A Green Man Review

She hadn’t meant to fall asleep, but she was a bit like a cat herself, forever wandering in the woods, chasing after squirrels and rabbits as fast as her skinny legs could take her when the fancy struck, climbing trees like a possum, able to doze in the sun at a moment’s notice. And sometimes with no notice at all. — Lillian in Charles de Lint’s The Cats of Tanglewood Forest

This night, as all nights are on this Scottish Estate far from the light pollution of any city, is a good night for star gazing if weather permits. I’ve got my gaggle of Several Annies, my always all female Library Apprentices (and yes I do know their names but I usually use this appellation) are getting a stars-related mythology lesson from Tamsin, our resident hedgewitch, on this crisp evening. And her owls are helping her out.

I listened for awhile but realized being warm was a far better option so I decided that I’d stitch together this edition in the Pub while ensconced  in a chair near the fireplace with a generous pour, neat of course, of Talisker Storm whisky as the Neverending session backs a sweet sounding red-headed freckled coleen singing ‘Run Sister Sister’,  a Red Clay Ramblers song with deep Appalachian roots.

Everything this addition is of an Appalachian nature, be it books, the graphic novel, the music is as always alive cut that I or Gary selected. Gary of course selected Music as he always does and I think he does a splendid job of it, don’t you?

Andrea looks at an Appalachian set tale for you: ‘Ghost Rider is a novel in Sharyn McCrumb’s “Ballad Series.” Ghost Riders is different from the others in the series in that there is no mystery (in the “mystery novel” sense of the word) to be solved. In the other books, the storyline goes back and forth between past and present, the stories linked sometimes obviously and sometimes tenuously. Usually in the “modern” story there is a mystery which the story in the past fleshes out or provides with a new insight. In Ghost Riders there are two separate tales from the past and a storyline set in the present. The narratives set in the past are linked by a chance meeting but still remain separate tales. One of these stories has a direct influence on the present. There are various characters, past and present, whose lives intertwine briefly in interesting and occasionally surprising ways.’

Andrea looked at another in that series: ‘Ghost Riders is the latest novel in Sharyn McCrumb’s “Ballad Series.” Ghost Riders is different from the others in the series in that there is no mystery (in the “mystery novel” sense of the word) to be solved. In the other books, the storyline goes back and forth between past and present, the stories linked sometimes obviously and sometimes tenuously. Usually in the “modern” story there is a mystery which the story in the past fleshes out or provides with a new insight. In Ghost Riders there are two separate tales from the past and a storyline set in the present. The narratives set in the past are linked by a chance meeting but still remain separate tales. One of these stories has a direct influence on the present. There are various characters, past and present, whose lives intertwine briefly in interesting and occasionally surprising ways.’

Cat 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 Ballads series 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.

The Ballad Book of John Jacob Niles, says Kim, answers a question you might’ve had: ‘Ever wonder what happened to the Child ballads that came across the water? Have you been curious about the lives of the folks whose wavery voices emerge from Lomax’s home recordings? This book contains the answers, plus over one hundred New World cousins to those ballads collected by Child, transcribed by balladeer John Jacob Niles in his trips through the southern Appalachians during the 1920s and 1930s.’  You can here Niles singing ‘The Carrion Crow’ here. It’s better known as Child 26, ‘Twa Corbies’ which is here performed by the Old Blind Dogs.

She also has a review of Ralph Lee Smith’s Ralph Lee Smith’s Appalachian Dulcimer Traditions: ‘If you play the Appalachian dulcimer and want to know more about its history, or want to preserve the memory of an instrument played by elderlies in you family, this is the book for you. It is meticulously researched, and contains pictures of early instruments, makers and players, as well as references for home recordings by the Lomaxes, and other resources — all the information a musician treasures and often misses in books aimed at the general public. However, casual fans may find the history too detailed, and technically oriented.’

Robert starts off a review I think is perfect for Summer reading this way: ‘I’ve long followed Charles de Lint’s writing, starting with, if I remember correctly, Moonheart way back when, and I’ve been as close as I ever come to being a fan for years. (I even got my hands on some early stories, somehow.) So when I was asked to do a review of The Cats of Tanglewood Forest, I said, “Yes. I haven’t had a chance to read de Lint in a while.”’

Of course Robert also reviewed the sequel: ‘I’ve long followed Charles de Lint’s writing, starting with, if I remember correctly, Moonheart way back when, and I’ve been as close as I ever come to being a fan for years. (I even got my hands on some early stories, somehow.) So when I was asked to do a review of The Cats of Tanglewood Forest, I said, “Yes. I haven’t had a chance to read de Lint in a while.”’

Debbie took a thorough look at Charles Vess’ The Book Of Ballads And Sagas #1 – 4. ‘Vess, who has a solid reputation for illustrating such works as Neil Gaiman’s Sandman stories (also published in graphic novel form) also loves the ballads and sagas that have been entertaining people for hundreds of years, and in this series of books he has collaborated with some of the best-known writers in fantasy literature, including Gaiman, Jane Yolen, Charles de Lint, Sharyn McCrumb (not a fantasy writer but an author of mysteries with an Appalachian folkloric theme), Midori Snyder, Robert Walton and Delia Sherman (whew!) — I hope I’ve not left anyone out!’

Gary here with a bunch of Appalachian music reviews from the Archives.

Big Earl was pleased with a three-disc set Doc Watson and David Holt’s Legacy, which consisted of two discs of the two in verbal and musical conversation, and a third with a live concert recording. ‘The set is loosely parallel to the interview discs, with the artists performing songs from Watson’s past, utilizing uncommon instruments (such as a diddley-wah and a guitjo). But get Doc back to his guitar for his wonderful takes of “The Telephone Girl” and “Just To Ease My Worried Mind,” and you understand why Watson has influenced so many players.’

Brendan had high praise for Deep River of Song: Black Appalachia, one of a series of releases containing field recordings made by John and Alan Lomax in the 1930s and ’40s. ‘The sheer variety of songs here is daunting; there are fiddle reels, work chants, square-dancing numbers, hoedowns, blues, as well just straightforward folk songs. What makes this CD so interesting is that the Lomaxes (travelling with famed bluesman Leadbelly) recorded these songs at a time of great transition for the American folk song.’

Chris wrote up a collection of field recordings from the 1950s, Mrs. Etta Baker, Family and Friends’ Instrumental Music of the Southern Appalachians. ‘The most surprising thing about the music is how modern it all sounds. The recording quality is exceptionally good considering how roughly and how long ago the tunes were taped, and it is worth reflecting on how the trend in much of today’s folk music has reverted back to the raw, driving style found in these recordings. The standard of performance is very high, the tunes a good selection of dances and song melodies.’

David reviewed Charlie Louvin’s Sings Murder Ballads and Disaster Songs, a late career recording from a pioneer of Appalachian music. ‘Somehow having an 80-year-old man sing songs about life and death (“Darling Corey”), about the Titanic (“Down With the Old Canoe”), about “The Little Grave In Georgia” adds new resonance to the lyric. Combine Charlie’s clearly aged but true voice with the solid picking support from the younger band, and you have a real recipe for success.’

David also reviewed Hobart Smith’s Blue Ridge Legacy, field and other recordings from a long life. ‘Smith’s early recordings (circa ’40s-’50s) inspired musicians like Mike Seeger and John Cohen to play early American music. He had played in minstrel shows in 1915 and dance parties throughout the Appalachians. He played at auctions, for society events and even in dance halls.’

A few years back I reviewed a recording of home rehearsals by bluegass pioneers Hazel Dickens & Alice Gerrard called Sing Me Back Home: The DC Tapes, 1965-1969. They don’t confine themselves to bluegrass and oldtime music, I noted. ‘That’s evident in the collection’s title Sing Me Back Home taken from the 1967 Merle Haggard song (and his 1968 No. 1 album of the same title). They give it a beautiful old-time vocal arrangement, and accompany themselves on autoharp (Alice) and guitar.’

I also reviewed the debut self-titled recording by Allison de Groot & Tatiana Hargreaves. ‘Above all else, this is a highly entertaining album of old-time music drawn from a wide variety of sources, played by two very talented young people who sound like they’re having a great time. These two really are in the vanguard of a new generation of musicians playing old-time music but not strictly hewing to the standard form.’

Unadorned Appalachian folk songs are at the heart of Texas Gladden’s Ballad Legacy, another Alan Lomax project I reviewed. ‘The songs include many Child ballads like “Farmer’s Wife,” and a virtual library of traditional American folksongs, largely from the Anglo-Celtic tradition: “Barbara Allen,” “The Three Babes,” “Lord Thomas,” “I’m Never to Marry,” “Gypsy Davy.” There are also some early country songs like “The Wreck of the Old 97.” ‘

Kelly Hunt sings and plays banjo on her debut album Even The Sparrow. I noted, ‘These songs and the lives they illuminate feel lived-in, inhabited by real folks.’

Dori Freeman’s debut self-titled recording impressed me. ‘This talented young woman from Galax, Virginia, has a gift for songwriting that runs as deep as the veins of coal in her native Appalachia, and a voice that can sing pretty much any style of country music.’

No rundown of modern Appalachian music is complete without something from Anna & Elizabeth. I reviewed their reissued debut, Sun to Sun. ‘Anna & Elizabeth make music in the old-time Appalachian tradition, singing close harmonies in the style they’ve learned from recordings and musical mentors. Anna sings in a craggy and powerful alto and plays fiddle, guitar and banjo, while Elizabeth’s vocals are a bit lighter and sweeter, and she plays banjo. It’s an arresting and lovely experience, listening to this music.’

Kim was enthusiastic about an early solo effort from mandolinist Chris Thile, Not All Who Wander Are Lost. ‘I was a bit surprised that the album is entirely instrumental, as Thile does the vocal honors for Nickel Creek on occasion. During his performance last summer at the Winnipeg Folk Festival, a friend commented that he definitely fancies himself as a ballad singer, and I suspect his singing, which is fine, will mature to match his instrumentals, which are superlative.’

One of our diverse voices, Peter Hund, wrote up the first live disc released by Alison Krauss and Union Station, lo these many years ago now. ‘Over the course of the 25 songs here, there are more than a few non-Krauss-vocal numbers, so fans of her singing be warned. But the instrumentals and the songs with Tyminski singing lead break things up nicely, reiterating that this is a group — not just an angelic singer and her crack backup band.’

In new music, I bring you a new release from banjo picker Wes Corbett. ‘As I was giving Wes Corbett’s Drift a listen on my headphones — at the gym, as it happens — I thought the fiddler sounded familiar on one decidedly Celtic sounding track. Was that Brittany Haas?’ Read my review to find out.

Next up is The Ghost of Sis Draper, the tale of an Arkansas fiddler, so not Appalachian but close: ‘Fans of the late Guy Clark, and of top-notch acoustic Americana, rejoice! Shawn Camp, one of Guy’s long-time songwriting partners, has released a concept album of songs they wrote together over many years about the legendary Arkansas fiddler known as Sis Draper.’

In 2010 a Russian pianist recorded an album ‘with two of the top rhythm section players in the jazz world, bassist Christian McBride and drummer Jack DeJohnette. I’ve not seen any explanation as to why it’s only being released now, 15 years later, but I’m glad SteepleChase put out Ivan Farmakovskiy’s Epic Power. All fans of modern hard bop piano trio jazz should rejoice, as well.’

I also reviewed the vinyl re-release of Niels-Henning Ørsted Pedersen’s 1976 album Jaywalkin‘. ‘The nine tracks include six Pedersen originals plus three covers that cover the bases from fleet bebop to bossa nova to romantic standard. Throughout, Niels-Henning Ørsted Pedersen’s playing is transfixing, melodic and rhythmic, a commanding presence that’s always front and center in this ensemble.’

Robert talks about growing up in the Appalachian Mountains: ‘That’s my mountains, or a little bit of them. You’d call them “southern Appalachia.” It’s where I spent a chunk of my growing up time — learned to pitch in, to do for myself, climb the side of a road cut, handle a gun (rifle and handgun, and I’m a very good shot), split firewood without cutting my foot off, avoid packs of feral dogs. And I spent a lot of time just rambling, with the cousins and alone, just looking at what was there. That was the best part.’

So for our music this time, let’s go with something from the late Robert Hunter as I rather like ‘Brown-Eyed Women’ quite a bit as it has a distinct Appalachian feel to it. Now my favorite version isn’t the one with Garcia singing that the Dead did, but rather is one someone here found some years back. Hunter who wrote much of what they played including this,  and my favourite version is done by him during a show at Biddy Mulligan’s in Chicago some forty years ago. So let’s now listen to him doing that song.

There’s always hope for something. Just not always… not always what we want.

 James S. A. Corey’s The Mercy of Gods

I smelled something quite enticing in the hallway out of our Kitchen. So I handed Pub duties over to Finch and got myself down there for the eventide meal, which was lamb kebabs seasoned with fennel, cumin, garlic and chili.

According to Gus, our Groundskeeper, who does oh so much more than that essential work, it turned out that we just slaughtered a lamb. The kebabs were served up with basmanti rice, steamed veggies and the best yeasted whole wheat rolls I’ve had.

We had ice cream for desert: a cardamom and ginger one, another intensely dark chocolate and peanut, and a strawberry one with some berries of the summer season. I sampled all three and can say that Mrs. Ware and her ever so talented Kitchen staff outdid themselves!

So let’s head over to my work table where my iPad is and see what we’ve got for you this evening.

Gary leads off with a review of  a recent release from James S. A. Corey, The Mercy of Gods. ‘As with the crew of Rocinante in The Expanse, “Corey” (a.k.a. Daniel Abraham and Ty Franck) has created a team of distinct individuals for the reader to identify with, each having their own strengths, weaknesses and quirks. And then put them into an unimaginably stressful situation that brings out their best and sometimes worst traits.’

So the rest of our book reviews are space operas as well. We think you’ll find something here that will please you to read, so I’ll get out of your way and let you look at these reviews.

Cat looks at Jerry Pournelle and Larry Niven’s The Mote in God’s Eye of which he says, ‘Until the likes of Iain M. Banks with The Culture series and Neal Asher with the Polity series came along, quite possibly the best Space Opera of all time was this forty year-old novel that took the Space Opera novels of the 1930s and 1940s and very, very nicely updated them.’

Gary reviews a book of literary criticism about Iain M. Banks Culture series. He says Simone Caroti’s The Culture Series ‘is valuable reading for anyone who wants to move into a deeper understanding of what that series is really about, where it stands in the history of SF and literature, and why it’s important.’

Gary also reviewed a recent SF anthology called The New Space Opera: ‘Of course, “space opera” is what all science fiction used to be, up until about the 1970s or so. Thrilling tales of adventure in outer space, usually featuring huge starships, weird aliens, strange planets and battles, either physical or of wits.’

Joel reviewed Neal Asher’s Gridlinked, a space opera of sorts that’s a novel in The Polity series which has been running a lot longer than The Culture series did: ‘I’ve never been one for long series, and certainly the greater part of my reading time is spent on authors I’m encountering for the first time, rather than always going with the same old stand-bys, but what can I say? I get something new in the Polity universe and I know it will always be good. When it comes to escapist fiction, Neal Asher has become my most dependable travel guide. No surprise then I moved him to the top of my reading pile.’

Robert came up with a series that is quintessential space opera, with a twist: C. J. Cherryh’s The Chanur Saga, including Chanur’s Homecoming, and the sequel, Chanur’s Legacy: ‘C. J. Cherryh’s The Chanur Saga is an almost-omnibus edition of her tetralogy about Pyanfar Chanur and her ship, the interstellar trader The Pride of Chanur. Because of length, the “omnibus” volume contains the first three in the series . . . , and one would be well-advised to be sure that Chanur’s Homecoming, issued separately, is within easy reach, lest one be left hanging off a cliff.’

Our reviewer Pinky quibbled with some of the facts in Stewart Lee Allen’s The Devil’s Cup: Coffee, The Driving Force in History, but had praise for this book that weaves social, cultural, and culinary history into a manic travelogue. ‘Discarding chronology, Lee seamlessly weaves in past and present to explain the nuances of coffee’s influence in a region. An instance of this is the chapter “War,” where hundreds of years of Turkish history are traversed without a jolt.’k

Asher proclaims ‘Here is a tale of human folly — “Whatever the cost, do it”. Of a noble dream – “One land, one king!” Of magic – “Can’t you see all around you the Dragon’s breath?” Of its passing – “There are other worlds. This one is done with me.” And of memory – “For it is the doom of men that they forget.” Excalibur is arguably the most exciting film version of the myth of Arthur to date.’

Gary here with music. Let’s lead off with a musician interview by Daryana. She had a long email conversation with Russian composer, musician, singer, and researcher Zhenya Wind. In her introduction, Daryana says, ‘Folklore, ethnographic expeditions, and original fairy-tale songs — all of these find expression in Zhenya Wind’s work. Her music becomes a key to understanding the magic of folk traditions and stories. Joining the listeners who have chosen her songs for their playlists means immersing yourself in a true musical expedition experience — one that opens new horizons and invites you to rethink your own perception of the world.’

I have a review of the 30th anniversary deluxe edition of John Prine’s Lost Dogs & Mixed Blessings. The best thing about it is the bonus tracks including some very good demos of the album’s best songs. The original album is still not my favorite. ‘That said, if you’re in the right mood, this can be a fun album if the production doesn’t put you off as much as it does me. As with all Prine albums, the lyrics run the gamut from gut-punch sad to warmly loving to knee-slapping funny, often within one short stanza.’

Faith as always had some strong opinions, wittily expressed, in her review of a reissue of Ewan MacColl and Peggy Seeger’s Classic Scots Ballads: ‘So what do we have? Several Child Ballads, for starters. “The False Lover Won Back” always makes me wonder why she wanted him back. He must have been quite the lad to be worth running behind his horse halfway across Scotland.’

Lars reviewed several albums from English folk musicians Simon Mayor and Hilary James. Let’s start with Children’s Favourites from Acoustics, which he greatly enjoyed. ‘James and Mayor have the ability to write songs that appeal to children, and to the child within adults, without ever sounding childish. They do not oversimplify things; they trust their audience to be able to pick up on clever musical passages and word games in the lyrics.’

Next up Lars reviewed Music from a Small Island. ‘Many of the traditional tracks are well known, but Mayor and James make them their own. The treatment of “Such a Parcel of Rogues” for instance lets Mayor display his ability on a number of instruments, and “Rosebud in June” first gets an instrumental arrangement, followed by James’s clear soprano voice.’

Then Lars reviewed two at once: Simon Mayor and Hilary James’s Lullabies with Mandolins, and Hilary James with Simon Mayor’s Laughing With the Moon. ‘Well, you may ask yourself what the difference is between a CD made by SM & HJ and a CD made by HJ with SM. I am sorry to confess that I have not got a clue. Both these CDs seem to be proper duo albums, although they differ greatly when you consider the underlying feeling of each album, and in the fact that the duo are alone on the Lullabies and have brought in extra musicians for Laughing With the Moon.’

Peter Massey delved into an album of folk song by Peggy Seeger, Love Call Me Home. ‘I must say my favourite songs on the album were the two new songs written or updated by Peggy. The first is the opening track “Sing About These Hard Times.” It’s a great song, and Peggy has chosen to bring this old chestnut up to date with a theme of how things are now. The other is the title track, a beautiful song dedicated to the memory of a friend who died of cancer.’

Samantha was disappointed with Mick McAuley & Winifred Horan’s Serenade. ‘I expected a more thrilling ride from what are essentially two very talented artists. Solas fans may wish to buy it, if only to hear a different angle of the group. I just hope that if McAuley and Horan plan any future duet albums, they will be inspired to jolt some of the old fire back into their playing.’

Our coda is Aaron Copland’s ‘A Fanfare for The Common Man’ as performed by the Rolling Stones. Yes the Rolling Stones! A number of bands including Styx and ELP (Emerson Lake and Palmer) have adapted it for use. So here’s their decidedly offbeat version. No idea where or when it was recorded. It is known they used it to open their shows in 1975 and 1976.

If you see a faded sign at the side of the road
that says “15 miles to the love shack”
Love shack, yeah, yeah I’m headin’
down the Atlanta highway
Lookin’ for the love getaway
Heading for the love getaway

B-52s, “Love Shack”

There’s a contradance going on just now. It’s a  new contradance band here on the Estate. Drink Down The Moon is the name they’ve given themselves after the novel by author Charles de Lint. They’re comprised of Catherine, the wife of Iain our Librarian on violin and hand drums, Béla on violin, Finch playing English smallpipes, which I believe are made by the esteemed Julian Goodacre, and Gus or myself as usual on concertina. It’s Gus tonight fir reason you’ll see below.

The old Church is where we hold the dances, ironic I know as the Scots Church didn’t like dances at all, but we’ve not had Services there since well before the Great War. It was used as storage ’til the Fifties when it became a space for gatherings such as Eventide meals done buffet style where the dining space was too small for all who were invited, so we do community suppers there. And the stone floors and no seating make it perfect for these dances

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…

Cat has a confession to make about Robert Heinlein’s fiction: ‘The Cat Who Walks Through Walls is, after over thirty years of my reading works beyond count by him, my favorite novel by him bar none. There are without doubt better written novels by Heinlein that stir strong passions in readers, say Starship Troopers and The Moon Is A Harsh Mistress, both of which can cause otherwise sensible readers to start hissing and spitting at each over the perceived political and social commentary in those books, and let’s not even broach the matter of Stranger in A Strange Land, as that work will really get the mojo rising in many readers!’

Another novel written in the last years of his life drew this comment from Cat: ‘Robert Heinlein’s Friday was a novel that deeply divided critics when it was published. Part of that was the gender and race politics of a male author writing a female character that got raped, part of it was the usual kvetching about every novel Heinlein wrote from Stranger in a Strange Land to the end of his writing career.’

Joel looks at a juvenile, The Star Beast: ‘Beating out The Hitchhiker’s Guide to the Galaxy by a good three decades, and Men in Black by over four, Heinlein didn’t just do this story first, he did it best. I’ve been enjoying the recent books in John Scalzi’s Old Man’s War series. The last few books have been much more about diplomacy than space battles, and are no less riveting for it. But who knew that Heinlein, the creator of the self-same military science fiction tradition which led to Old Man’s War, was himself quite capable of having his heroes save the day by talking and listening as well?’

J.S.S. Boyce has a long and thoughtful look at Heinlein’s otherworldly take on the post-apocalyptic novel, Farnham’s Freehold. It’s almost on the edge of science fiction and into the realm of human psychology or social satire, à la Brave New World or Lord of the Flies or even The Road.

He also reviewed three of Heinlein’s juveniles, which we’d now maybe call YA, Between Planets, Starman Jones, and The Rolling Stones. He says of the former, ‘The writing is competent, as always: straightforward and readable. The plot and characterization were a little thin for my taste. Heinlein’s moralizing has been known to get the better of him. One of the things he moralizes about is patriotism and integrity and sometimes he does a really good job at getting those ideas in there at no expense to the story, but not this time.’

He liked Starman Jones better: ‘RAH didn’t apologize for a certain degree of formula in these stories, an update of Alger’s from a century earlier: a young man from a modest background, through the virtues of hard work, a bit of luck, and (uniquely, in Starman Jones) perhaps taking some liberties with the truth to get his foot in the door, eventually proves his mettle and resourcefulness and saves the day.’

And he found The Rolling Stones quite curious indeed. ‘In the hands of a lesser author, the novel might seem somewhat meandering. The Stone family head off to visit Mars just for something to do, one thing leads to another and the journey continues. There are mini-episodes of adventure here and there, but the book as a whole doesn’t have a clear destination or anything clearly at stake.’

Kathleen has a confession regarding Time For The Stars: ‘Robert Anson Heinlein is inarguably one of the great formative writers of science fiction. His work is not only seminal, it’s good — well-told, well-plotted, with solid characterization. It’s also frequently thought-provoking, with underlying philosophy and speculation that stays with the reader for a lifetime. Most modern readers attribute these qualities to the more outré and/or famous novels, like Time Enough For Love and the iconic Stranger In A Strange Land. But Heinlein’s so-called juveniles are actually among the most thoughtful of his books.’

Leona liked everything about The Milk of Almonds: Italian American Women Writers on Food and Culture, including the cover and the introduction. ‘The Introduction in The Milk of Almonds is so packed with information that I could write a review just on it alone. It twines food and almonds and history and culture all together in a strong thread of friendly narrative.’

Remember the food-and-football coming of age film Bend It Like Beckham? Nathan does. ‘Jes comes across as a girl who doesn’t want to reject her family or show disrespect for her culture, but is also desperate to pursue her own dreams. How this is resolved is a story of Indian cooking, cultural absurdity, family love, and an abiding desire to play what the English call “the beautiful game,” all done without ever becoming preachy or saccharine sweet.

The Cats of Tanglewood Forest is an expansion of a much shorter work by de Lint and Vess entitled A Circle Of Cats which Mia says is ‘is not a novel, or a novella, or even, at 44 pages, a chapbook — those are merely convenient labels assigned by publishers and booksellers to assist them in categorization. Call Cats instead an enchantment, a weaving of words and pictures into pure magic. Charles de Lint is adept at converging the mundane world and the Otherworld: at touching them together briefly to produce intense moments and life altering episodes, and then gently letting each world retreat from the touch and settle back into its own normality, usually with both sides all the better for the experience.‘

Gary here with music. I’ve been enjoying the peaceful (though not soporific) sounds of Tom Gershwin’s Wellspring, inspired by the natural world in the trumpeter’s home state of Vermont. ‘The music is not programatic in any way, though: no timpani mimicking a thunderstorm or flutes playing birdsong, just solid improvisational jazz. However, the natural world’s inspiration likely accounts for the deep sense of spirituality I get from this music, even though it’s not really what’s known as spiritual jazz.’

From the archives, Big Earl loved Petit Fou, the second album by the group that was by then known as Matapat. ‘Largely driven by the incredible bass of Simon Lepage, Matapat mixes many outside influences to their style. There are shots of jazz, as on “Soupir de St-Albans,” or funk as on “La jolie Rochelle.” There’s even an East/West exploration on “La vieille galope,” with the band playing with Indian musicians. This is a band that’s unafraid to push their tradition, and it succeeds at every turn.’

He also was highly impressed by Music From Vietnam, a big set of Vietnamese music on CD. ‘Isolated for almost a half century by various conflicts, the music and art of these people have only been found in the Vietnamese community stores of Western cities, transported in for the local residents. Caprice Records of Sweden has offered up five volumes of a more readily available variety of this tradition, allowing those who don’t hunt this stuff down an easier opportunity to discover yet more great music from Asia.’

David reviewed Life and Times, a compilation album by fellow Canadian Ray Materick. ‘A solid slice of his past, and an encouraging chunk of the present, boding well for the future. A look at Materick’s Web site shows a large collection of relatively new material which is being made available and promises the re-issue of that first album. From those scuffling days, a man, a guitar and an empty street. Materick is older now, wiser, settled, but grounded and making some of the best music of his career.’

Judith loved Vested, an album of folk music from a local musician, Vancouver, Washington’s Tom May. ‘Tom has a wonderful voice that might remind one of Stan Rogers. I like it best on the quick songs, when it is less stylized. On the slower tunes I wish he’d keep it steadier, because I think it’s a dynamite voice, but at this point I think Tom must like it the way it is.’

But she was less than fond of Karen Matheson of Capercaillie’s second solo album. ‘Time To Fall is expertly overproduced with synthetic strings, tinkly piano, and other correctly swooshy noises by Capercaillie accordionist Donald Shaw. Most of the songs are written by Scottish singer-songwriter/guitarist James Grant, who largely ignores proper nouns, story lines, and historical and geographical references; most of the songs are about hope, hope of better days, hopes for loves, wishing well.’

Remember Matapat? Naomi reviewed Bourque, Bernard, & Lepage’s debut album, which they called Matapat, which was soon to be the name of their trio. ‘The members of this energetic trio all share a common goal, to familiarize their audiences with the unique culture of Quebec, and allow for future ambassadors of traditional Quebecois music and folklore to be able to share their talents. A very wonderful goal to have, and one I wish them well with.’

Our What Not caused Reynard to ponder something in the Nibbling Mouse Folkmnis puppet: ‘I’ve no idea where it’s been since it came in for review nearly twenty years ago, nor do I know how it ended up in the room off the Estate Kitchen that houses the centuries-old collection of cookbooks, restaurant menus and other culinary-related material but I just noticed it there, a very adorable white mouse puppet holding a wedge of cheese in its paws. Somebody had placed it in a white teacup on the middle of the large table so I really couldn’t overlook it.’

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.