, 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
“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
21 September 2016 – Bruce’s 1984 album Stealing Fire has been nominated for a 2016 Slaight Family Polaris Heritage Prize.
This Prize honours Canadian albums of the pre-Polaris era from four distinct time periods: the ’60s & ’70s, the ’80s, the ’90s, and the ’00s (2000-05). Like the Polaris Music Prize, winners and nominees for the Heritage Prize are albums of the highest artistic quality, without regards to sales or affiliations.
For 2016, two albums from each era will be selected, from a total of ten nominees in each category.
One winner in each category will be chosen by a special jury, and one by the public. Voting is now open here, and the winners will be unveiled on Oct. 24th.
Stealing Fire was a landmark album for Bruce and contained many great songs including “Lovers In A Dangerous Time” and “If I Had A Rocket Launcher” among others.
Jay Schlossberg wants to take us back in time to an “era of cultural, social and political upheaval.” During those years from 1961 to 1983, he and countless other mostly teens and twenty-somethings were steadfast fans of the free-form progressive radio station that rocked the metropolitan area’s airwaves from the Triangle Towers apartment building in downtown Bethesda.
“Feast Your Ears – The Story of WHFS 102.3 FM” is Schlossberg’s work-in-progress documentary about WHFS, where locally-legendary DJs—including Weasel, Cerphe, Damian, Josh, Adele and Thom—spun non-Top 40 tunes and chatted about the important issues of the day. “It was more than a local radio station,” Schlossberg said. “It was the voice of a generation.”
The substance was transmitted in more than one way. “Not only were we getting messages through the music of these national and local musicians,” said the Dufief resident who is the film’s director and executive producer, “but we also were getting local news (on topics like) when an anti-war protest would be held, where to buy records, health food, the nearest surf shop. The station served as a conduit for all the thriving retail businesses that sprung up around the culture.”
Most important, Schlossberg emphasized, was that WHFS promoted and supported local music. “We heard news about the live music venues—who was playing where and when.” After rattling off the names of some of the major places—The Psyche Delly, The Cellar Door, Redfox Inn, the Bayou, Lisner, the Warner, he observed, “’HFS was the center of it all.”’
Schlossberg’s allegiance to the station was cemented at age 17 when the Charles W. Woodward High School student was fortunate enough to have a summer job there. “I’d pay you to let me work here,” he remembers thinking in 1972. At Montgomery College the following year, Schlossberg was among 16 students who started the campus radio station. He served as WMCR’s program director and DJ, aspiring to be like Weasel and Cerphe, and honed his guitar skills by jamming in the student lounge when he was supposed to be in class.
The idea to tell the WHFS story came to Schlossberg some 30 years later after seeing a group photo on Facebook of the iconic station’s DJs, taken at the April 20, 2013 Record Day celebration at Joe’s Record Paradise in Silver Spring. “I said out loud, ‘Oh my God, they’re all not dead yet. Someone needs to tell this story,’” he recalled. “Of course, I knew them all already, but seeing the photograph just crystallized it. A flashbulb went off.”
Schlossberg is president and owner of Media Central, the global crewing, production and post-production services broker-agent company he founded on Aug. 1, 1993 (Jerry Garcia’s birthday, he noted). His clients have included HBO, Lucasfilm, Discovery Channel, Paramount Pictures, Showtime and BBC Worldwide. His company Media Central Films has produced a web series, “AutoExotika Presents: Cars ‘N Coffee,” with episodes in Bethesda, Las Vegas, Santa Barbara, Cincinnati, Palm Beach and Paris.
Despite his successful businesses and concomitant media industry contacts, Schlossberg had never done a documentary before. Thus, it was essential that he research and brainstorm the project by talking to people who had been there as well as industry professionals. About six months post-epiphany, he hosted what he called a “meeting-party” with the WHFS DJs in the building where they once broadcasted.
Maryanne Culpepper, former president of National Geographic Television, was enlisted as executive producer “to help with the front and back ends, to help me get the plane off the ground and into the air and with the landing,” he said. “She knows about film festivals.” Also on the team are consulting producer Jonathan Gilbert AKA Weasel; story consultant and former Washington Post writer Richard Harrington; and Bethesda native and writer of “Homicide” and “The Wire” David Simon, who helped with background and context.
Filming began in June 2014, and a Kickstarter fundraising effort in October and November 2015 raised $65,000 for the project. With two-thirds of the filming completed, Schlossberg expects the editing process to begin in September with a rough cut by the end of the year. Plans include local screenings—perhaps at AFI in Silver Spring and Landmark in Bethesda—and Netflix and Showtime and even director Morgan Spurlock have expressed interest and encouragement. Schlossberg is confident and optimistic about the film’s future. “We have gotten a lot of positive feedback from the trailer,” he said. “And I think the film will have wide-ranging international appeal, too.”
Having acquired a taste for music documentaries, Schlossberg is also acting as executive producer of “The Humbler,” a film about legendary guitar player Danny Gatton.
Musician and producer Steve Dawson has a new podcast called “Music Makers and Soul Shakers” that Bruce was interviewed for. You can stream the episode here, or subscribe to the podcast for free on iTunes.
Some of you might recall that Steve produced the wonderful tribute album to the Mississippi Sheiks called “Comin’ My Way” and that Bruce did a cut for that album “Honey Babe Let The Deal Go Down“.
It’s a great album and worth picking up. Further I have a history with Steve as well. I released a few albums on True North for the great group Zubot & Dawson and in 2003 one of those albums “Chicken Scratch” won a Juno Award.
The podcast is really worth listening to especially if you’re a guitar player.