A funny thing happened to Bruce Cockburn as he started making his new album Crowing Ignites — whose track “Pibroch: The Wind in the Valley” is premiering exclusively below.
The all-instrumental acoustic album was designed to be a Speechless II, a sequel to his 2005 instrumental set Speechless, again compiling instrumental tracks from his albums with a few new compositions. “I set about looking for ideas for new material and ended up with so much of it that (Crowing Ignites) became its own album,” Cockburn tells Billboard. “I wasn’t expecting to come up with so much (new) stuff. The ideas just kept coming. So it’s not Speechless II. It’s its own thing entirely.”
The new 11-track set, recorded in San Francisco, where the Canadian-born Cockburn now resides, and produced by Colin Linden, is titled after the translation of the Latin motto ‘Accendit Cantu’ that appears on the Cockburn family crest. It is, of course, markedly different than Cockburn’s more traditional song-oriented releases, but he says the process is “equally enjoyable.” “The big difference is the obvious one — there are no lyrics,” Cockburn explains. “The way I write songs, the lyrics generally come first, and then it becomes a question of finding the right music to carry those lyrics. With instrumental pieces it’s more like, ‘Here’s an interesting riff on the guitar’ and that suggests something else and it grows from there. It’s a bit like scoring a film; You’ve got images, ideas, characters that need to be supported by the music but not overpowered by it. It’s considerably freer.”
Cockburn highlights series of events commemorating 1919 strike
by Scott Billeck
A Canadian music legend is among several artists who will headline a free concert to help commemorate the centennial one of the country’s largest and most influential labour movements.
Rise Up Smaller Poster
For 40 years, Bruce Cockburn has been writing and signing about the human experience. In June, the multi-time Juno Award winner and member of the Canadian Music Hall of Fame will join Grammy winner and feminist icon Ani DiFranco along with several others for Rise Up 100: Songs for the Next Century Concert, one of four events being put on by Manitoba’s unions to celebrate the 100th anniversary of the Winnipeg General Strike of 1919.
“We want to welcome people of all generations, all backgrounds, all abilities — everybody in our city — to join us and celebrate the Winnipeg General Strike together, with music, as a community,” said Winnipeg Folk Festival executive director Lynne Skromeda at a launch event on Tuesday. “Folk music has long been tied to the labour movement, advocating for social justice and providing a sense of connection to one another through divisive times, and we need this connection now more than ever.”
The free concert will take place in Old Market Square on June 8 between 2 p.m. and 11 p.m.
Organizers of the Canadian Folk Music Awards have announced 96 nominees vying for the 14th annual edition that takes place at The Gateway in Calgary over two separate events on Nov. 30 and Dec. 1.
The two separate concert award shows are open to the public. Tickets and wristbands go on sale Oct. 1, with tickets priced at $35 for each night. A wristband covering workshops and both show nights is priced at $60. More information about the gala performance and the line-up will be announced shortly.
Bruce has been nominated in 2 categories:
SOLO ARTIST OF THE YEAR
Bruce Cockburn for/pour Bone On Bone
David Francey for/pour The Broken Heart Of Everything
Jolene Higgins (Little Miss Higgins) for/pour My Home, My Heart
Catherine MacLellan for/pour If It’s Alright With You: The Songs of Gene MacLellan
Buffy Sainte-Marie for/pour Medicine Songs
ENGLISH SONGWRITER(S) OF THE YEAR
Bruce Cockburn for/pour Bone On Bone
Lynne Hanson, Lynn Miles of/de The LYNNeS for/pour Heartbreak Song For The Radio
Dana Sipos for/pour Trick Of The Light
Noosa Al-Sarraj (Winona Wilde) for/pour Wasted Time
Donovan Woods for/pour Both Ways
Bruce’s 1984 Stealing Fire album has been nominated for a Polaris Heritage Prize. The winner is by popular vote and you can vote once every day.
( https://polarismusicprize.ca/heritage-prize/2018-nominees/ )
There’s still time to vote for Bruce’s Stealing Fire which is nominated for a Polaris Heritage Prize. It’s in the company of many great albums but we don’t mind if you decide to vote for Bruce’s record. Here’s the link to VOTE.
TORONTO, July 12, 2017 – Bruce Cockburn has announced the September 15, 2017 release of his first full-length album in seven years, Bone On Bone (True North Records). The release coincides with his induction into the Canadian Songwriter’s Hall Of Fame, and the launch of his longest touring schedule in decades.
Few recording artists are as creative and prolific as Bruce Cockburn. Since his self-titled debut in 1970, the Canadian singer-songwriter has issued a steady stream of acclaimed albums every couple of years. But that output suddenly ran dry in 2011 following the release of Small Source of Comfort. There were good reasons for the drought. For one thing, Cockburn became a father again with the birth of his daughter Iona. Then there was the publication of his 2014 memoir Rumours of Glory.
“I didn’t write any songs until after the book was published because all my creative energy had gone into three years of writing it,” Cockburn explains, from his home in San Francisco. “There was simply nothing left to write songs with. As soon as the book was put to bed, I started asking myself whether I was ever going to be a songwriter again.”
Such doubt was new to the man who’s rarely been at a loss for words as he’s distilled political views, spiritual revelations and personal experiences into some of popular music’s most compelling songs. What spurred Cockburn back into songwriting was an invitation to contribute a song to a documentary film about the late, seminal Canadian poet Al Purdy and he was off to the races.
Bone On Bone, Cockburn’s 33rd album, arrives with 11 new songs and there’s a prevalent urgency and anxious tone to much of the album, which Cockburn attributes to living in America during the Trump era. But, more than anything, Bone on Bone amounts to the deepest expression of Cockburn’s spiritual concerns to date. The 12-time Juno winner and Canadian Music Hall of Fame’s “Forty Years in the Wilderness” ranks alongside “Pacing the Cage” or “All The Diamonds” as one of Cockburn’s most starkly beautiful folk songs. “There have been so many times in my life when an invitation has come from somewhere…the cosmos…the divine…to step out of the familiar into something new. I’ve found it’s best to listen for, and follow these promptings.
“Forty Years in the Wilderness” is one of several songs that feature a number of singers from the church Cockburn frequents, for the sake of convenience referred to in the album credits as the San Francisco Lighthouse “Chorus.” “Among other songs, they contribute call-and-response vocals to the stirring “Stab at Matter.” Other guests on the album include singer-songwriters Ruby Amanfu, Mary Gauthier, and Brandon Robert Young, along with bassist Roberto Occhipinti, and Julie Wolf, who plays accordion on “3 Al Purdys” and sings with the folks from Lighthouse, together with LA songwriter Tamara Silvera.
Produced by Colin Linden, Cockburn’s longtime collaborator, the album is built around the musicianship of Cockburn on guitar and the core accompaniment of bassist John Dymond and drummer Gary Craig. Also very much part of the sound is the accordion playing of Cockburn’s nephew John Aaron Cockburn and the solos of noted fluegelhorn player Ron Miles (check out his stunning work on the cascading “Mon Chemin,” for example).
Cockburn, who won the inaugural People’s Voice Award at the Folk Alliance International conference in February and will be inducted into the Canadian Songwriters Hall of Fame in September, continues to find inspiration in the world around him and channel those ideas into songs. “My job is to try and trap the spirits of things in the scratches of pen on paper and the pulling of notes out of metal,” he once noted. More than forty years after embarking on his singer-songwriting career, Cockburn keeps kicking at the darkness so that it might bleed daylight.
Bone On Bone Track Listing:
1. States I’m In
2. Stab At Matter
3. Forty Years In The Wilderness
4. Café Society
5. 3 Al Purdys
6. Looking And Waiting
7. Bone On Bone
8. Mon Chemin
9. False River
10. Jesus Train
11. Twelve Gates To The City
At her Cabbagetown studio, the luthier Linda Manzer talks about the organic nature of her trade. Holding a guitar of her invention, she says you can’t make wood what it is not, that you have to co-operate with it, that you have to be honest with yourself. “You can’t fake it,” is how she puts it.
Of course, the honesty Manzer speaks of doesn’t refer solely to the craft of guitar making. A novelist or a ceramist would agree with her; even a cocktail mixologist – the booze doesn’t lie? – would find common ground here.
As would a painter. The guitar Manzer cradles is a salute to the Canadian landscape rock star and Group of Seven ringleader Lawren Harris. It’s a doozy, untraditional with its grooved ridges on the bottom, icy-blue splashes of colour on the top, big mechanical drawing on the back and a second neck thrusting outward from the body like a Harris-y mountain peak.
The acoustic instrument is part of The Group of Seven Guitar Project, an exhibit commissioned by the McMichael Canadian Art Collection and set to open on May 6, in time for the country’s sesquicentennial summer.
Seven masterwork guitars were made by seven of the country’s top luthiers – each instrument an homage to a particular Group of Seven member. An eighth instrument (a baritone guitar that honours the rough-cut woodland enthusiast Tom Thomson) was a creation by committee.
While the project will be seen as a unique commemoration of Harris, A.Y. Jackson, Arthur Lismer, et al, what it really represents is a party thrown for the Canadian guitar makers themselves, a group that has carved out an impressive standing in the luthier world. Seven guitar-makers, then, as a loose-knit, supportive collective – a group, for lack of a better word.
Manzer, well known for the four-necked Pikasso Guitar she designed and built for the jazz guitarist Pat Metheny, refers to the project as an “amazing journey of discovery.”
That discovery began with her visit to the National Gallery of Canada, where she saw a collection of Group of Seven sketches in a back room. Thinking about the support the artists had for one another, she began to draw a comparison to her own experiences in the 1970s, when she was one of the first six apprentices to work with the master guitar-maker Jean Larrivée.
Doing the math wasn’t difficult: Group of Seven, seven luthiers, hmmm. And neither was it very hard to get the other luthiers – Sergei de Jonge, Tony Duggan-Smith, David Wren, George Gray, Grit Laskin and the guitar-making godfather Larrivée – on board.
Matching a luthier with a Group of Seven artist was an organic process – no drawing of straws involved. Duggan-Smith had lived in a house once lived in by Arthur Lismer, so that was an easy pairing. Laskin was attracted to the landscapes of F.H. Varley, and so on. Manzer was drawn in particular to the 1930 oil on canvas Mt. Lefroy, a snow-capped quintessential Harris depiction. “If Lawren Harris made a guitar, what would it look like?” she thought to herself. “And if one of his paintings morphed into a guitar, how would that look?”
The result, which won’t be unveiled until closer to the exhibit’s opening, is an exotic six-string acoustic model with an extra neck that holds an eight-string harp-like offshoot. “Technically, it was quite hard to do,” Manzer says. “But I think the result is a little controversial, and I had fun doing it.”
The next step was an audition. The folk-rock icon Bruce Cockburn, a friend and customer of Manzer’s, would give the guitar a playing. Reached in San Francisco, Cockburn described the guitar as a “pretty spectacular piece of sculpture, which manages to sound decent as well.”
Cockburn, who has sung about trees in forests but has never made paintings of them, wrote a song specifically for the guitar that will be featured in documentary film on the Group of Seven Guitar Project. The Mount Lefroy Waltz is a solo instrumental in F minor, played by Cockburn with the strings capoed at the third fret, with the strings tuned D-A-D-G-A-D.
“I tried to come up with something icy sounding,” Cockburn says. “The guitar favours the higher frequencies, and I tried to write that into the piece. It played very well. I was even able to use the ‘harp’ strings that are part of its architecture.”
The process of making the guitar was a lengthy one. Manzer spent more than two years just researching Harris. The turning point in her study was reading his letters to his confidante and fellow artist, Emily Carr. “He was a cheerleader for her, and the things he wrote to her about being brave became my inspiration from him,” Manzer says. “I took those words to heart.”
Each of the luthiers worked on their individual guitars on their own, but in talking to them all, Manzer believes their processes were similar to hers. “I was going to do what was best for my journey of discovery of Lawren Harris,” she says. “I think we all did that.”
As Manzer says, the wood doesn’t lie. And neither does the muse.
Special thanks to Brad Wheeler – Twitter: @BWheelerglobe