A Green Man Review

We keep our cats as happy as we can. — Anna Nimmhaus

The piper at the gates of dawn has resumed their ritual after taking most of the summer off. Now from just before the first light hits the high meadow with its benediction of the new day ’til several minutes later when the sunrise glistens off the slate roof of Kinrowan Hall, the piper plays on. Some say the instrument is Great Medievel Pipes but I doubt that as I’ve never seen them here; more likely is that they are border pipes or uilleann pipes, which can be amazingly loud.

I’m now inside our Kitchen this morning as it’s just cold this morning for this time of the year. Autumn’s not even here but the weather’s giving us an early taste of what’s to come. Even the Estate felines and canines who like going outside are sticking close to the fireplaces and other warm spots inside Kinrowan Hall today.

In between lots of coffee and setting up my ‘office’ – which is myself, a large mug of Blue Mountain coffee and my iPad – in the sitting corner of the Kitchen, I’ve been editing this Edition which includes a a bevy of interesting things as always – though notice that the book reviews are all mysteries this time. Oh and Gary has a brilliant ending piece of music for us by Norwegian guitarist and composer Trond Kallevåg.

Rebecca Cantrell’s A Trace of Smoke found all of Donna’s pleasure points: ‘At first I thought it was a murder mystery, and it’s true that the plot revolves in part around a mysterious murder that the protagonist and narrator, Hannah Vogel, determines to unravel. The story takes place in Berlin in 1931, during the latter days of the Weimar Republic. So it’s a historical murder mystery. I would further characterize A Trace of Smoke as belonging to the noir subgenre in terms of its grittiness. However, the rest of this review should make clear, it also contains elements of suspense and romance, a very appealing mix for my taste.’

Donna takes a deep look into the noir fiction of Phillip Kerr, including six titles: Berlin Noir (which collects three books), The One From the Other, A Quiet Flame, and If the Dead Rise Not. ‘Yes, this is a detective series, for sure. The first person narrator and principal character is one Bernhard (Bernie) Gunther, a hard-boiled homicide detective who quits the Berlin police force (the Kripo) because he doesn’t want to become a member of the National Socialist (Nazi) Party. He becomes a private investigator, at least for a while. Taken altogether, the novels span a period of nearly a quarter century, and in that time Bernie covers a lot of territory, both in terms of his location and in terms of his means of support.’

Donna also found Paul Grossman’s The Sleepwalkers notable for its authenticity. ‘Although I have read a lot of novels that capture the look and feel of 1930s Berlin (as I have seen it depicted in film and still photographs) rather well, I have to acknowledge Paul Grossman for his detailed and compelling descriptions of particular locales. In a paragraph of a baker’s dozen lines, he draws a very clear picture of the Alexanderplatz. I’d never realized before that it was the home of the city’s two largest department stores (Wertheim and Tietz) as well as the police station. When Willi rides the S-Bahn out to Spandau, Grossman provides a lyrical description of the urban scenes that roll past the windows of the commuter train.’
Reviews September

Donna continued on the theme of novels set during WWII with Rebecca Cantrell’s A Night of Long Knives, and David Downing’s Stettin Station. ‘There is nothing light or amusing in either of these novels. I would characterize them instead as harrowing page-turners. They also both share common themes regarding the heroism displayed by ordinary people when they find themselves challenged by events around them. If you share my interest in this difficult period in history, I certainly encourage you to check them out!’

James R. Benn’s Billy Boyle and The First Wave combine WWII murder mystery with action adventure and historical fiction, all of which Donna enjoys. ‘Both of these novels do a good job of portraying the dangers and the moral ambiguities of war. Benn, a professional librarian with an obvious World War II fascination, makes excellent use of historical events and other details, such as descriptions of uniforms, weapons, and vehicles, to lend verisimilitude to his stories.’

For good measure she also covers Blood Alone, James R. Benn’s follow-up to Billy Boyle and The First Wave; it takes place mostly on Sicily. ‘I don’t want to give away too much, but I will say that the plot revolves around the (historically accurate) use of Sicilian Americans as agents in pulling off the invasion. Among these was the gangster Lucky Luciano, then imprisoned at Great Meadows Penitentiary, who through third parties was able to make contact with Don Calogero Vizzini, a Sicilian Mafia leader who persuaded thousands of members of the Italian armed forces to surrender to the Allies rather than continue fighting against them. The combination of World War II intrigues with Mafia plots and counter-plots makes for a very exciting story!’

Author Bartle Bull Sr. excelled at describing scenes and intense action, Donna says in her review of his books Shanghai Station and China Star. ‘That intensity of experience has its downsides, if you are a sensitive reader. All of Bull’s books are rife with violence and eroticism, often as not intermingled in the same scenes. He also has a tendency to use strong imagery to describe cultural practices. In these two novels, for example, he dwells extensively and at length on the Chinese custom of foot binding. In many respects, these books suggest what The Indiana Jones Chronicles might have looked like if they had been R-rated. About the only R-rated element missing from Bull’s narratives – and I mean completely missing – is crude or obscene language.’

Finally, Elizabeth reviews Jonathan Green’s Unnatural History, which combines mystery, alternate history, and pulp and a way she wasn’t crazy about. ‘This novel reads like pulp from top to bottom. The book takes place in an alternate 1997, one in which Queen Victoria and the British Empire are still alive and in control (through means not explained until the end), dinosaurs still exist, dandies still sport waistcoats and cravats while exploring Britannia-owned colonies on both the Moon and Mars, and of course, all the important people have ridiculously melodramatic names.’

David makes a strong case for the beloved British TV series Doc Martin, in his review of Season 2. ‘Doc Martin is filmed in Port Isaac, Cornwall and part of the charm of the series is the incredible beauty of the Cornish countryside and seaside. The opening credits are in time lapse photography, and show the tide receding and stranding the fishing boats on the sand. I never tire of watching these credits, as this image is particularly striking. But the programme is wonderfully written as well. These people are ordinary people going about their business. The stories are warm, sometimes shocking, often funny, and the actors playing the roles are perfect.’

Denise decided that since the Summer Solstice has come and gone, now is the time to try out some summery brews.  To celebrate warmer weather, she tries two from the Flying Dog brewery, Family Tree Belgian Pale Ale and a rare nitro pour of their blood orange IPA, Bloodline.  For fans of brews with a sour kick, Council Béatitude Cherry Tart Saison may strike your fancy, but she warns Saison fans, “Folks looking for a pour that’s more Saison than Sour? Probably should look elsewhere. People willing to walk on the wild (cherry) side? C’mon over.”  She promises this will be the first in an ongoing series of summer brew overviews, as she attempts to find a beer, ale or cider that will hold her until her beloved porters and stouts re-emerge in the fall. 

David was thrilled with every aspect of Louis Riel: A Comic Strip Biography by Chester Brown, a Canadian comics artist. ‘His drawings for Louis Riel are elegant – cartoony, but instantly recognizable portraits of real historical figures. His John A. MacDonald is a delightful caricature. Somewhat reminiscent of Herge, the drawings maintain a dignity and a style that is all Chester Brown. Beautiful. This is a lush and husky book, printed on heavy paper, bound well between hard covers – it is a comic book designed to last. And it is filled with such wonderful drawings, and such dependable research, it should last.

Gary has a lot to say about Norwegian/Finnish singer Sinikka Langeland’s new album, on which she is backed by an all star jazz ensemble. ‘Many of her albums have centered on the culture of Finnskogen, the “Forest of the Finns” on Norway’s border with Sweden, and have featured mythological themes, Finnish rune songs, or works by traditional poets (Hans Børli, Edith Södergran, Olav Håkonson Hauge). But on Wind And Sun she turns turns to the contemporary Norwegian playwright and poet Jon Fosse, whose poetry resonates with Langeland’s fascination with natural mysticism.’

Songs of nostalgia and mourning from Finland are featured on Emmi Kuittinen’s debut Surun Synty, Gary says. ‘She specializes in the songs and laments of Karelia and Ingermanland. In addition to lead vocals she also plays keyboards, accordion, ukulele and the Finnish-Karelian zither called kantele. Here she’s joined by Antti Rask, with whom she shares vocals in both leads and duets and who also plays ukulele and cello; Mimmi Laaksonen on wind instruments, harmonium, and vocals, and Kirsi Vinkki on vocals, fiddle, and the bowed lyre called jouhikko. Some of the best moments on Surun Synty come when all four join in marvelous harmony singing.’

Gary also reviews a grand new album by Finnish fiddler Emilia Lajunen. ‘The music on Vainaan perua: Satavuotinen Sakka is part of her doctoral studies at Sibelius, which has also included elements of dance, movement, and play, combining traditional and modern experimental approaches. It combines elements of two different Finnish traditions: the archaic, minimalist rune songs from the Kalevala tradition, which comes mainly from eastern Finland. And the dance-centric “Pelimannimusiikki” violin music of the 19th century, which comes mainly from western and central parts of Finland and is influenced by other European styles.’

This sounds interesting! Gary reviews an album of experimental music called Moonshine, by Maurice Louca and Elephantine. ‘On Moonshine, Maurice Louca’s ensemble Elephantine uses classical Middle Eastern modal music as a springboard to an entrancing blend of genre-defying sounds. It’s a dense, heady swirl of multi-cultural instrumentation united by jazz and other improvisational styles and modernist classical music.’

‘Vivian Leva and Riley Calcagno have made a delightful album that reflects the changes in their lives, moving from old-time and folk country in a more indie roots and folk-pop direction as they’ve moved from Portland, Oregon to Durham, North Carolina,’ Gary says of the pair’s new album Imaginary People. ‘Now going by the stripped-down name of Viv & Riley, they’re reflecting on new maturity and a new community, working at holding on to their roots as they move forward in a troubled and troubling world.’

Also in Americana, Gary reviews Margo Cilker’s sophomore release Valley of Heart’s Delight. ‘It’s been nearly a decade on the road building a musical career for Cilker, and many of the songs here reflect lessons learned along the way. A major theme is the tension between family ties and finding your own way, keeping sight of your roots while striking out for your own place in the sun.’

Jayme makes a strong claim for an album of Scottish music: ‘For anyone who is of the firm opinion that the Battle of Culloden was the darkest moment in the history of western civilization, Smithfield Fair’s Jacobites By Name is the album you’ve been waiting for. If you’re not craving a big old steaming hunk of haggis by the time the last song fades from your stereo speakers, you’ve not got the least smidgen of Scottish blood in your veins.’

Michael was enthusiastic about Seven Nations’ debut album The Factory. ‘I’ll say it up front: The Factory has bagpipes. Lots of them. In fact, it pretty much starts off with an amazing bagpipe instrumental that soon launches into “The Factory Song,” a curious ballad based upon a handcar/traditional song and modified by Kirk McLeod for this album. It’s an energetic song with a trace of melancholy and regret, a tale of the men working day and night in a factory, the sort of song they might have sung to keep up their pace and rhythm while working. ‘

While he was at it, Michael reviewed a couple of other Seven Nations releases, The Pictou Sessions and the self-titled Seven Nations. ‘There’s a reason that Seven Nations has fast become so popular, with seven independent albums under their belt and a nationwide fan following. It’s not just the fact that they spend over two-thirds of the year touring and playing. It’s because they’ve thrown rock, pop, traditional Celtic and more into a blender and hit “puree” to create something wholly unique. Their lyrics are powerful, the vocals strong, the instruments energetic.’

Michelle tells us about Get Your Breath Back, a self-released CD from a Norfolk/East Anglia dance band, Straight Furrow. ‘Musically, this is a very strong recording, with precise instrumentation and a lovely selection of tunes. From the title I was expecting mostly foot stomping jigs and reels, and maybe a piece with a caller for dancers to follow. Instead, there’s a mix of haunting airs and delicate melodies that one could imagine at a wedding processional.’

Rick had some pretty high praise for Ron Sexsmith’s Retriever. ‘There are some serious subjects broached on this album, from pity for a driver who kills a child in an accident, to the loss of dignity on reality shows, but the overall mood is happiness, which is also the title of one of the tunes. This is an uplifting album, in spite of these rather heavy themes. It leaves you with an appreciation for true love, commitment and compassion.’

Gary brings word of a new single by Norwegian guitarist and composer Trond Kallevåg. The atmospheric and cinematic tune “Fargo” is the first single from the forthcoming album Amerikabåten. ‘With its blend of noir Americana, American kitsch and cool Nordic atmosphere, “Fargo” not coincidentally sounds like it could be part of a Coen Brothers film soundtrack. Listen to it here.

If you confront anyone who has lied with the truth, he will usually admit it – often out of sheer surprise. It is only necessary to guess right to produce your effect. — Hercule Poirot in Agatha Christie’s Murder on the Orient Express

Summer’s fully upon us here on this Scottish estate. We generally  get a summer much more pleasant than is commonplace in Scotland as we share a Border with what Yeats called the Celtic Twilight and the Fey really, really like warm summers. (And alas, cold winters as well, there being Summer and Winter Courts.) So I’m sitting under one of the Great Oaks planted a hundred and fifty-odd years ago by Lady Alexandra Margaret Quinn, Estate Head Gardener here for a very long time, who’s buried beneath them.

I’ve got a murder of crows overhead looking to see if they can steal anything from me as I’m eating lunch outside, but there’s naught that catches their interest, mercifully. Oh, eventually I’ll treat them to something from my repast but not right now.

I’ve got my iPad in hand, a most tasty Lady in The Wood IPA named in honour of that Estate Head Gardener to drink, and I just got a note texted to me that Chasing Fireflies are doing a contradance this evening with Gus, our Estate Gardener calling, so I need to get this done soon. Go ahead and get yourself one of those ales and I’ll have this Edition for you soon… Now where was I?

I like mysteries, so I’m selecting reviews of some of my favorite ones this time.

Cat has a look at two novellas in an interesting series: ‘As I write this review just before Election Day, there have been but two novellas released in the fascinating Sub-Inspector Ferron series “In the House of Aryaman, a Lonely Signal Burns” and “A Blessing of Unicorns”. I’m not sure how I came upon the first novella but it was a superb story, both in terms of the setting and in the characters that Bear has created here, including a parrot-cat called Chairman Miaow.’

He also had high hopes for Philip DePoy’s The Devil’s Hearth as he has ‘a special fondness for mystery series set in the Appalachian Mountains, even though there aren’t a lot of good ones and a lot of not so great ones. Sharyn McCrumb’s Balladsseries had some memorable outings, particularly among the later novels, and one which was outstanding, Ghost Riders.’ Read his review to see if DePoy lived up to his expectations.

Craig has a look at three mystery novels by the venerable Ray Bradbury, as collected in an omnibus. See for yourself why Craig says, ‘Where Everything Ends is a trio of fine detective novels (together with the short story that provided the starting point) from Bradbury in his inimitable style. He plays with the conventions, but since he so obviously loves the genre, this is easily forgiven — embraced, even — because the end results are, simply put, fine additions to the canon. This series is also dear to fans because it is likely the closest thing to an autobiography we will receive from this man who has brought so much joy to so many people for so many years.’

Leona gives an incisive review of Black Is the Colour of My True-love’s Heart, an Ellis Peters novel: ‘Originally published in 1967, ‘this is a book of music, of silence, of words; it has love, hate, and all their analogues. Myths and facts combine to wrap the storyline in a heavy cloak of authenticity. This is a story of high passion and cool deliberation; it dances through the morals and minds of another age and gives the reader a wide window into the world of folk music and ballad-singers.’

Lis thoroughly enjoyed a reissued classic mystery novel, Anthony Boucher’s Rocket to the Morgue, featuring LAPD Detective Lt. Terence Marshall. It has an SF tie-in, too: ‘… Marshall is investigating a locked-room attempted murder, questioning a selection of potential suspects from the Mañana Literary Society, the informal social circle of the science fiction writers living in and around Los Angeles at the time. For dedicated science fiction fans, this adds some extra fun, because these writers are mostly thinly disguised major sf writers of the period. However, if you’re only here for the mystery, you won’t notice, and it won’t distract from the story.’

Joel has a review of China Miéville’s intertwined cities as told in his Hugo winning The City & The City novel: ‘With acknowledgments to writers as diverse as Chandler, Kafka, and Kubin (to say nothing of Orwell), I don’t need to tell you this won’t be your typical detective story. But given this is Miéville, would you have really expected a typical anything?’

Next we have A.A. Milne’s The Red House Mystery, a classic English manor house novel that gets a look by Lory: ‘The story is not really a “whodunit” — the “who” is pretty clear from the outset — the question is “how” and, even more, “why” he did it, and Milne keeps us guessing until the end. The plausibility of the solution is not one that would hold up to heavy scrutiny, but the pleasure lies not in the verisimilitude of the puzzle but in the ingenuity of its construction and unravelling, and the witty repartee among the characters.’

A Britain that never was catches the interest of Lory: ‘Jo Walton has a knack for genre fiction with a twist. In the World Fantasy Award-winning Tooth and Claw, she gave us a Victorian family saga — complete with siblings squabbling over an inheritance, the woes of the unwed daughters of the house, and the very important question of What Hat to Wear — with a cast of dragons, literally red in tooth and claw. Now in Farthing, her material is the mid-century British country house murder mystery. The story is told in alternate chapters through the eyes of Lucy Kahn, a reluctant visitor to the family estate of Farthing, and over the shoulder of Inspector Carmichael, who has been sent from Scotland Yard to investigate the death of one of the other guests.’

Robert looks at Steven Brust and Megan Lindholm’s The Gypsy, which has been in his ‘peripheral vision for some time, and was brought front and center by Boiled in Lead’s CD Songs from The Gypsy. I’ve sort of put off Brust’s collaborations, of which this is one, although I can see that I’ve got to catch up on them.’ He goes on to say that he found this Hungarian folklore-tinged novel to be terrific, a comment I wholeheartedly agree with!

Cat, a lover of TV mystery series, reviewed a recent re-release of a British series about a Dutch detective. ‘Van der Valk is set in and around Amsterdam, where Commissaris van der Valk is a senior detective with a wife and children who are literally heard but not seen. Drugs, sex, WWII collaborators, political scandals, and, of course, murder are the primary themes of the series. But just as important to the feel of the series are the Amsterdam locations where all the exterior shots were done.’

Richard looks at a chapbook that covers a favored treat here at the Kinrowan Estate: ‘Ask anyone waving around a Drumstick cone or Klondike Bar where ice cream comes from, and you’re lucky if you get a smart-aleck response like “the freezer.” Ice cream may be near-universally loved (there’s an ice cream truck going down my block as we speak, and it’s not being shy about it), but it has an oddly shrouded history. Admittedly, most consumers of ice cream wouldn’t care if the first ice cream cone sprang, fully formed, from the forehead of Zeus, but for those who are actually curious about where their double-dip hot fudge sundaes originated – and who don’t want to read a tome the size of a cinderblock – there’s Ivan Day’s slender Ice Cream.’

‘It’s really hard to do a companion to a long running series well, Cat says, citing a couple of rare examples before he continues: ‘What had not seen a companion text was Mike Mignola’s Hellboy / B.P.R.D. (Bureau for Paranormal Research and Defense) stories, which have spawned graphic novels, prose novels, lots of short prose fiction, not one but two critically acclaimed live action films, and two rather well-done animated films. Oh, did I mention a cornucopia of action figures? All of which is why Hellboy: The Companion exists!’

What’s David talking about here? ‘Hey man, don’t bogart that joint! This is some far out stuff. Shiva Jones, ex of the “mystical rock band Quintessence” and his musical partner Swiss recording artist Rudra Beauvert have combined their efforts to create a new mystical, almost psychedelic album of transcendent atmospheric rock.’ Find out more in his way out review of Shiva Shakti‘s self-titled record, which includes a brief visit from Sp!ke.

Eric discovered that Richard Shulman didn’t quite deliver on the promise implicit in his two albums Keeper of the Holy Grail and Camelot Reawakened. ‘It’s a lot to ask from an album – summoning up the sense of a divine presence in 45 minutes or so of conscientious listening. Camelot Reawakened and Keeper of the Holy Grail don’t quite achieve this goal, but the albums still have some merit strictly in the earthly appeal of the music. The high points are worth seeking out on each album, but don’t expect a transformational or truly inspirational experience. Maybe those results are just more than one can expect from a couple of CDs.

Gary joyfully reviews a new album from a familiar name: ‘Teddy Thompson is one of the best living interpreters of classic country songs (not counting Willie Nelson, who’s in a class all his own), and he only further cements his status on his latest album My Love of Country. On this album he rolls out a bunch of classics, a couple of deep cuts, and one well-placed surprise, and he does it all with tears in your beer authenticity that reveal his own love of the music.’

Gary enjoyed a new large ensemble jazz recording, Chuck Owen and the WDR Big Band’s Renderings. ‘I don’t know about you, but there are times when I just crave some swinging music with creative solos and lovely melodies over big horn charts. Renderings perfectly fits the bill.’

Gary also spent some time with Norwegian guitarist Morten Georg Gismervik’s Dunes at Night, an album that uses a variety of styles to tell a musical tale of sorts: ‘The music on Dunes at Night comes in two different styles, one portraying the outgoing and adventurous Kimri, the other the more introverted Winter. Kimri’s tracks for the most part involve propulsive grooves that often explode forth from quieter introductory sections, while Winter’s music highlights Gismervik’s sensitive guitar work along with delicate piano lines.’

Judith offered qualified praise to Silvery Moon, which she noted is by Aoife Clancy, who she notes ‘is the daughter of Bobby of the Clancy Brothers, and has been lead vocalist with Cherish The Ladies. Silvery Moon is her third solo album and is an amalgam of Celtic and American folk. If her name were not so Irish and were it not for the reputation of Cherish the Ladies, it would be easier to present this as a folk album with a few Celtic tracks, instead of a Celtic album with leanings toward American folk. But trust my words, Silvery Moon is a folk album.

Lars had kind words for Never Despair, an album by Cincinnati’s premier Celtic band, Silver Arm. ‘But in spite of doing a great job with the many Celtic tunes, it is when they move away from that territory that they really shine. They do a fine Swedish set of polskas (not to be confused with polkas) learnt from the now defunct Filarfolket. The first tune of the set is Ale Møller’s “Solpolska,” an intricate and beautiful tune performed on the oboe. They then move into “Magdalenapolska,” a faster, danceable tune with some lovely rhythm work. It is one of the best and most exciting tunes on the album.’

Michael interviewed Richard Thompson on the occasion of his solo acoustic trip to WOMADelaide in 2001, when it had been 35 years since he left Fairport Convention and struck out on his own. Said RT: I feel very fortunate to have people listening still, and a few young’uns. Thirty-five years is a terrifying prospect, but I shall enjoy the reunion in 2002. Fairport has survived by being good, and it gets a lot of local support.’

‘The first thing I thought about this album was “Hell, there’s nothing to dislike about it,” Peter said with typical straightforwardness, of Shirae’s Tiger’s Island. ‘Shirae are Shireen Russel and Reidin O’Flynn, two young ladies who are belting singers, to say the least. Their music is strong Irish folk rock, tinged with a bit of country & western. When they duet in harmony they have that magical sound that usually only sisters can produce. So I wasn’t surprised to learn later from their website that they are actually mother and daughter – that’s why they sound so good together.’

Rebecca felt like she was an an open mic night at the local coffeehouse when she lisened to Laura Siersema’s When I Left Loss. ‘Siersema writes some of her songs totally or partially in the third person, distancing herself from the characters so that the album does not take on the attitude of a confessional work. She seems to be trying to imagine life as other people live it. Perhaps the mood or some of the experiences are hers, and maybe she knows people like the characters she creates, but the album has a refreshing air of not being totally self-centered.’

Scott found the music on the Shetland band Shoormal’s Migrant pleasant enough, but not much more. ‘While Migrant does not suffer from any obvious weakness, the album does not really distinguish itself as something special, either. The music is quite pleasant, but one could argue that it is too pleasant and not really challenging. Having said that, any fan of straightforward female harmonies will find this worth a listen, and Trevor Smith is a first-rate guitarist as well. People looking for something light and melodic, in a mainstream, non-traditional sort of way, could do much worse than Shoormal.’

Stephen definitely liked the rootsy, bluesy rock on Ramsay Midwood’s Shoot Out at the OK Chinese Restaurant: ‘This album was originally released a few years ago by the artist himself, who’s been busy carving out an awesome live reputation, particularly on the European circuit. Fortunately, Vanguard Records have stepped in to prevent Midwood toiling as a “prophet without honour” in his own land, and have granted this CD the distribution it deserves.’

We’re not sure who wrote this Folkmanis review as our What Not this time, as that information does seem to have gone walkabout: ‘Folkmanis has gained an excellent reputation in recent decades for its overwhelming array of puppets. The plushies range from eerily lifelike to utterly fantastical. Right now I’m holding the Sea Serpent Stage Puppet in my hand. Well, okay, I’m wearing it on my hand…is that so wrong?’

So I’ve got some summery music for you that I think fits pretty much any season. It’s Michele Walther and Irina Behrendt playing Aaron Copland’s ‘Hoe Down’from Rodeo. I sourced it off a Smithsonian Institution music archive which has no details where or when it was recorded (which surprised me given how good they usually are at such things), but it may have been around 2011.

Several Annies, do pay attention now as there will be a quiz afterwards!

Well, now. Mackenzie has asked me in as tonight’s guest lecturer. He likes to keep these seminars going through the summer months, you know, when otherwise the staff and denizens of  the Kinrowan Estate get too caught up in the long days and short nights in Oberon’s Wood. Remember, Masters and Mistresses, you are supposed to be writing about books here.

And what does it mean, to write ‘about’ books? Hey? Any of you bright-eyed boys and girls ever paused to think about it, in your rush between the reference stacks and Jack’s in barrel? I’ve seen that barrel, and a mighty void it is, too. What are you all about as you proffer your analyses of art to the waiting ether?

Some might consider it a self-referential waste of time, especially the business of review and literary critique. ‘Them as can, do,’ the saying goes. ‘Them as can’t do, teach. And them as can’t do neither, criticize.’ Of course, that old saw is usually trotted out by someone who has written a bad book and been caught at it. There is power and skill needed to review a tale properly, so as to catch the casual reader’s interest and send it on like a well-aimed sling stone to find the original work itself.

But you may need to ask yourselves — and a frightening question it is — are you committing metafiction? When you write about another’s world, are you outlining the borders for the uninformed, or extending them? Are you lighting the path or creating a detour? It’s not my business or concern to tell you that — no, it’s not, so you can put away your notes and that dismayed look, young woman — it’s merely my intent to make you think about it. To read deeply and then to talk about it is a serious thing.

We all walk into books hoping. We hope for joy or mere amusement; for fulfillment of a dream and the filling of an idle hour; for a clear look at something we have glimpsed in dreams, or the first look at what has been unimaginable. When we consent to read a tale, we’re consenting to a journey that we have to take on faith. We hope to be well and safely conveyed the whole way, and not left robbed of our time by some nameless highwayman. We trust the writers to know the way and show us all the best sights. At their best, all writers take us on the perfect road; at your best, you are sharing your experience on that road.

Consider yourselves cartographers, ladies and gentlemen. Every book opened is a new world discovered. Worlds are vast things. They harbor as much danger as delight; neither one is always easy to find, and maps are required. Not all worlds will sustain life — a warning to the explorer behind you on the road can give warning that ahead is a deadly insufficiency of oxygen, or warmth, or wit. A bright red ‘Here Be Dragons’ pulls in as many eager travellers as it warns off the timid ones: someone languishing for the company of dragons may never find their heart’s desire without your directions.

So sharpen your pens and calibrate your compasses. The folk on staff all brought out their brightest inks, and the maps displayed in the books are grand examples to emulate.

Brown-eyed women and red grenadine,
The bottle was dusty but the liquor was clean.
Sound of the thunder with the rain pouring down,
And it looks like the old man’s getting on.

‘Brown-eyed Women’

Summer’s fully upon us here on this Scottish estate. We generally  get a summer much more pleasant than is commonplace in Scotland as we share a Border with what Yeats called the Celtic Twilight – the Fey really, really like warm summers. (And alas, cold winters as well, there being Summer and Winter Courts.) So I’m sitting under one of the Great Oaks planted a hundred and fifty-odd years ago by Lady Alexandra Margaret Quinn, Estate Head Gardener here for a very long time, who’s buried beneath them.

I’ve got a murder of crows overhead looking to see if they can steal anything from me as I’m eating lunch outside, but there’s naught that catches their interest, mercifully. Oh, eventually I’ll treat them to something from my repast but not right now.

I’ve got my iPad in hand, a most tasty Lady in The Wood IPA named in honour of that Estate Head Gardener to drink, and I just got a note texted to me that Chasing Fireflies are doing a contradance this evening with Gus, our Estate Gardener calling, so I need to get this done soon. Go ahead and get yourself one of those ales and I’ll have this Edition for you soon… Now where was I?

Craig was favorably impressed with Paul Green’s Encyclopedia of Weird Westerns. ‘It is very easy to get lost in the Encyclopedia of Weird Westerns, so make sure to set aside a good deal of time when you pick it up to “just look something up.” There are plenty of discoveries awaiting, and some old favorites to revisit.’

David waxed nostalgic about Singing Cowboys by Douglas B. Green (a.k.a. Ranger Doug of Riders In the Sky) . ‘Douglas B. Green has compiled a beauty of a book here. If you have any interest in the era or subject at all Singing Cowboys is a treasure trove of trivia and memorabilia. And it has a CD too! So you can listen to 10 of the greats as you peruse the pages. Aah . . . memories!

Donna found Nicholas Griffin’s Dizzy City enjoyable but a bit disturbing. ‘As I was reading this book, I realized how much it reminded me of Theodore Dreiser’s rather bleak urban fiction, particularly The Titan, and of F. Scott Fitzgerald’s The Great Gatsby, which is certainly about a very skilled con artist. Griffin does a good job of capturing the grittiness of New York City and of revealing the motivations and tricks of people who live by their wits. I learned more about cons from reading this book than I ever wanted to know.’

Farah did an in-depth review of two books about the author of the Mary Poppins stories: Giorgia Grilli’s Myth, Symbol and Meaning in Mary Poppins: the Governess as Provacteur, and Valerie Lawson’s Mary Poppins, She Wrote: The Life of P. L. Travers. One she liked, the other she didn’t. ‘Although Lawson’s aim is not to illuminate the books, her account of Travers’ interests and obsessions offers a complex critique of Travers’ work, which helps to explain why they are as unnerving as they are fascinating. The same is not true of Giorgia Grilli’s account.’

Michael got a kick out of Chris Marie Green’s Night Rising, the first book in her Vampire Babylon series. ‘Night Rising is the first in a trilogy by Chris Marie Green, better known for her romances under the name Crystal Green, and it certainly seems as though she’s made the transition to urban fantasy without a hitch. Green plays with the Hollywood conceits perfectly, from the all-encompassing drive to “make it big” found in everyone from bartenders to gas station attendants, to the fear of falling into obscurity by those who have made it big. Hollywood’s tendency to chew up child actors and spit them out is brought up, as is the manner in which some celebrities die mysteriously, leaving behind legends.

Naomi found a lot to like in Single White Vampire Seeks Same, an anthology edited by Martin H. Greenberg and Brittany A. Koren. ‘It’s really hard to pick out a couple of tales to spotlight, as they were all so good! The first story in the book caught me completely off guard and had me chuckling, yet it also had me thinking very hard on the ramifications. “Personal Wishes” by Mickey Zucker Reichert has Cupid putting away his trusty bow and arrows, and trying something new. The Godling of love riding around on a subway is just too priceless a picture to let go of! Yet he is still doing his best to bring couples together with their ideal others.’

Robert has four reviews for, two from Jane Lindskold and two from Patricia McKillip.

The first is Changer: ‘Urban fanstasy is a subgenre with as many sets of criteria as there are practitioners. Ranging from the Celto-Amerindian universe of Charles de Lint’s urban Canada and Neil Gaiman’s eclectic universe of the Dreaming, with even hybrids such as Mark Anthony’s Last Rune paying tribute to fairies and hobgoblins, Lindskold has stepped neatly in and taken as her purview the myths and legends of all places, all peoples, and set them down in the contemporary American Southwest.’

He follows up with the sequel, Legends Walking: ‘Jane Lindskold has followed up Changer with Legends Walking, which opens a few weeks after Changer closes. The same characters appear, many in expanded roles, new athanor characters participate, and the story takes on added complexity as several plot lines develop.’

He next has a review of Winter Rose: ‘The story is told in McKillip’s characteristically elliptical style, kicked up an order of magnitude. Sometimes, in fact, it is almost too poetic, the narrative turning crystalline then shattering under the weight of visions, images, things left unsaid as Rois and Corbet are drawn into another world, or come and go, perhaps, at will or maybe at the behest of a mysterious woman of immense power who seems to have no fixed identity but who is, at the same time, all that is coldest and most pitiless of winter.’

He finishes up with Solstice Wood, a sequel of sorts to Winter Rose: ‘McKillip has always been a writer whose books can themselves be called ‘magical,’ and it’s even more interesting to realize that she seldom uses magic as a thing of incantations and dire workings, or as anything special in itself. It just is, a context rather than an event, and perhaps that’s the way it should be.’

Craig reviewed the DVD edition of the BBC’s celebrated miniseries I, Claudius, and a documentary about a 1937 failed attempt to bring the story to film. ‘Based on two novels by Robert Graves, I, Claudius was a groundbreaking miniseries, and is still today considered by some to be the totem by which all other miniseries are measured. It stars Derek Jacobi as the titular emperor and autobiographer. As narrator, Claudius tells us his family history from his grandmother Livia’s marriage to the Emperor Augustus Caesar to the end of Claudius’ own life, at the hand of others.’

Kelley submitted a review of a British style pub in Portland, Oregon, as well as a couple of beers he sampled there. One of them was Rogue’s Hazelnut Brown Nectar: ‘The Hazelnut Brown Nectar is a daytime beer, a lunchtime beer. We felt this was a beer meant to go with a sandwich, hearty enough to provide sustenance, but refreshing enough for the middle of the day. Not surprisingly, it was nutty, with a yeasty edge, and a bit malty in the finish. Its color happened to match the mahogany-colored broth in the Murphy’s Stew perfectly. If hops aren’t your thing, you should try this.’

Craig revisits an old favorite in Jeff Smith’s SHAZAM!, the DC revival of the old original Captain Marvel character. ‘There was always a certain kind of “Gee whiz!” quality to the Captain Marvel stories I remember, and it’s this quality that Jeff Smith captures in spades. Captain Marvel isn’t the type of character who, in my view, lends himself to the kinds of darker existential angst that tends to dominate the superhero genre of today. If things like Peter Parker’s eternal guilt over his failure to save Uncle Ben, or Bruce Wayne’s constant toeing of the fine line between hero and criminal, or even Superman’s loneliness as the last survivor of a destroyed planet, are what you look for in a superhero tale, then Captain Marvel probably isn’t for you.’

Big Earl reviewed From Paris With Love by the legendary Jamaican band Skatalites. ‘The Skatalites were the original house band for Jamaican musicians in the early ’60s, backing literally every artist on the island. A jazz band that stumbled across a new beat and attack, their ensemble playing gave the world ska, and later reggae. Comprised of very talented players, the band often chose cheeky songs to cover, like “The Pink Panther Theme” or “Baby Elephant Walk,” and managed to to make even the most trite material sound vital.’

Gary reviewed some Catalonian jazz on Èlia Lucas Quartet’s Introspecció. ‘The young Catalonian pianist and composer has a wealth of music education and experience already, and plays in various jazz, pop and indie groups. She lives in Barcelona, where she teaches music and is studying for a degree in classical music. That interest in classical is reflected in many of the compositions on Introspecció. The other three members of the quartet – Edu Pons on alto and soprano sax, Tomàs Pujol on double bass and Kike Pérez on drums – bring her compositions and ideas to life.’

Gary was also thrilled with the klezmer music he found on Yale Strom & Hot Pstromi’s The Wolf and the Lamb, which he said ‘is exactly the sort of high quality release I’ve come to expect from Arc. The choice of music, the performances, and the wealth of background information that come with this recording are exemplary. The detailed liner notes for each song and the album as a whole and the choice artwork and photography enhance the experience of listening to this vibrant, living music.’

John was supportive of the artists in his review of three albums by diverse singer songwriters: Marc Broussard’s Momentary Setback, Jens Hausmann’s Back on the Track, and Penny Nichols’s I’ll Never Be That Old Again. ‘Diversity is the name of the game, and with two American singer songwriters dealing in varied parts of the roots arena, and an American-born guitarist/singer now based in Germany, the recipe is made for an interesting musical journey.’

Patrick liked the music but not the faux-Irish singing on Glass In Hand by the Chicago band St. James Gate. Glass in Hand is fine pub – or bar – fare, but it does not rise above that level, though it has the potential. If these guys lose the accents and sing “Whiskey in the Jar” in the same style they tackle “Will the Circle Be Unbroken,” their music would be much better off.

Peter was supportive of More Electric, an album by Canadian guitarist Shane Simpson. ‘Shane is very much a guitarist’s guitarist. His style and ability carry his songs. I found myself admiring and listening to the guitar work more than the actual song content. On this side of the water, if you are a fan of Albert Lee you are sure to pick up on Shane Simpson.’ His wife liked it too; read it to find out why!

Peter also gives a nice review to a CD so rare we couldn’t even find a photo of its cover art! ‘This is the sort of thing a lot of bands send out to prospective venues and festivals when looking for a booking,’ he says of The Skirlers’ Cutting the Bracken, but he liked it anyway for its authentic live feel. ‘True, some of the songs or tunes are not without the odd ‘nervous’ mistake, but this does not matter one jot. You’ll be hard placed to spot them anyway! And that’s part of the charm of the album. I have a feeling this album is just a taste of what the Skirlers are like live.

Sean brings word of an archival recording of music from a lengthy documentary series about the lives of working people that was on the BBC in the late ’50s and early ’60s. Singing the Fishing collects some of those songs, mostly written and arranged by Ewan MacColl, and performed by MacColl, Charles Parker, and Peggy Seeger. ‘In an age when much folk music has lost touch with its underlying narrative, Singing the Fishing is a reminder of the magnificent potential that is locked inside this art form.’

What Not comes courtesy of Mia who looks at four of Folkmanis’s creations, to wit Blue Dragon, Green Dragon, Three Headed Dragon, and Phoenix and she says, ‘Oooooh, shiny! I have a box of dragons here! Folkmanis makes the best puppets ever, and their dragons are some of the finest of their puppets.’

I rather like ‘Brown-Eyed Women’ quite a bit but my favorite version isn’t the one with Garcia singing that the Dead did, but rather is one someone here found some years back. The late Robert Hunter who wrote much of what they played including this song and my favourite version is done by him during a show at Biddy Mulligan’s in Chicago on the tenth of October some thirty years ago. So let’s now listen to him doing that song.

Everyone ignores two important facts: one person’s crap is another person’s beloved book, and publishing has always produced books in great volume. ― Kristine Kathryn Rusch’s Discoverability

There’s a contradance going on just now, but my left knee, injured many decades ago, is acting out, so I decided to stay in the Pub and listen to the Neverending Session which has been playing a lot of hambos (think of them as a sort of a mazurka if you wish) this evening as I write up these notes. Gary Whitehouse as always did the music, graphic novel and film sections. 

Speaking of the latter, we should welcome sone folk who are both great writers and all around nice to have around, Lis Milner, Warner Holme and Paul Weimer, who’ve been here for some months now. Welcome! 

We’re doing nothing but works by Roger Zelazny this time so we’re leading with a review by April of his longest work: ‘Roger Zelazny’s Amber series spans three decades, ten volumes, several short stories, a RPG, graphic novels and even a recent revival attempt (John Betancourt’s Dawn of Amber series). Packed into those original books and stories is a wealth of characters, settings, items and plots — far too much minutiae for any but the most die-hard fan to remember. And that’s where Krulik’s The Complete Amber Sourcebook comes in. The Sourcebook is not for someone who has not read the entire series, as spoilers are literally everywhere. Krulik assumes an audience already familiar with the core set of books.’

She also has look at an unusual novel from a SF writer doing his only thriller: ‘Dead Man’s Brother is a delight to read — Roger Zelazny’s language and characters seem right at home in this genre — and regrettably over all too fast at less than 300 pages. If only more such jewels were left to unearth…’

Cat leads off a review in this way: ‘If you started listening to audiobooks over the past ten or so years, considered yourself to be extremely lucky as you’re living in a true Golden Age where narration, production, and ease of useless is extremely good. But long ago, none of that was something you could take as a given as it most decidedly wasn’t.’ Now read his review of Roger Zelazny’s Isle of Dead to see if this older audiobook transcended these limitations.

And he says ‘Roadmarks features a protagonist somebody is trying to kill as he moves along a time-travelling road. As one does. ‘Zelazny really didn’t do plots all that well, but he was gifted at developed unique characters and settings. So, like so many of his novels, this one’s true strengths lies in the unique nature of the setting, combined with the character development…’

The Ides of Octember: A Pictorial Biblography of Roger Zelazny is, Iain notes, ‘a bibliography which was prepared as part of The Collected Stories of Roger Zelazny, a six volume undertaking, of which you’ll find the first volume, Threshold, reviewed here.’ Read his review on this bibliography which only diehard Zelazny fans or libraries with a strong  sf emphasis should consider buying, so quite naturally we have a copy.

Let’s not give away what happening in the story Lis reviews A Night in the Lonesome October: ‘ Snuff is our narrator, here, and he’s a smart, interesting, likable dog. He’s the friend and partner of a man called Jack, and they are preparing for a major event. Jack has a very sharp knife, which he and Snuff use in gathering the necessary ingredients for the ancient and deadly ritual that will be performed on Halloween.’

Robert has a rather unusual book by him — well, unusual for Zelazny, at least — Damnation Alley: ‘One of the key elements of Zelazny’s work was his complete disregard for the boundaries between science fiction, fantasy, and mainstream literature. Consider that, within a science fiction framework he frequently introduced mythological characters, not as mythic archetypes but as actual characters, and pushed the boundaries of what was acceptable stylistically within the genre into more widely accepted literary conventions. And, having said that, I’m faced with Damnation Alley, a novel from early in his career (1969) that seems, on its surface, to undercut my points.’

While poking around in the back reaches of the Library, he also ran across an old favorite, Roger Zelazny’s collection The Doors of His Face, the Lamps of His Mouth and Other Stories: ‘Although he published his first story in the early 1950s, Roger Zelazny didn’t really impact the science fiction scene until 1963. That’s when I remember reading “A Rose for Eccelsiastes” in The Magazine of Fantasy and Science Fiction (with their best cover ever illustrating Zelazny’s story). He followed it up the next year with the title story of this collection, which won him his first Nebula award. Zelazny and his contemporaries went on to become the American branch of science fiction’s New Wave, and pushed the envelope until it was altered beyond recognition.’

Lest we get too comfortable with all this summer sunshine, Asher reviewed the creepy Darkness Falls. ‘What I like so much about Darkness Falls, as well as Craven’s They, is that besides that light and deft touch, you can really feel with the film what it was like to be afraid as a child. Both films, especially this one, rely on suspension of jaded adult comfort with an ordinary good night’s sleep. That sense that the worst thing lurking in the shadows of suburbia is a conventional axe-wielding psychopath, escaped from the local asylum, is being challenged again.’

Gary loves cookies, so he was eager to try Trader Joe’s Chocolate & Peanut Butter Joe-Joe’s sandwich cookies. His verdict? ‘They’re tasty and definitely satisfy your sweet tooth. I don’t think they need to be as sugary as they are, but then I’m not the one making gazillions of dollars selling high-end snacks to the bougies, so what do I know?

Not exactly a graphic novel, but it’s filled with graphic art: David got his rave on about Paul Grushkin & Dennis King’s The Art of Modern Rock, detailing concert posters from the indie music explosion of the early 2000s. ‘There are 1,800 of these posters presented in The Art of Modern Rock. One thousand, eight hundred! And they are accompanied by photographs and brief biographies of many of the artists who created them. At first perusal I missed these photos altogether! It was the posters I was looking at. Page after page of beautiful, then bizarre, then disturbing, then funny, wait…funny and disturbing…images. Drawings, paintings, solarized photos, sometimes organized according to artist, sometimes by theme, the images were just so rich and plentiful that on my first time through I simply looked at them.’

Alistair dug into No. 1 Scottish, the first album by students on the Royal Scottish Academy of Music and Drama’s own label. ‘However, put any notions out of your heads of school yearbooks, of end-of-year brag productions to convince proud parents that their investment is not being consumed in the Horseshoe Bar. This is a thoroughly professional release, standing proudly as a sampler of the best of Scottish traditional music as interpreted by some of Scotland’s most accomplished young performers.’

David reviewed a tribute disc to a Canadian folk singer that many people in the U.S. have probably never heard of. Here’s what he has to say about One Voice: A Tribute to Norm Hacking. ‘Norm Hacking is a big man with a big heart and a lot of friends. Many of them gathered in the last year to put together this collection of some of Hacking’s best songs, performed with affection and skill. Wayne Marshall, a guitarist and songwriter from Brantford, Ontario, produced this rich and varied collection.’

David also reviewed a four-disc set compiled for the 40th anniversry of the Philadelphia Folk Festival, drawing on performances during many years of the festival that began in 1962. ‘This box set is an extraordinary little box of treasures. Even the booklet is well-designed, filled with mementos and curios, and tons of information about the performers and the festival.’

Speaking of summer, Gary reviewed a couple of albums of surf music, Southern Culture on the Skids’ Mojo Box and Laika & The Cosmonauts’ Local Warming. ‘Whether that phrase makes you think of the smooth, polished, multi-guitar sound of The Ventures, the slashing rumble of Link Wray, the power-picking of Dick Dale or the danceable pop of ’60s beach blanket movies, you still probably have some idea of what to expect. These two January 2004 Yep Roc releases, one from a long-standing U.S. band, the other from Finland, of all places, showcase some of the different directions surf music has taken.’

Gary also reviews a new album of Catalán jazz, Magalí Sare & Manel Fortià’s ReTornar. ‘Inspired by their travels and cultural exchanges as musicians, these songs lean heavily on their Catalonian roots, but they’ve spliced on bits of Portuguese, Brazilian, Mexican, Cuban, Argentinian and Afro-Caribbean folk  vtraditions and rhythms, all of it informed by their jazz sensibilities. They start with various folk songs of various provenance and genre and joyfully mix things up.’

‘Featuring some of the best-known names in the Asian Underground – Ananda Shankar, Joi, Asian Dub Foundation – and a number of lesser known acts, Rough Guide’s latest compilation dares to compete with what must be the essential guide to the scene, the legendary 1997 Talvin Singh Presents Anokha – The Soundz of the Asian Underground,’ Inigo said in reviewing the Rough Guide to Asian Underground. ‘By focusing on the output of friendly rival label Nation Records, compiler DJ Ritu chose to complement rather than compete, and this album serves to fill out the historical record of the emergence of one of the most interesting music scenes today.’

Jack wrote up an omnibus review of several CDs loosely defined as dance music: Flying Tomatoes’s Rags to Racenicas, Atomic City Rhythm Rascals’ Atomic City Rhythm Rascals, Birol Topaloglu’s Aravani,  Mukka’s Skip Lizard, Pinewoods Band’s South by Southeast, and Stömp’s Machine Without Horses. ‘All of these CDs are very, very good – great for dancing and superb for just listening to! Hell, I may even discuss dance music from other regions! You’ll just have to read on to see what tickles my fancy.’

Our What Not this week is another treat from Folkmanis. Says Robert: ‘I seem to have another Folkmanis puppet lurking around, this one the Rat In a Tin Can. The Folkmanis website describes him as being ready for a playful picnic (note the napkin in one paw). However, it seemed to me that he might just as easily be a waiter in an upscale rat restaurant: his black-and-white pattern might almost be taken for formal wear.’

There are bands for which I’ve a deep liking for pretty much everything they done and so it is with Chicago’s ‘Saturday in the Park’ which I’ve heard playing off and on over the past forty years. It’s certainly an upbeat, feel good summer song much like ‘Love Shack’ by the B-52s. It was recorded forty years ago this August at the Park West in Chicago.

The studio version was released on Chicago V in 1972 and peaked on the Billboard charts at number three which is bloody impressive. It was lovely enough that I’ve never gotten tired of it. But I’ve prattled on enough about it, so here’s the song for you to have the pleasure of hearing performed live.