Aug 16,17,18 2019 tickets

Monthly Archives: February 2013

Fred_Penner_Photo_5

Sun Times Article 4: Music of Childhood

Every year Artistic Director James Keelaghan writes a series of 12 articles for the Owen Sound Sun Times previewing the Summerfolk Music and Crafts Festival

By James Keelaghan

We didn’t have kid’s music when I was kid. Well, we did sorta, but nothing pleasant happened in it. Cradles fell, babies cried, that sort of thing. You didn’t really want to linger. If my parents wanted to entertain us as kid’s they’d play Harry Belafonte, or lighter adult music. Kid’s music was there to teach us a lesson-don’t put your cradle in a tree and that sort of thing.

 

I was a late comer to children. My first, Tomas was born in 2006, Pato,in 2010. Because of that I wasn’t well acquainted with Fred Penner’s music. Not having children kind of insulates you from the kid’s music scene. It’s like physics lectures, or advanced mathematics. You know it’s there and people are doing it, but it really doesn’t seem to have any effect on your life.

 

Yet, I know Fred fairly well.  I’d see him at music functions in Manitoba and across the country. We’ve spent pleasant hours together in the backstage areas of various festivals. He’s an engaging  story teller. He has that rare ability to make you feel like you are the most important thing in his life while he is talking to you.

 

You know him in a way I never did.

 

I respect him as a musician and entertainer. I managed to do that, and not see a single episode of his TV show. Why would I? I didn’t have kids. In those days I slept late. The show ran in Canada and the US for an amazing 13 years. I missed every one.

 

Most of you are more clued in than me. If you were a kid, a parent or a grandparent from 1985-1997, you knew Fred. I wasn’t surprised that he’s one of the best loved performers that has ever played the festival. We harbour huge reserves of goodwill for the performers of our youth. When we are adults they can evoke some of our strongest memories.

 

He was and is very involved in the community at large and his spirit of involvement and inclusiveness was recognized when he was made a member of the Order of Canada and the Order of Manitoba. His musicianship has been recognized with eight Juno nominations and two Juno Awards, Parents Choice Awards and Prairie Music awards

 

He makes no secret of the fact that he was a bit lost after the TV series ended.  He had a very full schedule, though, as the demand for live shows never really slacked off.

 

Fred had a notion that kids who had seen his TV show wanted to reconnect with him.

Then a strange little thing happened. A promoter at a university wanted to hire him to do a show at the school’s pub. Strange as the thought was, the show sold out in quicker than you can say “the cat came back.” In fact it was oversold. The students kept him there for two and a half hours. College kids, with pints of beer, calling out for Baby Beluga, Take Good Care, Sandwiches and of course, The Cat Came Back.

 

Word got out on the college circuit. When he travels now to do a kids show, he often adds a college show. He’s done universities from PEI to BC. He may, in fact, be busier now than when he had the TV show.

 

Last year Fred to it one step further. He recorded a CD named Hear the Music.The album was produced by long time collaborator Ken Whiteley and recorded in Toronto, where Fred lives with his spouse, voice/acting coach and director Rae Ellen Bodie (whom he married in 2016 and who co-wrote two of the songs on the album). Fred created for the cd to satisfy three generations of his fans and includes guests such as Ron Sexsmith, Terra Lightfoot, Alex Cuba, Basia Bulat, Jackie Richardson, The Good Lovelies, Fred’s four children and a wealth of Canada’s best musicians.

 

I’ll never know what its like to be a kid listening to Fred Penner. I never had the chance. I’ll never have that kid-like experience of hearing The Cat Came Back Fred style, for the first time. I’m really happy that my boys will be had that experience at last time Fred came to Summerfolk.

As for me, it’s never too late to have a happy childhood. I’ll be having mine at Fred’s pub

 

Fred will be playing workshops and a special spotlight children’s concert  at 2PM Saturday August 17 at the Amphitheatre stage during Summerfolk this year.

For more information on all things summerfolk please visit us at www.summerfolk.org

The Summerfolk Music and Crafts Festival happens at Kelso Beach Park in Owen Sound August 17, 18 and 19.

 

Adonis Cuba Car Promo Shot

Sun Times Article 3: From Cuba to Canada

Every year Artistic Director James Keelaghan writes a series of 12 articles for the Owen Sound Sun Times previewing the Summerfolk Music and Crafts Festival

By James Keelaghan

To make my living I have to travel—a lot. While the travelling has some nice moments, it’s not relaxing and it is most assuredly not a vacation. About 10 years ago myself, my wife and my son actually took a vacation. We went to Cuba for a week. I enjoyed the sun, the sand and the general laid back nature of the island, but it was the music that really hooked me. The resort where we stayed, on the Ancon peninsula near Trinidad de Cuba, was far away from the hustle and bustle of Havana or the  non-stop tourism of Varadero. Still, every night there was music at the resort, there was music in town, there was literally music everywhere at all hours.

 

Latin music has a reputation for being sultry and sensual, but Cuban music takes it to the nth degree. I loved it before I went to Cuba, but I was a fanatic by the time I came back.

When the chance came to book Adonis Puentes for this year’s Summerfolk I jumped at it.

 

I mentioned in last week’s article that traditional music is important to me. It’s not just the traditional music of my ancestors, though. Traditional music, in all its forms, is the backbone of what I try to book for Summerfolk. I like music that is aware of its history, even if it plays with it some.

 

We had Adonis’ brother, Alex Cuba, here a few years back. Alex has taken the music of his youth and added contemporary flourishes creating his own Latin pop sound. Adonis Puentes is a traditionalist. They grew up south of Havana in a house that was musically dominated by their father, Valentin, and spiritually by their mother, Maria. By the age of six they were playing guitar, eventually joining their father’s 24 piece travelling guitar ensemble. On days off they found time to jam with some of the greats, among them Ibrahim Ferrar of Buena Vista Social Club fame.

 

Love brought both Alex and Adonis to Canada, and though they recorded their first cd as the Puentes Brothers, they soon branched out on their own. The quality of their early musical education has seen both of them garnering Juno and Grammy nominations for their work, even while they have charted different musical paths.

 

Adonis is firmly in the tradition of the soñero—the lyrical, sometimes improvising, singer in a Salsa band. The songs are pure poetry, but the distinctive Cuban rhythms propel the lyric. It’s almost impossible not to dance once the band starts playing. It’s as if the beat channels the song into your entire body. Even if you can’t speak a word of Spanish, you can hear the joy, the love of life and the passion in his voice.

 

Puentes returns to Cuba often, to touch base and to replenish the creative spark. He feels like he is an ambassador for Cuban music, but can’t really be a proper representative if he is not in touch with the current scene on the Island. There is no doubt that he is a bearer of the tradition—even giants of the genre acknowledge this. He has sung with the likes of Celia Cruz and Ruben Blades. He became lead singer to Los Angeles-based Jose Rizo’s band Mongorama and was thrilled when they earned a Grammy nomination as best tropical Latin album.

 

Another Salsa great, the legendary Oscar Hernandez, director of the Spanish Harlem Orchestra,  arranged three songs and played piano on his Adonis’ cd Sabor a Café. Oscar Hernandez’s piano solos are such a foundational element in Cuban music that they are taught in Cubas music schools.

 

Dicen, Adonis Puentes third solo recording project ,was released in March this year in Victoria, where he makes his home. This time produced by Oscar Hernandez, the recording is destined to become a classic of the genre. It’s  a sophisticated mix of elegant balladry and rumbas as sweet as they are sensual. Hernandez’s keyboard and horn charts are the perfect foundation Puentes’ velvety crooning, punctuating his romantic pleas without challenging them. As performed by his acoustic Voice of Cuba Orchestra (guitar, tres, bass, percussion, piano and trumpet), the music makes for lively performances.

 

Puentes routinely advises audiences to bring their dancing shoes to his shows, and his appearances at Summerfolk will be no exception. We are even arranging for an instructor to teach an afternoon Salas class so you’ll be completely ready to dance the night away.

 

The Summerfolk Music and Crafts Festival happens August 17, 18 and 19 at Kelso Beach Park. Information can be found at www.summerfolk.org. We hope to see you there. Don’t forget your dancing shoes!

 

Photo © Colin Gillen/framelight.ie

Sun Times Article 2: Irish roots

Every year Artistic Director James Keelaghan writes a series of 12 articles for the Owen Sound Sun Times previewing the Summerfolk Music and Crafts Festival

By James Keelaghan

Surprise! I’m not in Owen Sound, or even in Canada. As you read this I am just leaving Achill Island on the west coast of Ireland. The last time I was on AchiIl was when I was here as a backpacker in 1979. That excursion ended well, though I ended up sleeping on a beach in an October gale, but that’s a story for another time.

 

My Da was from County Monaghan which entitles me to Irish  citizenship. I go to Ireland regularly, to play, to visit relatives and friends, and to do what I am doing now—leading music- based group tours. But that first trip, as a 19 year old, was an eye opener.

 

The Clancy Brothers and The Dubliners dominated the musical landscape when I was growing up. My exposure to Irish music was mostly ballads and songs and I learned hundreds of them. I could sing Roddy McCorley with the best of them in my corner of traditional music.

 

One night, on that first backpacking trip, I found myself in the little town of Spiddal in County Galway. There was a celebration in town until the wee hours of the morning. A whole group of local musicians had gone north to a music competition, a feis, and had come back with all the prizes. Music reigned supreme in the four pubs that adorned the four corners of the crossroads

 

The music tended to the instrumental rather than the vocal—jigs, reels and marches. I hadn’t heard this much instrumental Irish music at one time ever. Occasionally, the players would yield the floor to the singers, but instrumental ruled the day.

 

I think I got to bed at three or four in the morning, shortly after the Garda had shut down the last pub. But that night stayed with me until this day and I came back with so much Irish instrumental music that I had to abandon some clothes to make room for vinyl and cassettes. I’ve been hooked on the instrumental side of Irish tradition music since.

 

The great thing about Irish trad is that it’s alive—living and breathing and every year more young people come to the music. There are well-established schools and organizations that promote learning the music and, of course, hundreds of pub sessions as practice grounds.

 

We have one of the finest young Irish bands appearing at Summerfolk this year. They met at Limerick’s Irish World Academy and, with critical acclaim piling up, Goitse have become one of the leaders of the new generation of traditional Irish ensembles.

 

Goitse—pronounced gwi-cha—has released four critically acclaimed recordings and maintains a year round touring schedule that includes performances throughout Ireland and the United Kingdom, Germany, France and the United States.

 

The strength of Irish traditional music is that it evolves. The canon isn’t static with new tunes added all the time. Goitse moves the tradition forward with their own original compositions. Their distinctive sound comes from the meeting of those compositions and traditional tunes from the countryside of Ireland and abroad.

 

Laying the foundations for the music are World and All-Ireland bodhrán champion, Colm Phelan. The bodhrán, a large open frame drum, is the beating heart of Irish trad. A band without a solid player is simply not going to go anywhere.

 

Colm is not the only All Ireland champion in the band— Tadhg Ó Meachair plays a wicked accordion and is the All Ireland traditional piano champion.  Conal O’Kane rounds out the rhythm section of the band on the guitar. He’s a wizard who is making his mark as one of the finest guitarists of his generation.

 

Alan Reid plays the tenor banjo, bouzouki and mandolin. He is also an accomplished oud—a stringed instrument from the Mediterranean. Its inclusion in the band is a fresh texture that no other Irish Trad band is using.  

 

Out of this strong instrumental sound emerges the sweet, charismatic voice of Áine McGeeney. Her voice rings like a bell—clear and strong as it draws audiences into a song. Áine does double duty in the band playing the fiddle as well. as she sings. With a style that is feisty and energetic she completes the band sound in fine style.

 

Their band name is an informal Gaelic greeting that means “come here”. We couldn’t think of a better way to invite you to Summerfolk than to promise you Goitse.

 

The Summerfolk Music and Crafts Festival takes place at Kelso Beach Park on August 17, 18 and 19. For information on tickets, performers, or if you’d like to listen to some music by Goitse, visit summerfolk.org.

 

sf1

Sun Times Article 1: Waiting for Summerfolk…

Every year Artistic Director James Keelaghan writes a series of 12 articles for the Owen Sound Sun Times previewing the Summerfolk Music and Crafts Festival

By James Keelaghan

There are eighty-five days until Summerfolk.

 

Down at Kelso Beach Park, the buds are just beginning to open on the trees. The grass is turning green and the water, ice-free, is lapping at the shore. Were there security cameras installed, over the past weeks you would have noticed small groups of people with clipboards and measuring wheels roaming the grounds. You’d see a lot of pointing and scribbling and taking snapshots.

 

Eighty-five days, but we are in the park, measuring and imagining.

 

We’re imagining a park full of music and food and artisans. We’re imagining families, children, young lovers, tourists and others of all shapes, sizes and persuasions coming together for three days to share a common experience—Summerfolk.

 

Forty-three years ago this August, a group of people imagined Summerfolk into existence. Every year since then, we appear to conjure a festival out of thin air, transforming Kelso Beach Park into a place where music plays for 14 hours a day and where 4,000 people a day gather to share an experience.

 

Like Dickens’ spirits, though, Summerfolk doesn’t live for just three days. It’s a year’s worth of work. It’s May, but the performers have been booked, the food vendors and artisans selected, tents and port-a-potties ordered and the sound system reserved. Some grant applications and sponsorship deals are worked on 18 months before the current festival.

 

Every month, the Summerfolk committee meets to propose and discuss ideas and to work out logistics. We ask ourselves a lot of questions. Did we place this or that tent properly last year? What happens if we move that fence 5 feet? Is there enough power to do what we want? Do we want the tent sides with the rings so we can close the sides more quickly if it rains?

 

Right about now, the committee heads start reaching out to the over 700 volunteers who staff the various crews—construction, electrical, staging, trash and more.

 

All of that is done for a singular purpose—so that we can come together for three days and enjoy life. Music and food and art make life better. Sure we relax and soak up the sun, have a glass of wine or a beer but we also feed our minds. I sometimes walk away from a stage at Summerfolk shaking my head at the intricacy of something I heard, or a line from a song stuck in my head, or when I hear a type of music I’ve never heard before.

 

Myself, I’m deep into the scheduling of the festival. Over the past few months, I’ve whittled down hundreds of applications and sent out hundreds of offers. My wish list at the start of this process is seldom the same as the final list of performers because of several factors—fees versus our budget, availability just to name two.

 

Now that the list is done, I’m scheduling the festival I’m figuring out when each act is going to get their performance time. I’m thinking about the combination of performers for each workshop. A songwriter’s circle with Sarah Harmer, Stephen Fearing and Rose Cousins seems like a natural—as does a workshop with the Kubasonics and Polky Village Band. That’s two out of the sixty daytime slots taken care of!

 

Eighty-five days until Summerfolk.

 

You may have noticed I haven’t been saying eighty-five sleeps. There’s a good reason for that. As Summerfolk approaches, sleep time falls off as a square of the distance from today’s date to August 17. But time just keeps on rolling.

 

We’re excited about the program we’ve put together for you, from perennial children’s entertainer, Fred Penner to the incredibly soulful Tanika Charles. From a stilt-walking Maracatu band, Tallbeat, to the fresh sound of The Lifers–from the Welsh trad sensation Calan to the ever so modern Bahamas—musically there will be a lot to delight your ears. A children’s area, our signature wine bar, over 40 artisans, fantastic food–we really can’t wait.

 

But we have to.

 

Eighty-five days until Summerfolk. You can find information and links to tickets, as ever, at summerfolk.org. You’ll find us at Kelso Beach Park 17th, 18th and 19th. We look forward to showing you a good time.

 

Georgian Bay Roots Episode 88 (with Jon)

Georgian Bay Roots

With your hosts Dylan, Jon, Kailey, & Ted


Every Sunday on CFOS 560 from 4-5pm, Georgian Bay Roots shares some of the best music that’s made in and played in Grey and Bruce Counties with roots music from across Canada and around the world thrown into the mix.

This week’s host, Jon Farmer brings the heart of a fan and the ear of  musician to the airwaves.

The first two parts of this episode are a tribute to the late, great Stan Rogers on the 35th anniversary of his death. There are new tracks from the Lifers, Willem James Cowan, and the Great Canadian Swampstompers in the final act of the show.

If you missed the live show, you can download it from Soundcloud or iTunes.
You can download an iTunes podcast here

 

Special thanks to the Owen Sound Transportation Company and Mariposa for sponsoring part of the show this week:
OS_Transportation_FeaturedImage

MariposaFolkFestival-LogoName-Iogo1

 

Here’s the music!

Are you making music that you want us to share?
Do you have gig coming up that you want to promote?
Are you interested in being a sponsor or advertising on the show?
Contact us at georgianbayroots@summerfolk.org

If you missed the live show, you can download it from Soundcloud

OR

Visit our  iTunes podcast page for archived programs

Underneath any great festival are great sponsors.
  • Canadian Heritage
  • CH- Endowment
  • OAC resize
  • CFGB 2014 web
  • ONTARIO
  • Socan
  • OS Transport -resize
  • pow wow logo-1 websize
  • Nawash logo
  • The Dock coloured
  • RogersTV 2016
  • Sun Times
  • BrucePowerT_process300
  • Mix1065-colour
  • ticketpro
  • index_en
  • PWU
  • CIUT 89.5FM
  • Society of United Professionals
  • Northridge Property Management
  • Collins Barrow 2015
  • Keelings
  • Banquet
  • McIntee 60 yrs
  • Busch-Logo_Side-Stacked
  • GB Sustain Net - website
  • Quenchbuggy website
  • Lakeview-RV
  • Uhaul
  • Exclaim
  • Foodland logo
  • Caframo
  • breadheads
  • Fox Chrysler logo
  • TG Group Insurance
  • Long & McQuade
  • Long's Picnic Table
  • Albright Trucking logo
  • Miller Photoplaques
  • Zehrs Markets - web logo