Those who know me well know of my love for singer-songwriters from around the world. Around 30 years ago I developed an interest in French singer-songwriters, both from Quebec and France. It was back then when I discovered Gabriel Yacoub. His voice, words, and presence took me totally off guard and I became deeply attached to his music. I can't remember the source, but I recall years ago reading an article in which Yacoub's voice was described as being like honey. That's a good comparison: sweet and rich, while also full of emotion and texture.
I was devastated last week to see a post come across my Facebook feed saying that Gabriel Yacoub died on January 22nd at the age of 72. In a time of lots of loss of great musicians, this one is hitting me the hardest thus far. His music penetrated my soul. He wasn't a huge star in the commercial sense, but this is a classic case of "if you know, you know." He was a true artist in more than one sense (he was also a visual artist) and influential to those of us privileged enough to have known his work.
In 2003, when I was actively working as an arts journalist, I was lucky enough to interview Gabriel Yacoub on the phone. It was published on an earlier version of this website and is one of the few English language interviews with him. I figured this is as good a time as any to republish that interview with the hope that it will help support keeping his memory and music alive.
The 20th annual Edmonton Blues Festival took place August 24-26 at the Hawrelak Park Amphitheatre. It featured a stellar line up of diverse artists from multiple generations and blues traditions. Many of the acts were some of the festival's most requested from past years.
Here is a look at some of Saturday's line up. Cécile Doo-Kingué brought some high energy, excellent guitar work, and spanned different musical genres.
The Paul DesLauriers Band was solid, with a solid and danceable sound.
"Pianorama" featured Anthony Geraci, David Vest, and Graham Guest on the keys, with Brent Parkin's Red Hots taking care of the rest of the orchestration.
Juno Award winners MonkeyJunk was definitely a fan favourite. Fast, loud, and powerful, the trio holds the record for the number of albums sold at the festival. Later on in their performance, they were joined on stage by Big Dave McLean and Anthony Geraci.
Samantha Fish, winner of the Contemporary Blues - Female Artist award at the Blues Music Awards in Memphis last May, rounded out the evening with her strong songwriting and guitar skills.
Congratulations to the organizers on another successful year. Here's to the next 20 years!
The 2018 Edmonton Folk Music Festival took place August 9-12 at Gallagher Park. As always, it featured an eclectic line up of music from different generations, genres, and cultures.
Here is a link to an article I write for GigCity.ca about the Thursday evening line up, which included Tinariwen, DakhaBrakha, Buffy Sainte-Marie, and The Decemberists.
REVIEW: Heat on the hill at folk fest
My second piece for GigCity.ca focuses on the Saturday daytime line up, as well as some personal reflections of the unusual weather experienced during the weekend.
I SURVIVED THE FOLK FEST (almost)
Here is my complete collection of photos, including all of the acts I discuss in the above articles, the obligatory views from the hill, and more.
~Paula E. Kirman
The Edmonton Folk Music Festival took place August 10-13 at Gallagher Park. Known for its diverse selection of musical artists, this year in particular there was an eclectic assortment of acts from different countries and cultures.
On the first night of the festival, things got kicked off with Solo. The name was ironic: the band was composed of numerous members of two of Quebec's most well-known traditional groups, Le Vent Du Nord and De Temps Antan. Their performance was exciting, with the sound heavy on fiddles and stomping.
Solo
Solo
Next up was Lakou Mizik, a collective of musicians from Haiti from different generations. The group formed in the wake of the 2010 earthquake that devastated Haiti. Consisting of vocalists, rare horns, guitars, accordion, and percussion, the music and stage performance (which was very physical) captivated the Thursday night audience.
Lakou Mizik
Lakou Mizik
Lakou Mizik
Lakou Mizik
Unfortunately, the evening had to be called to a conclusion early, as a sudden and severe windstorm resulted in the last two performances being cancelled, and the park evacuated. Shakey Graves and The Decemberists have been invited back to perform at the 2018 festival.
The Thursday evening sky.
With their traditional instruments made by the band itself, and captivating throat singing, Huun Huur Tu's sound was mesmerizing. The band is from Tuva, a very small country on the Mongolia-Russia border.
Huun Huur Tu
Edmonton's Mohsin Zaman, originally from Pakistan, has become a driving force in the local music scene and was named the Folk Fest's first Artist in Residence.
Mohsin Zaman
A number of Indigenous acts appeared at this year's Folk Fest. From the Treaty 6 land upon which the Folk Fest takes place was the Logan Alexis Singers and friends, presenting a variety of singing, drumming, and dance styles. During their concert performance on Sunday, they had the audience up on their feet for a round dance.
Logan Alexis Singers
Logan Alexis Singers
Round Dancing
William Prince is a folk/country singer/songwriter from Manitoba whose First Nations roots are very evident in his lyrics.
William Prince
The Jerry Cans, from Nunavut, had Stage One in a dancing frenzy during their Saturday evening concert. Inuit throat-singing and traditional language of Inuktituk mixed with their roots-rock sound.
The Jerry Cans
Taking the afternoon main stage on Sunday was Amadou & Mariam, a couple from Mali who met at a school for the blind. Mariam's vocals and Amadou's incredible guitar work soared through bluesy, danceable songs.
Amadou & Mariam
Like every year, the Edmonton Folk Music Festival featured a food court that also seemed to have a world influence, including Asian, East Indian, Native American, and western choices, as well as a lot of vegetarian/vegan items. There was also a craft/artisan market and merchandise tent where fans could get t-shirts and CDs.
Brazil's Luisa Maita is not new to the world music scene with a few previously-released albums to her name over the last several years. On Fio Da Memoria, Luisa continues in her bossa nova, samba, and contemporary music stylings with some of the best stuff to date. One of the few English songs on the recording, "Around You," is an especially intriguing and catchy song that employs a berimbau-like tone with seductive hooks and breathy vocals for a truly enjoyable experience. The light guitar and percussion work on the jazz-tinged "Ole," suggests the sound of a 1970's James Bond film soundtrack. Luisa's great vocals match the equally-great instrumentation. Each track is different, but sports her characteristic breathy vocal delivery. Fans of Brazilian music with a contemporary edge and classic ambiance will love Luisa's latest offering. ~ Matthew Forss
Alsarah's latest wanderings through the Middle East and North Africa are appropriately-displayed on their latest recording, Manara. The recording is alive with dancing ouds, throbbing ngonis, punchy trumpet, bubbling bass, and great percussion. The rather contemporary recording contains a good mix of melodies and tones. There is a slight electronic element to some of the songs, but this is not an electronic album. It is pure world music with influences reaching across the Middle East. The Arabic vocals and rollicking percussion are very dance-friendly. In fact, it is difficult to sit still while listening to anything from Alsarah And The Nubatones. For Manara, this is especially so. Fans of a variety of Arabic-infused recordings will love Alsarah And The Nubatones! ~ Matthew Forss
Hailing from South Africa, Lorraine Klaasen releases a new album of South African music, aptly-titled, Nouvelle Journee. The vibrant album artwork is only the beginning. The music is equally vibrant and rich in musical textures, harmonies, and instrumental arrangements. Lorraine's commanding vocal tone is melodic. The instrumentation is nothing short of amazing, as the accordion, bass, guitars, percussion, piano, and organ provide a slew of catchy arrangements. The rippling guitars on "Ke Tshepile Bafatsi," showcase Latin and Congolese influences. The R&B influences are not forgotten either, as "Home Sweet Home" conjures up images of Southern blues, gospel, and jazz. Though, upbeat music is Lorraine's specialty. Nouvelle Journee is a very classic, and contemporary album that touches the human spirit with a legendary and unforgettable voice. ~ Matthew Forss
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