notloB Music presents Tony Bird
Boston Graduate School of Psychoanalysis
1581 Beacon Street Washington Square Brookline, MA Satrurday, December 6 Doors 7:30 Concert 8:00
"The finest, most impressive folk poet in years"
- The Village Voice
"Brilliantly original songwriter Tony Bird... wonderfully fuses African and European folk styles into songs that are clever, fun, urgent."
- The Boston Globe
With his historically relevant song, "Sorry Africa," Tony Bird was one of the first white African folk singers to emerge out of the cauldron of southern Africa's apartheid, colonial and post-colonial era. This along with other topical African songs, including tributes to Nelson Mandela, would eventually lead to his performing at a Harvard University divestment concert against apartheid, where he was introduced by one of his folk heroes, the late Pete Seeger. Bird has resided in NYC since 1980 and has played the international folk circuit since the early '70s, including established folk festivals in England, Europe, Canada and the US. Originally pegged as a southern African folk singer upon his arrival to these shores, he has grown into a diverse and contemporary international songwriter of the times. Though Bird's recordings feature other musicians, he's just as, if not more compelling as a current solo artist. From the former British colony of Nyasaland, this Malawi-born song man is a complete original. With a mesmerizing intensity, his voice, vision, guitar style and persona are unique in all of folk music. Bird's African roots have produced a performer with a far-ranging repertoire that includes exotic travelogues from mountains with misty landscapes to desert and bushland filled with lions, birds, bushmen, mangoes, monkeys, sunsets and bicycles. All this savannah-laden tropicana is interspersed with narrative tales of darkness or delight, topical and historical commentary, love songs, musical tone poems, rallying cries of inspiration and a whimsical sense of humor. Bird's rich geographic and cultural background has spawned a music of diverse influences. Drawing from the southern African mbaqanga and kwela rhythms, Afrikaans boeremusiek and even calypso, along with the folk, blues, country and rock of England and America, Tony's music is an original amalgamation of all these styles, which he loosely describes as "African Folk-Rock." He creates the sound of a full band with his unique slapping, percussive guitar picking, a clicking mouth and an energetic stomping left foot. With a raw organic quality, his grainy voice breaks into growls, whispers and falsettos contrasted against sophisticated painterly lyrics. Formerly exposed to the impact of modernity on the African landscape, Bird has an inherent indigenous and environmental thread running through his music. Not surprisingly, he has performed at various nature conservancies, including the Rachel Carson Institute where he was presented with an award. While some of his songs take audiences on exotic safaris into the African bushland, others are deep, humanistic journeys of the soul. Bird had two early vinyl albums released on Columbia in the '70s, "Tony Bird" and "Tony Bird of Paradise." The latter garnered acclaim in a 1986 People Magazine critics' poll as one of the top 10 albums of all time. "Sorry Africa," his 1990 Philo/Rounder release, features fellow southern African musicians who have supported a long line of African roots and world music stars from Hugh Masekela to Miriam Makeba and Harry Belafonte, as well as Paul Simon's South African-influenced "Graceland." Bird's early releases pre-dated Simon's by at least a decade, Simon even calling Bird about South African musicians to use in the finishing of "Graceland." A new Tony Bird CD is in the works which will feature the above "name" South African musicians, including one song with Ladysmith Black Mambazo, who became enamored of Tony's music when he toured with them in the '80s. In the early '90s, he also toured with South African stars, the late Simon Mahlathini and the Mahotella Queens. After a six year hiatus due to hand problems, Bird returned to performing and touring in 2003. Tony Bird's artistic prowess has not gone unnoticed in other quarters of the established music world. Based in London in the mid '70s, he was initially signed for a brief period to Elton John's Rocket Records label. However, they soon shied away from his "uncategorizable" style and sound. Bird's talents have also been recognized and commented on by stars such as Bob Dylan and the late Bob Marley. When asked who he was listening to, during a WBAI radio interview in the late '70s in New York City, Marley replied that he'd been listening to this "white cat from Africa," Tony Bird, singing for his South African black brothers in their struggle against apartheid. Then in the mid '80s, when Bob Dylan came across his music, Bird was slated to be signed to the record label that Dylan was planning to start at the time. However, the label never came to fruition. It was also not surprising that Tony's musical and political roots would draw the attention of civil rights singer Odetta, who was supportive of his stance when he first came to the US. The two ended up billed together; this eventually led to his writing her a heartfelt tribute. Growing up in the era of colonialism and apartheid, Bird developed a sharp, conscious universal eye. That same urgency and relevance permeate the expanse of his new music, which now reflects his American and intercontinental experience as well as his African roots. Tony Bird has been called "The Father of African Folk-Rock," yet he is even more. He's an inventive, passionate, theatrical performer who delivers the deeply moving and searching anthems of a mature poet. Some of these songs are extended odes to life that seem to draw from the wisdom of another time and place. Altruistic, involving and engaging, his performances generate attentive enthusiasm even with small club audiences. This rare bird of eloquent song will fly into your soul and the extraordinary experience of a Tony Bird concert is not to be missed.
Tickets on sale through eventbrite.com Students and seniors - $15 - special price does not apply to premium seating Premium (first two rows) - $25 General admission (early bird through 11/20) - $17.50 - special price does not apply to premium seating General admission after 11/20 - $20. If not sold out, tickets will be sold at the door, first come-first served.
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http://notlobmusic.blogspot.com reports and reflects on news that affects the traditional / revival / labor / social justice folk, old-time, bluegrass and Celtic music communities in the greater Boston area.
"In this era of pop-driven acoustic music, notloB is keeping the folk tradition alive."
~ Jack Hardy
Showing posts with label Washington Square. Show all posts
Showing posts with label Washington Square. Show all posts
Tuesday, December 2, 2014
Anti-Apartheid Activist Tony Bird in Concert 12/6 in Washington Square, Brookline
Sunday, June 15, 2014
notloB Parlour Concerts presents
in their only Boston-area appearance...
THE TANNAHILL WEAVERS
with FRESH HAGGIS
Saturday, October 4, 8:00pm
Boston Graduate School of Psychoanalysis*
1581 Beacon St, Brookline, MA 02446
Suggested donation $15 students, BGSP faculty and staff, $20 general public.
Registration through Eventbrite is REQUIRED
Reservations will be honored until 7:50pm, at which time walk-in's will be admitted on a first-come/first-served, space-available basis.
Don't be left out, RESERVE NOW!
Tannahill Weavers
http://www.tannahillweavers.com/
Roy Gullane, guitar
Phil Smillie, flute, bodhran, vocals
John Martin, fiddle, viola, cello, vocals
Lorne MacDougall, bagpipes, Scottish smallpipes and whistles
The Tannahill Weavers are one of Scotland 's premier traditional bands. Their diverse repertoire spans the centuries with fire-driven instrumentals, topical songs, and original ballads and lullabies. Their music demonstrates to old and young alike the rich and varied musical heritage of the Celtic people. These versatile musicians have received worldwide accolades consistently over the years for their exuberant performances and outstanding recording efforts that seemingly can't get better...yet continue to do just that.
The Tannahills have turned their acoustic excitement loose on audiences with an electrifying effect. They have that unique combination of traditional melodies, driving rhythmic accompaniment, and rich vocals that make their performances unforgettable. As the Winnipeg Free Press noted, "The Tannahill Weavers - properly harnessed - could probably power and entire city for a year on the strength of last night's concert alone. The music may be old-time Celtic, but the drive and enthusiasm are akin to straight ahead rock and roll."
Born of a session in Paisley, Scotland, and named for the town's historic weaving industry and local poet laureate Robert Tannahill, the group has made an international name for its special brand of Scottish music, blending the beauty of traditional melodies with the power of modern rhythms. Over the years the Tannies have been trailblazers for Scottish music, and their tight harmonies and powerful, inventive arrangements have won them fans from beyond the folk and Celtic music scenes.
They are firmly established as one of the premier groups on the concert stage. From reflective ballads to footstomping reels and jigs, the variety and range of the material they perform is matched only by their enthusiasm and lively Celtic spirits.
"An especially eloquent mixture of the old and the new." New York Times
"Scotland 's Tannahill Weavers play acoustic instruments, but the atmosphere at their shows is electric. The quintet is as tight and as versatile as any band in the Celtic music revival. They can summon rock 'n' roll intensity or haunting introspection." The Boston Globe, Boston MA
"...as close to perfect as it gets in an imperfect world." Sing Out!
The Tannahill Weavers will be supported by....
Fresh Haggis
https://www.facebook.com/FreshHaggis
Elias Alexander (border pipes, vocals), Eamon Sefton (guitar, vocals), Kathleen Parks (fiddle, vocals).
Fresh Haggis is a dynamic new band formed of some of the finest young up-and-coming musicians on the Boston Celtic-music scene. Composed of border piper/singer Elias Alexander, guitarist/singer Eamon Sefton, and fiddler/singer Kathleen Parks, the group celebrates the continued vibrancy of the Irish and Scottish musical traditions through youthful, passionate arrangements of songs and tunes, including some original compositions within the style. Traditional music at the peak of exuberance!
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*NOTE: Although the concert hall is handicap accessible, BGSP's restrooms are not. Sorry for any inconvenience.
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