what passes for my musicianship. She'd hang me out to dry every time. I know I'm not the only one who has had that experience. God bless her.

I am so sad. I don't even know her family or her loved ones, though we talked about them often. Those of you that are closer to them might like to pass on my condolences, sorrow and immense pride at having known her. Mike Moroney

Sad indeed. I first met Mahina – I’m not sure, late 1980s or early 1990s - when she was touring, by bus, with guitar and amp. She played at the Luggate pub. That’s dedication to your art. The next time I met up with her, we shared a room at Whare Flat (with Siobhan Moroney I think). We giggled our way through the festival days. Another encounter was at some outdoor gig sharing a stage in the drizzle at Waikouaiti when I was in the Pog Band. There she was carting her keyboard, singing her songs, doing her thing.

I wasn’t really anywhere on Mahina’s landscape but she always remembered me. I’m struggling with this news of the passing of a generous, brave, funny, talented woman. Arohanui and condolences to Mahina’s family and loved ones. Lindsey Shields.

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

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

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

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

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

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

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

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

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

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

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

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

Mike Moroney and others have articulated the senses of shock and loss I feel at learning of Mahinaarangi's death. I think it was Bev Young who pointed out that, as we get older, we experience and expect regular reports of deaths of friends and acquaintances - though I don't think we ever get used to them.
Among the legacy of wonderful music and memories that Mahinaarangi left,is the sharing of her culture. The mad lesbian mongrel mum gave of her Celtic, Jewish and Maori legacy openly and willingly.

In my experience, folk audiences are amongst the most catholic and supportive of all. Yet among the performances of British folksongs, Celticdances, blues, bluegrass, contemporary compositions and world music, I've seen relatively little Maori music. I'm not sure why: in my limited experience, there seems to be a great similarity between the vibe in awharenui and that in the marquee at Whare Flat and other festivals.

Mahinaarangi was one of the few that crossed the divide. Others include Godfrey Pohatu (also gone from us) and Maaka and Karina Laws. I'm verygrateful to these people, all of whom have radiated love/aroha, and been supportive in my bumbling efforts to learn about aspects of Maori culture.

It may be that members of other folk clubs - particularly those in thenorth - have a different experience. In any case, I hope that we cancontinue to encourage and support those who bring Maori and Pacifica culture to our clubs and festivals and, in some way, keep that part of Mahinaarangi's legacy alive. Marcus Turner.

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

I first met Mahina through this list… She was my one consistent educator, supporter and friend on the list, and would let me know when I needed to calm down and not take things to heart, and defend me when she thought I needed it. She was discrete… she would never publically humiliate people and was very sensitive to what people needed to hear. She is woven into this little community and that can never be undone. She remembered everyone by name and circumstance, and you didn't need to earn her love, trust and respect as she had bucket-loads of it for everyone.

She was amazing on stage. She was amazing off stage. She was just amazing. The first time I met her face-to-face was at Whare Flat in 2004/05 and that just solidified the friendship that had already started. Then at Wellyfest in the following October (I think) I was standing at the back of the marquee when she sang and it was so magical that you could almost hear the crowd breathe. I believe Over the Rainbow was the clincher.

In the last few years, I have spent quite a few memorable evenings at Mahina's house, playing music and drinking tea, but mainly chatting till far too late. These visits were usually in preparation for gigs but we never got a lot of practice done! I'll never forget the road trip we had over to Thames for a gig last year, everything was fun with Mahina. We arrived just as the gig was supposed to start as we had forgotten the information and after zooming around Thames looking for posters we arrived in the nick of time, and we had a really good weekend.

Mahinarangi was my mentor. We never talked about it like that, because it would have embarrassed her… but we both new it. She taught me about music, how to deal with people when I found them difficult but most of all she taught me about life. I'll never forget her love and friendship and she'll stay in my heart forever. What a special lady. Mahinarangi – arohanui e hoa ma. Laura Quinn

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

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

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

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

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

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

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

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

NZ Folklore - Swaggers

From the nz-folk list:

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

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

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

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

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

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

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

Chris Brady

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

Tony Hillyard Interview

An audio interview with Tony Hillyard can be heard at www.jamradio.co.nz. Tony is a folk singer/guitarist and recording artist who convenes the Singers' Club at  the Roxy Café, on Tuesday evenings (203-205 Cuba St. Wellington).

Technorati Tags: Tony Hillyard , Sing , Folk , Interview

On the Road with the Maritime Crew

From nz-folk:

A personal memoir from Rudy Sunde  - with some additional comments by Warren. 

I started writing this report while in Europe and gave it the above title ON THE ROAD WITH THE MARITIME CREW little realising how prescient such a title was - as you will find out on reading further. This the Maritime Crew's third trip to Europe having been invited to take part in maritime music festivals. On the two previous occasions, we had applied to Creative New Zealand for help in paying our air fares but they declined on both occasions. This time we did not bother them and hoped that our performance fees would cover most of our travel expenses.

Four members of  The Maritime Crew - Lew Black, Bob Large, Warren Payne and Rudy Sunde - departed form Auckland airport on 1st August 2007.  Two other members of the Crew - Paul Howarth and Alex McClennan - could not go because of family and/or work commitments. We travelled with Emirates - an airline that I would not recommend if one is travelling economy as the seats are so close together. Including stop-overs between planes, it took us the best part of 35 hours to get to Bremen.

We were going to Bremen to participate in the famous annual Vegesack Maritime Music Festival running from 3rd to 5th August. We were proud to have been invited to take part in such a big festival with about 30 other shanty groups from around the world - Holland, Germany, UK, Norway, Sweden, Poland, USA, Cuba, Spain. These were mainly small shanty groups with only half dozen or so shanty choirs.      

All the participants were treated splendidly by the organisers. Our accommodation, breakfast and some dinners were paid for. We and quite a few other shanty groups were billeted on board the magnificent Sail Training Ship Deutschland. This is a lovely 86 metre vessel built in 1927 but now retired from sailing. Beautifully maintained it is a splendid example of the tall ship builders' art.

The Vegesack Festival takes place mainly along the banks of the Weser River though there were 2 city venues where we and other groups performed.Along the banks of the river are walkways and on either side of these paths were kiosks selling beer, sausages, beer, kitsch, beer, souvenirs, beer, etc. You get the idea. Thousands milled around - enjoying  the beautiful summer evenings or going to the various concert venues which were dotted along the riverside.

We sang at 6 different venues over the weekend and were always received with great acclaim. I think that audiences respected the fact that we had come from so far, far away, that we had a great selection of interesting songs (traditional and contemporary New Zealand songs with a couple of Maori numbers) and that we sang them well. When we were in Germany 2 years ago, we made some good friends and quite a few travelled many miles to Bremen just to hear us again. Among those who came to see and hear us again were Heiko Tieseler and his wife Brigitte who videoed most of our performances. Then there was Ullrich, Dieter and Manfred who with their wives came from Niebull to see us. Iwe van der Beek came from Holland with his singing partner Jaap and also there was Conny Beckman - another good friend.

The Final Grand Concert was a magnificent event with all the groups doing a 10 minute spot and then the Grand Finale with everybody on stage doing "Oh Roseanne". And then there was a marvellous fireworks display over the Weser River. (Fireworks for Auckland Folk Festival?? Now there's a thought.) We stayed on board Deutschland for an extra day after the festival finished in order to relax after the hectic weekend.

The following Tuesday, we were picked up by Johannes van der Werf of the Folsgearster Folkgroup. They had invited us to visit them in the village of Folsgear in Friesland , northern Holland. We had met them in  Niebull, Germany 2 years ago and while they could more properly called a folk group rather than a shanty group we still had lots of songs and shanties in common. They say that the Friesian language (a variant of Dutch) is closely related to English but I am afraid that I did not notice any resemblance. Luckily, all our contacts there had a good command of English. Friesland is flat for miles and miles and miles with canals everywhere. Dairying seems to be the main farming occupation with big cow barns attached to the farmers'  houses.

Bob and I were lodged in the home of Gerritt and Rinske Rypma - a lovely couple  while Warren and Lew stayed with Johannes  and his wife Margriet. Gerritt has a nice studio in which we and Folsgearster Folk rehearsed some songs together. We were taken sailing on one of the numerous lakes to watch a boat race between some typical sailing craft called SKUTJE. Next night, we sang at a barbecue party. The nearby town of Sneek was then visited and I must say that I am impressed with all these Dutch towns that saw. Clean (no graffiti), prosperous looking, very neat and tidy. The following night we sang at a local museum devoted to old time farming practices. On the Saturday, we were taken to a local saw mill. This is not the usual sort of tourist experience but this saw mill is different. It is powered by big sails - a typical Dutch wind mill. This mill was built  in 1685 and though it might not be compared to modern mills with regard to speed of cutting a log, nevertheless it is a magnificent piece of engineering and I am pleased to see that it is being kept as a going concern. That same night we performed to a large crowd in the Folsgear church and, as ever, we were warmly received.

Before we had left New Zealand, the Folsgearster Folk group made what seemed to us to be a very ambitious suggestion. They said "While you're over here, let's make a joint LIVE CD". We wondered at the possibility of doing this but when we met them and had a couple of rehearsals, we thought, hey, this going to work! Sunday saw us in the recording studio. This was in one of the old cow barns that had been converted into a sort of club with seating for maybe 50 or so. And the studio! I have seen a few in my time but this guy's equipment was top of the range. Folsgearster Folk did 5 songs, we did 5 and then we did 4 together. All this before an appreciative audience. Mixing was done the next day with  Johanne's son Franz creating the insert. This where my prescience comes in because they had decided to give  the CD the title 'ON THE ROAD TOGETHER'. We have brought the master home and will be producing copies of this CD.

On Tuesday, Roel Boer of de Flagellanten in Giethoorn picked us up (after sad farewells to the Folsgear folk) and drove us to his home town. He provided us with accommodation in a so-called shed (actually a sort of replica of an old farm house) at the back of his section. Giethoorn is described as "the Venice of the North" because of its extensive system of canals. It is a lovely town - charming old houses with thatched roofs which were formerly farmers' houses but which have now been upgraded and are most comfortable dwellings. All access to the houses is by boat - no cars anywhere. More than a million tourists visit the town every year and go on sightseeing cruises up the canals.

De Flagellanten is a bunch of maybe 18-20 male singers who dress up in old style clothing - sheepskins, clogs, etc. - and who specialise in doing good time music - exuberant stuff all sung with great enthusiasm. Easy listening. They perform at the Fanfare Cafe every Tuesday evening so we heard them that night. The next night, we were on at the Fanfare together with de Flagellanten. We sang sets alternately until the very last when we did some songs together. The highlight for me was when Roel and I jointly took the lead for my song "SPRAY OF THE OCEAN". It was lovely hearing the voices of the de Flagellanten singers behind me singing my song and I was quite moved. (When we were in Niebull 2 years ago, we met Tobias Kretchsman ( a young 14 year old lad) and his family and they became great fans of ours. Well, Tobias and his father drove from Dusseldorf to Giethoorn, a distance of about 300 kms, just to see and hear us again.)

The next day we took a train from Steenwik to Harlingen Hafen where we caught the ferry to the island of Vlieland. This is a sandy island lying some 20 or so kms off the Dutch coast. Remote areas of the island with sand dunes covered with marram grass resemble some far north Auckland beaches. On Vlieland we were looked after by Nils Koster and Ger Lamerus who together are called Drijfhout (Driftwood). They are sometimes accompanied by a woman called Susanne Kunenborg..

The main street of the town of Vlieland is closed to vehicular traffic - except for goods delivery vehicles and bikes. (Bikes galore on the island!) On our first day we were taken down the main street where the town brass band was playing - quite well too.The leader of the band is Jan Houter and he was too the man paying us for our performances on the island. He is a prominent local businessman owning the hotel where we were lodged, a pub and a bike hire place. Anyway, Jan introduced us to the crowd (saying that we came from Australia -which was greeted with howls of protest from us and became a standing joke during the rest of our stay.  Wee had to do a couple of songs to promote our forthcoming performances. The next day saw us performing a 2 hour gig on the hotel terrace with Nils and Ger joining us for the last 20 minutes or so. Next night we were at the pub "Old Stoop"  (Grand Cafe Oude Stoep) where we shared the stage with Driftwood - they doing 40 minutes, we 40 and then a joint 40. As ever our New Zealand songs were very warmly received. Another two and half hour set on the hotel terrace the next day.

Our next performance was the following day when we joined the Vlielander Seaman's Choir singing in the church to maybe 250 - 300 people. The choir did 5 0r 6 songs, we did 5 and then we jointly did 10 songs with the choir.I know this gets repetitious but as ever, we were very well received. evidenced the next day by the number of times we were stopped by appreciative attendees. Our songs and presentation of them always receives audience approval. Jan Houter gave us all a CD of photos that he had taken of us and told us how pleased he was to have us on the island. On our last evening on the island, we were taken on a bus ride some 15 or so kms up the beach. The bus looked very much like the ones used on Ninety Mile Beach. At the end of the ride up the beach we were taken to a large stockade made of Driftwood  where a large fire was soon burning and a can of  hot chocolate was being heated. Nils and Ger did some songs then we did some to entertain the people there. We started a jolly sing-along in the bus on the way back and were delighted to let the teenagers take over with their songs.

We said our sad farewells to Nils and Ger the next day and boarded the ferry back to Harlingen Hafen. Waiting for us on the pier were most of Folsgearster Folk. They had come to escort us down the dyke towards Amsterdam. At a popular stopping place in the middle of the massive dyke, we were joined by Johannes and Ben and, unbelievably, they had with them the master of the CD plus personal copies for all. Incredible! Said our goodbyes once again to most of Folsgearster and then Marco drove us down towards Amsterdam. Took a train for the last 15 or so kms to Amsterdam Central Rail. Coming into a big city was a bit of a shock after being in quiet places like Folsgear, Giethoorn and Vlieland. So many people!  We took a ride on a canal boat the next day and saw some more of this fascinating city. A general impression of Holland is that it is a prosperous looking place - everything neat and tidy, friendly people.

A short flight to Basel on the next day and we were met by Bruno Mueller (our interpreter and general helper) and Ken our driver who drove us to Romanshorn. We were dropped off at the Uttwill Stubli - a combination guest house and restaurant. Markus Studerus, a member of Singing Sailor's Crew Romanshorn and one of my email correspondents was there to meet us. Friday (next day) and we met a lot of the other shanty groups that were there for the weekend. We all took turns to do some songs. One of the most interesting songs we heard that night was a group doing the well-known New Zealand traditional song "Soon May the Wellerman Come". They did it in a more up-tempo style than what we are used to but it sounded great. And then, coming home in the bus to our digs, they sang it again! Fancy that! Being sung as a bus party song!

On Saturday, we and the Pirates ( a lovely group of young French girls from Brittany) took the ferry across Lake Bodensee (aka Lake Konstanz)to the German town of Friedrichshafen. We took turns in singing on board. That afternoon, we did a gig at the Down Under tent (named in out honour). That evening was the BIG evening with the monstrous tent filled to capacity. We did a show together with the Romanshorn Singing Sailors.One of my songs is called "Hurrah for our Captain". The Romanshorn Choir has taken my tune (with my permission) and written new words for the song. Note, their version was written many months ago and yet it extolled the virtues and skills of Swiss sailors. (Now and again they would slyly remind us that they now held America's Cup but we replied that it was only because they had some Kiwi sailors on board.) Anyway, we sang my "Hurrah" and they responded with their version. All good fun. Once again I was moved to have my work being performed by others. After we had performed that night, Bob informed that he had received a text message saying that my wife Pat had returned from Australia but was now in Waitakere Hospital with a chest infection, so the next morning, with Markus' assistance, I got hold of Emirate's Zurich office and arranged to fly home that evening - one day earlier than planned.

Down to the nearby cafe that Sunday morning where a large number of shanty singers were having a good time - laughing, chatting, drinking beer, listening to songs. We did 4 songs. Standing ovation! Well not quite but greatly appreciated. To the main tent that afternoon where Romanshorn did "Hurrah" once again and we did 4 songs.

And that was the finish of the Romanshorn Festival for me. A hurried trip back to our digs where I changed my shirt and Markus took me to the rail where I took a train to Zurich. Interestingly, the train took me right into Zurich airport and then a long lonely flight home.

To summarise :- We had a fantastic best part of 4 weeks in Europe. The weather was kind - summery just about every day. But the people we met were kinder . We were appreciated both for the interesting songs that we sang and also for the way in which we performed them. We have made many friends in Europe but I have one regret and that is, that at my age, I don't think that I will ever make that trip again. But The Maritime Crew has made 3 trips to Europe and I don't see why the younger members of the group can't go again some time in the future.

I would like to inject a personal note here. I am rather proud that 4 of my songs have found favour overseas. "Auckland to the Bluff" is sung in USA and UK  while "Spray of the Ocean" and "The Orpheus"  is sung in Giethoorn and,as you have just read, "Hurrah" in Romanshorn.

During the 28 days (including travel) that we were in Europe, we gave 23 public performances. This not counting the late night parties where lots more singing took place. Being a senior citizen, I missed out on these parties as I was in bed earlier than the others. I believe that they had great times singing until the small hours on many occasions.

The Maritime Crew is most grateful to all the people in Europe who invited us to perform at the various festivals, clubs, etc.

In Bremen, we had Lutz Hosselbarth, Patricia Feuss, Fritz Rapp, Brigitte Schiller-Hehl and Kersten of Vegesack who organised things so well for us.

In Folsgear, there was Johannes and Margriet van der Werf, Gerritt and Rinske Rypma, Marco and Rinske Rypma, Ben Regeling and Peter van der Werf who were our admirable hosts and singing partners. Delightful people who did everything for us.

In Giethoorn, Roel Boer and his wife (name eludes me) provided us with accommodation and food. His de Flagellanten singers are a great bunch of guys who know how to enjoy themselves - by making great Music!

In Vlieland, we were looked after by Nils Koster and Ger Lamerus - two great musician and singers. Our accommodation was provided by Jan Houter and very nice it was too.Once again, words fail me in attempting to describe how well we were treated - how good everybody was to us.

Finally in Romanshorn we were particularly well looked after by Bruno Mueller, Michael Kowalski and Marcus Studerus. Switzerland is a delightful country with delightful people - kind, generous, friendly and just generally very nice indeed, especially the Singing Sailor's Crew Romanshorn.

When I first got The Maritime Crew together way back in 1994, little did I think that one day we would on a singing tour of Europe. Once would have been incredible but we have done this 3 times now and that is just amazing. I would like to thank everybody who has helped to make these trips possible. And also I must thank members of The Maritime Crew for performing so well while on our overseas tours.

Thanks again to EVERYBODY.

Rudy.

Technorati Tags: nz-folk , Maritime Crew , tour , shanty

Songs of Sweated Labour

From the nz-folk list, John Archer writes:

Attention has been drawn to the sweated labour of young girls in South China. There are several New Zealand folk songs denouncing this abomination.

From Neil Colquhoun's Song's of a Young Country

Who robs the young girl of her right
by work that takes her day and night
to earn her poor starvation mite?
The sweater.

Who is it that will cheat and lie
and every cunning trick will try
his greed of gain to satisfy?
The sweater.

He is society's disgrace
and must be told so to his face
so out with him. Leave him no place
The sweater.

From Rona Bailey's Shanties By The Way

In the lands beyond the sea
where Khan and Sultan rule
Where they drink their coffee thick and black
and sip their sherbet cool
They have white Circassian girls for slaves
as well as nigger black
And now it seems in our own free land
that slavery's coming back.
It's fenced about with common law
and given a pretty name
But despite the paltry wage that's paid,
it's slavery all the same.

Such a good woman is Mrs McFee,
toiling with voice and hand
In the cause of the little Chinese girls
away in a distant land
Such a good woman is Mrs McFee,
for hers is an open door
And her name's at the top of the charity list
for the wives of the drunken poor
But Amelia Jane has a hungry look,
with hollows under her eyes
She says she was starved. But everyone knows,
Amelia Jane tells lies.

Silly and light is Amelia Jane,
she has no ideas of her own
You would never think her the bright little girl
that you one once on a time had known
She was clever enough when she went to school
she was pretty enough in her way
She hasn't improved, her schoolmates think,
when they met her in town today
It's all her fault, for whatever the cause,
I'm sure that Mrs McFee
Is a model mistress in every way,
and with that you will agree.

And my aunts taught me this song - there was a young boy on a the next
farm to theirs in South Taranaki in the 1920s who worked from dawn
until after dark seven days a week.

One day when I was out of work a job I went to seek
To be a farmer's boy ....
At last I found the very job at half-a-crown a week
To be a farmer's boy ....
The farmer said, "I think I've got the very job for you
Your duties will be light, for this is all you've got to do....
Rise at three every morn, milk the cow with the crumpled horn
Feed the pigs, clean the sty, teach the pigeons the way to fly
Plough the fields, mow the hay, help the cocks and hens to lay
Sow the seed, tend the crops, chase the flies from the turnip tops
Clean the knives, black the shoes, scrub the kitchen and sweep the flues
Help the wife wash the pots, grow the cabbages and carrots
Make the beds, dust the coals, mend the gramophone....
And when there's no more work to do.... the rest of the day's your own"

http://sniff.numachi.com/pages/tiRESTODAY.html

I would like to feature these on the NZ Folksong website and I would welcome any song-writer's compositions on the current New Zealand practice of conspiring in the deaths of young Chinese girls by buying sweated goods.

Thanks
John A

A True Heritage Instrument

From the nz-folk list, Noelle Jakeman writes:

"I am trying to find out about my randfathers kauri timber elaborately Maori wood carved lap steel guitar with paua shell inlay and all original 8 ivory keys which has been handed down to me. It opens out in the back and the electricals inside are in need of repair and needs new strings however the body is in excellent condition and is a beautifully handcrafted instrument. My mother had bought it for my grandfather back in the 1960's from a music store in Queen Street Auckland called 'Harmony House' which has since closed down and no longer there. I was contemplating selling it and had emailed images of it to vintage guitar dealers and collectors overseas and was surprised to get some very interested responses that it has since prompted my interest to find out the guitars origins and history. I did manage to speak to a local lapsteel guitar enthusiast here in Auckland who had mentioned these guitars popularity back in the 50's and 60's with country and western and Maori showbands and I've been trying to make contact with other NZ music stores in the hopes finding out more about these guitars as well, anyone there able to shed some more light on these guitars for me?"

John Archer wrote:

"That carved Hawaiin guitar a piece of folk history. Haere mai, everything is kapai - Daphne Walker - Sam Freedman - Johnny Cooper and His Range Riders.
"The expert on evaluating and repairing that is Simcha Delft in Otaki.
Eight years ago artist Michael Parekowhai put on a fancy installation in a
posh Auckland gallery with ten beautifully made f-hole inlaid paua
guitars. Maori bro's sat around on beer crates playing the guitars while
Jafa glitterati stood around drinking champagne.
"Parekowhai was commenting on the detribalized de-cultured urban Maori of the 1960s. But Noelle's lap-top is a much more poignant relic of that
time. Once Were Warriors - Paradise Lost."

There were a few other posts imploring Noelle not to sell it, to which she most eloquently replied:

"Greetings all,
Thank you all who have responded to my inquiries about my grandfathers lap steel guitar with some great advice and wonderful information. To perhaps answer some of the questions some of you may of had about my earlier notice and intention to sell the guitar I hope the following will offer you some insight. The guitar was a a gift my Mum had bought new for her Father around the 1960's from a music store in Auckland. It is a well loved family instrument and I've been told that my grandfather and muso granduncles would play this guitar and have jam sessions back in the day.

"It is a well loved family instrument and being Maori myself I am aware of the importance of family taonga and have discussed my intentions to sell the guitar with my Mum who had handed the guitar down to me. The guitar has been in my care for a few years now and I've been able to admire its beautiful craftsmanship and uniqueness however as I travel a lot and have very few personal possessions I would much prefer to have the guitar in someone elses care who'd appreciate and hopefully play it again.


As a recently self employed artist relying totally on the income from my artwork this is the only item I have of value and I know that should I eventually sell it, it would help a lot toward much needed tools and equipment that I need to continue making my work. I believe this to be an honorable purpose for selling the guitar and my Mum has given me her full support as well. I plan to make sure that should it eventually get sold it's to an appropriate person that will appreciate care for and hopefully get it playing again.

It's only been just over the last week that I've made inquiries to various NZ music/guitar stores and sites along with vintage guitar dealers and collectors overseas trying to find out a little more about the history of these guitars and an idea of it's value. So far most of the responses I have received back have been from the US and UK. All have been guitar enthusiasts who've only had positive things to say, and as well as admiring the Maori carvings they've also been really helpful with information about the lap steel guitar as an instrument. I have been involved in the Maori visual arts scene for many years now and am very aware of the exploitation of our Maori taonga and imagery and others ignorance as to the importance it is to our people. However it is a family taonga and I have asked the appropriate person in my whanau to do this, the notices I have sent out has been in no way to exploit or disrespect my Maori culture and I too believe that this is a wonderful piece of our NZ music history and would like to eventually find a good home for it. Regards, Noelle