Music – Page 10 – Jewish Independent

Gena Perala plays Harmony Arts

Gena Perala plays at Harmony Arts Festival on Aug. 3. (photo from Gena Perala)

“Creating songs, writing music and poetry, is its own reward,” said Gena Perala. The young poet and songwriter is still striving to find her niche in the Vancouver poetic community but she knows exactly who she is. “I’m a creative, an artist. I love words,” she said in an interview with the Independent. “I started performing my poems in the Vancouver Poetry Slam but I love music, too. Sometimes, I just write music or sing but I consider myself a writer first.”

Her artistic life began in touring carnivals. “My parents were carnies. My dad ran a bunch of games on the carnival circuit. He traveled year round, only sometimes coming home. My mom, with the kids, stayed home in White Rock during the school years and then, every summer, we would join the carnival and travel with my father. I loved it. There were people from all walks of life and all nations in the carnival. I was exposed to many cultures.”

She is mostly self-taught. “I took some lessons in piano, guitar and voice but, for my poetry, I read a lot. I read classics. I read lots of Russian literature.… You can’t really ‘teach’ writing poetry. There is no formula. I facilitate poetry workshops in high school; have been doing it for the last few years. I’m trying to show teenagers how to express themselves poetically. Of course, there is some structure, some poetic devices, but there are so many ways to write poetry. I help students to access those ways.”

She also leads poetry seminars for young offenders. “A teacher who knew me from my high school poetry workshops asked me to do the same at a correctional facility for teenagers, ages 13 to 17. It’s the same process, and the kids are like any other kids, they just lacked some love in their lives. During the workshops, I try to let them know that they’re valuable, that their thoughts and ideas are interesting.”

Not surprisingly, her poetry often slants towards social themes. A few years ago, she participated in a B.C. poetry competition about the importance of voting – and won it. “I think it’s important to vote,” she said, “especially for us, women. We have only been allowed to vote for the past hundred years or so. We should exercise that right.”

Going from writing and reciting poetry to writing and performing songs was a small and logical leap. While the activity itself is highly rewarding, however, it’s not a lucrative career. “I make money by waitressing,” Perala said with a laugh. “With my songs and poetry, I’m lucky if I break even.”

Lately, she has been touring, and that has helped financially. “I’ve had several tours recently, after I released my album Exactly Nowhere. I performed in Toronto, New York and on the West Coast. Touring is very reassuring for me. When I tour, I’m usually the feature of a concert. I sell out my discs. I connect with people. My songs resonate with them. They come to me after the shows and we talk. Once, I met a group of surfers, young guys, in California. They loved my songs. But, in Vancouver, it’s hard to get exposure. It’s a tough town to get shows here. It’s probably the hardest challenge.”

Perala keeps trying, and she is constantly learning new skills. One of the most fascinating projects for her was the making of her first music video, Living Proof. She expounded on its creation: “I hired a bunch of professionals to help me, but the vision was mine. I wanted to be floating, but to film that would be terribly expensive. The director, Blake Farber, suggested we use a fan and some scarves and ribbons. It came out very well. And I have tons of other ideas. As soon as I scrounge some money….” She smiled. “Fortunately, my fan base is growing.”

Locals might see her this summer playing piano around Vancouver as part of the Keys to the Streets project. “I first learned about a similar project, Street Piano, when I lived in New York,” she said. “They installed 60 pianos in the streets during the summer, and anyone who wanted to play could. It was one of the best experiences of my life. I was walking down a street and, suddenly, there was a piano and a guy was playing it. I stopped and listened. Later, we talked. He was a professional pianist in the past but hadn’t played for awhile; he didn’t have an instrument at home. I didn’t either, so I played it, too.

“Vancouver started a similar project – put 10 pianos in the streets during July and August. I played one last year. I have a keyboard at home now, but that was a real piano. I’m going to do it this year, too. You always meet people there. Some listen, others play. I love people.”

Perala’s next performance will be at the Harmony Arts Festival on Aug. 3, 3 p.m., at Millennium Park in West Vancouver (harmonyarts.ca/gena-perala). To learn more about Perala and her work, visit genaperala.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Jared Miller: Victoria Symphony composer-in-residence

Jared Miller has been appointed by the Victoria Symphony as its new composer-in-residence (photo from Jared Miller)

Jared Miller has always loved music. “When I was around 3 years old, I would beg my parents every single day to watch the movie Fantasia because I loved the music in it so much,” he told the Independent in an interview from his home in New York, where he has been studying for his doctoral degree at the Juilliard School. “I also loved the animation, but got quite scared whenever the sorcerer appeared on screen. I would hide under a special blanket with holes in it. The blanket would protect me from what seemed like an evil sorcerer, but the holes in it still allowed me to enjoy my favorite movie and music, unscathed.”

Miller still loves music and, today, he is among its creators. Recently, the Victoria Symphony announced his appointment as its new composer-in-residence. According to Miller, the primary function of a composer-in-residence is to compose original pieces of music for the organization that employs him – in his case, the Victoria Symphony – and be a musical emissary to the local community. He is uniquely suited to both aspects of his new appointment.

On the composition front, one of his piano compositions, “Souvenirs d’Europe,” debuted at Carnegie Hall in 2011 and won the 2012 ASCAP Morton Gould Award. It was also used as the required piece for the 2013 Knigge Piano Competition. His orchestral works have been performed by several North America orchestras. And his efforts to promote classical music started before he was in his teens. He has been playing and talking about music at every possible venue, from nursing homes to elementary schools.

“I began playing in care homes when I was about 9 years old, and my grandparents were staying at Louis Brier in Vancouver,” he said. “Initially, I would just play the piano there, while we were visiting my grandparents, to occupy my time. Eventually, I drew a bit of a crowd and got sincere enjoyment out of it. This stopped in 2005, when my grandmother passed away. Then I began playing in care homes again in 2008, when I got a job as an Artsway Ambassador with B.C. Health Arts Society. I tried to keep it interesting by playing a variety of music – from Mozart to my own compositions to 1920s and ’30s pop music.”

During those performances, he spoke to his audience about each piece, inviting their participation. At about the same time, while he was a music student at the University of British Columbia, he widened his activities to encompass groups of schoolchildren.

“I began in 2007 as a post-secondary-music-student ambassador for the Vancouver Symphony Orchestra’s Connects program. For this program, I got to visit a bunch of different elementary schools in the Lower Mainland and teach them about classical music in a manner to which they could relate. One of the modules I taught focused on how music could tell a story. Since then, I have worked with Vancouver Opera in the schools, as well, and with New York’s Opportunity Music Project, which provides underprivileged children in the New York City area with free music instruments, lessons and performance opportunities.”

“I feel incredibly privileged to have been exposed to classical music and to be able to pursue it as a career. It has made my life extraordinary and, in doing musical outreach, I can share this feeling with other people who may not necessarily have access to classical music otherwise.”

For a busy young composer, he invests a great deal of time in outreach programs and he feels strongly in their mission. There are many reasons he participates in these programs. “For one, it’s fun. It allows me to find creative ways to introduce audiences to classical music, which is very satisfying for me,” he said. “I feel incredibly privileged to have been exposed to classical music and to be able to pursue it as a career. It has made my life extraordinary and, in doing musical outreach, I can share this feeling with other people who may not necessarily have access to classical music otherwise.”

He sees his work with the community as a way of introducing the future generation to his beloved art form, and to push back against school budget cuts. Furthermore, by doing the outreach, especially in schools, he might also plant the seeds for classical music’s future audience. Because no matter how much the music profession has evolved throughout the ages, one aspect has remained consistent, he said: “… a composer’s need to self-promote. From Handel, to Beethoven, to Aaron Copland, composers have always had to be rather active about looking out for their own careers. These days, with the plethora of social media outlets, it is easier than ever to do this, albeit more time-consuming.”

Despite his packed schedule, he also finds time for some musically unrelated fun. “I love food,” he admitted. “New York, where I’ve been based for the past four years, is definitely the place to be in this regard (although I do miss Vancouver’s sushi). I love cooking and trying new restaurants. To counter this abundance of calories, I also love running. It’s a great way to see the city and to escape the everyday pace of life.”

After settling in Victoria, with his schooling finally out of the way, he might also try a new hobby or two. “I’m interested in attempting to paint and maybe learn some kind of martial art. Who knows? The sky is the limit.”

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected] gmail.com.

Through blues to happiness with Jill Newman

Jill Newman at Cottage Bistro May 9 singing from her new CD, Lovestruck Blues. (photo by John Endo Greenaway)

Happiness. Perhaps ironically, Jill Newman’s performance at the release party for her latest CD, Lovestruck Blues, exuded happiness. The May 9 show at Cottage Bistro featured bright vocals, skilful (and electric) electric-guitar playing, cheerful interactions with the audience and a playlist of well-written, original songs, many about finding love, but also about losing it – even these, though, exhibit optimism, finding the courage and strength to be on one’s own and true to one’s heart.

Newman’s talents as a songwriter and musician were obvious in her debut recording, Fragile Walls, in 2004. The review in the Independent (“A garden of musical delights,” April 22, 2005) ended with the comment, “It’s been a long road for Newman to reach this creative milestone. Hopefully, it’s the first of many.” A decade later, Lovestruck Blues is another welcome milestone – and there’s nothing fragile about it. It exhibits the confidence and contentment of someone who has, so to speak, come out the other side. As Newman writes in the CD booklet, “It is the story of my journey – of turning my world upside down, taking some risks and being blissfully happy for having done so.”

image - Lovestruck Blues CD cover — *Lovestruck Blues* is Jill Newman’s second CD.

During the period between releases, Newman told the Independent, a lot changed for her personally and musically. “My first CD was the culmination of many years of dreaming of making my own recordings,” she explained. “I was going through a difficult time in my life, including a breakup, so the songs were really all about loss and heartbreak. I had a great producer who took care of almost everything for me, from arranging the songs to organizing and directing the entire recording process.

“Today, I’m in a much better place personally, having just gotten married a few years ago and feeling happy. That does present some challenges for writing the blues – as lately I’ve been writing happy blues songs. I produced Lovestruck Blues myself with support from my engineer, Marc L’Esperance. I made all the final decisions in terms of how I wanted the recording to sound and directed the recording sessions in Seattle and Vancouver. I was not going for a retro sound, but that’s really what comes out. I’ve played in everything from country, punk, blues and even an all-female Led Zeppelin tribute band, so I’m quite eclectic in my approach to music. I’m often told that my music should be in soundtracks for Quentin Tarantino’s films, the less happy songs, that is.

“I’m most at home in front of a live audience rather than in the studio, as I really enjoy the energy and the interaction between the audience and the band,” she added. “I’ve been doing lots of performances and my live shows are definitely stronger than they were 10 years ago. I’ve also been doing quite a bit of vocal work over the past few years. Songwriting is always a challenge, with lots of hours spent struggling with lyrics – I still tend to write the music first or jointly with the words and then fine tune the lyrics.”

Lovestruck Blues includes 10 original songs, one of which – “Too Hard to Handle” – was co-written with Vancouver actor, artist, director, playwright and songwriter Lynna Goldhar Smith.

“I’m originally from Wisconsin, but immigrated to Vancouver Island with my family as a teen. I spent about 25 years living in the Vancouver area, with some brief stints in Washington,” said Newman about her community connections. “I was raised in a secular Jewish household with no religious upbringing, but I identify culturally as Jewish. My most valued connection to the Jewish community was my past involvement with the Peretz Centre for Secular Jewish Culture. My daughter, Michelle, participated as a young teen in the b’nai mitzvah program, which was a great experience for both of us. I also enjoyed singing in the Jewish Folk Choir and participating in the Peretz programming.

“I’ve worked for Jewish Family Service Agency in Vancouver and in Seattle and participated in advocacy to address poverty in the Jewish community in Vancouver. I combine my work as a professional guitarist, singer and songwriter with my part-time work as a therapist with teens who are struggling with mental health issues. When I have spare time, I enjoy being in the outdoors kayaking or sailing.”

photo - Jill Newman and her daughter, Michelle Baynton, at the Lovestruck Blues CD release — Jill Newman and her daughter, Michelle Baynton, at the *Lovestruck Blues* CD release. *(photo by John Endo Greenaway)*

A woman with many abilities and interests, Newman’s musical path also started somewhere other than where it led.

“I started in music playing classical flute at age 9 and got involved in community symphony and jazz combos as I got older, with a stint studying jazz in college,” she told the Independent. “My first stringed instrument was the banjo, followed by the acoustic guitar and pedal steel [guitar], but when I first plugged in an electric guitar (Stratocaster copy) at age 15, I was totally hooked. I loved the sound and the power of the electric guitar, especially turned up loud with distortion. A friend who’d been in rock bands taught me how to bend the strings properly and I began specializing in playing lead guitar – something very few girls were doing when I was a teen.

“I played constantly and learned everything I could figure out by Heart, Aerosmith, Yes and Led Zeppelin, but I also started writing my own songs and performing in coffeehouses. By my early 20s, I was making a living as a full-time professional guitarist and, other than recovering from a hand injury, I’ve never stopped playing. I feel strongly that we need more female electric guitarist role models and I volunteered as a guitar instructor for Vancouver Girls Rock Camp in 2012.”

And what draws Newman to the blues? “It’s the raw emotion and the simplicity of the music that grabs me,” she said, reiterating, “I’ve had a longstanding love of the electric guitar and, when I first began listening to blues players like Freddie King and Eric Clapton, I was blown away by the expressiveness of their playing. In recent years, I’ve been focusing a lot on slide guitar, which has a range of expression that emulates the human voice and beyond. There’s nothing more soulful than Roy Rogers playing slide guitar on Elmore James’ song ‘The Sky is Crying,’ or almost anything by Ry Cooder or Derek Trucks.”

Part of the fun of the Cottage Bistro CD release party – in which she was accompanied on stage by Loren Etkin on drums and Brian Scott on bass – was the seemingly spontaneous invitation by

Newman for her daughter, Michelle Baynton, and Cecile Larochelle to join her in a couple of the songs they each performed with Newman on Lovestruck Blues.

“One of the things that was the most special about making this new CD,” Newman admitted, “was getting a chance to record with my daughter, Michelle. She’s just finishing her opera degree at UBC and, despite my doing a very different style of music, we get a lovely vocal blend together. Michelle sang background vocals on my songs, ‘Everything Will Change’ and ‘Without You.’”

Newman, along with Etkin and Cameron Hood (bass), will perform next on July 14, 9 p.m., at Guilt & Co., 1 Alexander St., in Vancouver. For other upcoming performances, keep an eye on jillnewman.net, sign up to receive email updates or like the Jill Newman Blues Facebook page.

Creativity at the crossroads for Idan Raichel

Idan Raichel performs for one night only at the Vogue Theatre on May 12. (photo by Eldad Rafaeli)

Vancouver audiences are in for a treat next month when Israeli musician and uber-producer Idan Raichel together with the ensemble of international musicians that comprise the Idan Raichel Project perform for one night only at the Vogue Theatre on May 12.

The IRP’s unique sound – a blend of African, Middle Eastern, Indian and Latin American rhythms and instruments, is familiar to Vancouver audiences. Their three previous tour stops here – also presented by the Chutzpah! Festival – were sold out well in advance. This time, in addition to old favorites, audiences will be treated to some songs from Raichel’s latest and most successful album to date, A Quarter to Six, released in late 2013 to enthusiastic reviews from music critics and fans, sky-rocketing to double-platinum status within two months of its release.

The album’s title, taken from a work by Israeli dramatist Yossi Banai, refers to the twilight hour, a time of transition from day to night. “This is a very special time in Israel, the change of the day … you can think about what has happened up until now, also what could happen,” explained Raichel, who spoke with the Jewish Independent from his home in Tel Aviv. “The hour of the day that is like the crossroads in life…. After 10 years with the Project, I feel we have reached this time … of change, a transition, both musically and personally.

“A Quarter to Six [is] a kind of closure,” mused the artist. “It speaks about the crossroads we have in life. I don’t know if it’s age, or different perspectives, but we all have it about life … it doesn’t have to be a matter of age, you can feel this crossroads when you are 15 or 50.”

More than a collection of songs, the album is what Raichel terms “a complete piece of art,” as it includes a booklet of small paintings that he has been working on for the past two years. This album “is a big musical journey – inside my life spiritually and outside, touring and collaborating with [musicians] from Germany, Portugal, Columbia. The thing that touches me the most is that people see each song fits … [it’s] part of a story and they are listening from start to finish, writing comments about the booklet.” The songs are “not just singles,” he continued. “Every song is a script in a movie, every scene is singing about the situation that he or she is in. At concerts, I see kids and their parents, grandparents with kids coming, it’s reaching a wide audience…. The first time this is a full album that goes deeply into the theme of crossroads in life.”

While the format of this album differs from previous recordings, what hasn’t changed is Raichel’s unique sound, created in part by the collaboration with international musicians. A Quarter to Six brings together an eclectic mix of voices, languages and musical disciplines with guest artists that include German counter tenor Andreas Scholl, Colombia’s Marta Gómez, Portuguese fado star Ana Moura, Arab-Israeli singer/songwriter Mira Awad, Malian singer and guitarist Vieux Farka Touré, and a selection of some of Israel’s top up-and-coming singers and musicians. Raichel wrote all the melodies and lyrics but collaborated with each artist, allowing them to interpret and adapt their song to their own personal style.

This latest record is a very personal album – mirroring the very real crossroads that Raichel faces at this stage of his life and career. The 36-year-old recently settled down with his steady girlfriend, became a father and – in a move that elicited some very strong reactions from fans across the world – cut off his trademark dreadlocks. Raichel agreed that in retrospect the album foreshadowed his own transition into adulthood.

image - A Quarter to Six cover — *A Quarter to Six* was released in late 2013 to enthusiastic reviews from music critics and fans, sky-rocketing to double-platinum status within two months of its release.

“Is it personal? When I wrote the album, I still had my dreadlocks, I was on and off in my relationship with my lady but somewhere inside I knew it was time to make decisions, to change things. I knew … I have to shave my dreadlocks after 14 years, I knew we were on and off but I knew I wanted her to be the mother of my kids.… Later on, it was natural. One month after the album was released, we knew that we were pregnant, things were happening.”

Having a child has opened Raichel up to a whole new world. Having a baby “gives me such a perspective about life…. I just enjoy this miracle, see how she develops and discovers new things every day…. It opens my appetite for more young creatures, maybe another nine or so. I wish!” But Raichel and his Austrian girlfriend, Damaris, are not planning on adding to their brood just yet. Their baby girl, Philipa Helena Damaris Raichel, remains with her mom in Israel while Raichel is on the road. “Damaris and the baby won’t tour with me…. I think it’s good to separate things. On the road, everyone has stuff to do. I don’t want them to feel forced to have to wake up early or, you know, to see the concerts every night.”

IRP’s blend of international musicians and sounds has put it at the forefront of the world music scene. In addition to that, Raichel calls the Project’s music “the soundtrack of Israel,” adding that the group plays the role of cultural ambassador for Israel. “The definition of world-music artist can change from one time to another, but world-music artists bring the soundtrack of where they come from. For example, Bob Marley is the voice of Jamaica; Edith Piaf, the voice of France; or like Miriam Makeba is the voice of South Africa. We feel honored when people describe our music as the soundtrack of Israel. If people don’t know anything about our country but can remember our music … especially people from conflict regions, then they see the other side of our culture.“

The past year has been a banner one for Raichel, who performed privately for Barack Obama during his state visit to Israel, appeared with French superstar Patrick Bruel and was awarded ACUM’s Composer of the Year 2013. To top it off, the popular Israeli entertainment magazine Pnai Plus named Raichel “Man of the Year.” Far from finding this flattering, the title made the unexpectedly humble musician feel uncomfortable. “Well, I was speechless then, and I’m speechless now,” he said. “In such a crazy country like ours, with so much happening every day, even every half day … how weird it [is] to get this recognition. I think a better Man of the Year would be … there is the story of one of the army commanders, he lost his two hands in an explosion and, a few months after that, he came back to the army to lead [his soldiers] again.” He added, “Just the struggle, even if it wasn’t an army, even if it was a soccer team … I don’t know, to see the power of good will, how strong you can be facing such trauma, how you can not give up to depression or pain or disappointment, that was an inspiration, I guess.”

Raichel said there is “a lot of good music coming from the Israeli music scene” nowadays. “It’s becoming more and more open to sounds from all over. Back in the day, you would hear less of the Yemenite roots, Middle Eastern influences,” it was “mostly Ashkenazi music.” And while he enthused about Israel’s modern musicians, mentioning DJ Avishai Cohen and Yemen Blues in particular, he still enjoys the music of Arik Einstein and Shoshana Damari. “Now, there are so many more radio stations, for more artists. Today, you hear music that more reflects the sound of the Israeli melting pot.”

Chutzpah! Festival artistic managing director Mary-Louise Albert said audiences are in for a whole new experience at the May 12 concert. “I have brought Idan back because it builds his audience here in Vancouver and I’m committed to supporting many artists beyond just presenting them one time. Artists develop and grow, so audiences get to experience this growth also when an artist performs multiple times.” With its 10-member ensemble (the largest of IRP’s Chutzpah! engagements), Albert said the Vogue Theatre is the perfect showcase for this high-energy, “plugged-in” event. “Vancouver audiences have not experienced this show before,” she said.

Opening for IRP is Vancouver’s Babe Gurr, who will showcase songs from her current album, SideDish, a unique blend of world music and her own roots style that has earned Gurr glowing reviews and a strong following.

Nicole Nozick is a Vancouver-based freelance writer and communications specialist.

Hagit Yaso headlines local Yom Ha’atzmaut

Hagit Yaso, the 2011 Kochav Nolad winner, will sing in Vancouver on May 5 at the Chan Centre in celebration of Israel’s 66th birthday. (photo from hagityaso.co.il)

One July night in 2011, on a crowded Haifa beach, the 21-year-old singer Hagit Yaso became that year’s winner of Kochav Nolad (A Star is Born), Israel’s version of American Idol. The outsider had triumphed. “It was the most exciting and most life-changing experience I’ve ever had,” she told the Independent by telephone from her home in Sderot.

Yaso is a fully qualified outsider. She is working-class, the child of Ethiopian refugees and a resident of the missile-and-mortar target town of Sderot. Only one kilometre from the Gaza Strip, Sderot is the target of frequent rocket assaults. A small town of only 20,000 people, everyone, she said, knows everyone. “It’s a small town. You get to know the people,” she said. “And I got a lot of support when I was on Kochav Nolad.

Now 24, Yaso has toured the world and released her first CD, a self-titled CD that is available at cdbaby.com and at amazon.com. Vancouver audiences will get a chance to see her May 5 when she headlines the community Yom Ha’atzmaut celebration at the Chan Centre for the Performing Arts at the University of British Columbia. The event’s main presenter, the Jewish Federation of Greater Vancouver, can take some pride in Yaso’s success. A scholarship from the Canadian Federations provided her voice lessons at Sderot’s Music Centre and the Vancouver Federation itself has taken a special interest in helping Sderot’s Ethiopian community. Federation also provides assistance to Sderot’s trauma victims.

The three months she spent on the television competition were grueling, Yaso said. ‘“The competition is very long, very confusing, with a lot of pressure and media.” She always believed she would win, though.

Her friend, the American filmmaker Laura Bialis, who lives in Tel Aviv, noted by phone that Yaso’s determination is one secret to her success. “You know, it was like everything she set out to do, she did,” Bialis said. “She wanted to get into the army band, she got into the army band. She wanted to get on Kochav Nolad, she got on Kochav Nolad. She wanted to win Kochav Nolad, she won.”

The two met when Bialis was shooting a documentary about music in Sderot. That film, Sderot: Rock in the Red Zone, is now in its final editing stage.

Yaso’s success is a point of pride for Sderot. Her win is also significant to Israelis of Ethiopian heritage. Vancouver resident Ronit Reda-Yona, an Ethiopian Israeli, said Yaso’s 2011 win “was an exciting moment for the Israeli society and especially for the Ethiopian community. Everyone in Israel who is Ethiopian feels like me: this is a good model for young people.”

Not only is Yaso well known in Israel but, in a short time, she has become an international success. She has performed at Jewish events in Paris, London, Canadian cities, American cities and Ethiopia. After Vancouver, she will tour Brazil.

“What is really amazing is that her career has taken off internationally in a really interesting way,” said Bialis. “She’s got this amazing voice, she’s gorgeous, she’s gracious, she’s sweet, and she has an amazing story.”

Thankful for parents’ courageous journey

Yaso’s parents, Yeshayahu and Tova, grew up and got married in rural Ethiopia. “They got married by shiddach,” said Yaso, who explained that the marriage was arranged and the two did not meet until their wedding day. In the early 1990s, the couple was forced to leave home. “Because they were Jewish, they suffered a lot and they had to run away from there and the option was to come to Israel,” Yaso explained.

Tremendous hardship stood between them and that destination. “They walked 400 kilometres by foot,” she said with some pride and awe in her voice. “It took them two and a half months to walk because it’s through the desert. They had to walk only at night and hide during the day because they were not supposed to leave [Ethiopia], and they were afraid…. They had to hide during the day because they were afraid of being caught.”

Yaso’s parents finally crossed the border into Sudan and were airlifted to Israel.

“They had nothing when they came here,” she said. Her parents built a life and a family of five children, in the small town where they still live. That home remains her home, too.

The Vancouver performance will include four songs she performed on Kochav Nolad. Yaso will sing in English, Hebrew, Moroccan Arabic and Amharic, the language of Ethiopia. The four-piece band that accompanies her is a group with whom she served in Israel’s army band. All three backup singers are from her hometown, including her sister, Shlomit.

Both of Yaso’s sisters performed with the town’s youth music ensemble. Many of Sderot’s young people dream of music careers. The ubiquitous bomb shelters sometimes double as rehearsal spaces. Perhaps this love of music helps soften a hard life that includes regular bombardment. When the air raid warning sounds you have 15 seconds to find shelter. Drills are constant, so life itself is always uncertain.

“It’s a city that suffers a lot from what’s going on in the south, from bombing and stuff,” said Yaso. “It’s not easy to live there. I manage by being optimistic, smiling and, when it gets harder, I sing.”

In addition to Yaso, performances at the community celebration of Israel’s 66th birthday at the Chan Centre will include the JCC Festival Ha’Rikud Dancers and a musical tribute written by Jonathan Berkowitz and Heather Glassman Berkowitz.

Michael Groberman is a Vancouver freelance writer.

Gasoi at the Rothstein

Jennifer Gasoi (photo from jennifergasoi.com)

In 2003, the Jewish Independent reviewed Jennifer Gasoi’s debut children’s album, Songs for You, describing it as “intelligent, energetic, philosophical, educational, at times silly and, most importantly, it’s high-quality music.” Since then, Gasoi has garnered numerous awards and nominations for her music. The latest – her second CD, Throw a Penny in the Wishing Well, took home the 2014 Grammy Award for best children’s album.

With the big January win still fresh, Gasoi – the first Canadian to ever receive this Grammy honor – returns to Vancouver next month. Living in Montreal since 2002, she is not only coming back to see family, but to perform two concerts on April 12 to benefit the Children’s Hearing and Speech Centre of British Columbia.

Gasoi, who also won the 2013 Sirius XM Canadian Indie Awards for children’s artist of the year, the Parent Choice Award and the Canadian Book Centre’s selection for best children’s music, and was a semi-finalist in the International Songwriting Competition and a Juno nominee for children’s album of the year, took time to speak with the Jewish Independent before her upcoming visit.

JI: You’ve won other honors and nominations in your career. In what ways, if any, is the Grammy different, and in what ways has it already affected your work/schedule?

JG: The other awards and nominations were wonderful accolades, but winning a Grammy has taken my career into a whole new realm. I’m being asked to speak and represent many different organizations. I’ve had quite a few requests internationally – to play shows (U.S.), to submit my music to radio stations (Australia), to sell my CDs (a theatre company in Oklahoma) and I’ve even had interest to play a show in China. There’s a certain status associated with being a Grammy winner that I’m still getting used to! It’s been quite a challenge keeping up with all the requests and opportunities arising. There’s no question that new doors are opening and my horizons are broadening.

JI: You have consistently put out quality recordings. From where do you find your inspiration? How do you keep the work fresh and interesting for yourself?

CD cover - Jennifer Gasoi's Throw a Penny in the Wishing Well — Jennifer Gasoi won a Grammy this year for Throw a Penny in the Wishing Well. (image from jennifergasoi.com)

JG: I am inspired by life. By people, experiences, nature, music, small moments, unexpected interactions, synchronicities. Sometimes, it’s just a simple two-minute interaction that can inspire a song. Or a memory can be the catalyst. “The Little Things” started off with the image of jelly tots– little candies that I used to love as a child – and it spun into a whole song about all the joyful moments from my childhood. “The Pizza Man” was inspired by a real-life pizza man at a iconic pizzeria in Montreal. Inspiration can hit anytime, anywhere. To keep the creative energy flowing, I see live shows, listen to music, practise yoga and meditation, go for walks on the mountain, take improv comedy classes, watch inspiring videos, dance, and spend time with creative and inspiring people. Children are one of my main sources of inspiration. They continually amaze me. They are so full of life, connected, brilliant, openhearted, pure and so much fun to be with. They remind me of what is really important in life.”

JI: You’ve been very involved in the Jewish communities of both Vancouver and Montreal. In what ways, if at all, has your Jewish heritage/upbringing/communal ties influenced your life/work?

JG: There is something very special about being part of such a close-knit community in both Vancouver and Montreal. It has provided me with a real sense of belonging and groundedness. When I was a child and attended synagogue at Temple Sholom, I was deeply moved by the music played during the services. I love Jewish music. It touches my soul. My Jewish heritage has definitely influenced my songwriting. In my first album, Songs for You, I have a klezmer tune called “The Animal Party,” and, in my latest CD, Throw a Penny in the Wishing Well, the hora features prominently at the end of “The Purple Man.”

I have the privilege of playing music for seniors and patients in several hospitals in Montreal. There is a significant Jewish population, so I often play classic Jewish songs such as “Hinei Ma Tov,” “Heveinu Shalom Aleichem” and “B’shana Ha’ba’a.” I once played Hatikvah during one of my gigs at a Jewish seniors group held in a synagogue, and everyone in the room stood up and sang along. It was so powerful, it brought me to tears.

JI: Are there any projects on which you’re currently working/collaborating?

JG: I have some projects in the works. That’s all I’ll say for now. My priority is to get all my business in order so that I can continue to create music, perform and reach a wider audience.

JI: Is there is anything else you’d like to share?

JG: I am so grateful to be living the life of my dreams. I hope that I can inspire others – big and small – to take chances in their lives, to live from the heart and know that anything is possible.

Jennifer Gasoi will perform twice at the Children’s Hearing and Speech Centre of British Columbia’s annual Family Concert on April 12, at 10:30 a.m. and 1 p.m. The event at the Norman and Annette Rothstein Theatre – which raises funds to support CHSC’s audiology program – will also feature clowns, games, auction items and face painting. Tickets are $15.50 per child and youth under 17, $18.50 per adult 18 and over, and $60 for a family of four (two adults and two children under 17); they are available from childrenshearing.ca.

Innovating a rich music revival – banjoist Jayme Stone

Musician Jayme Stone. (photo from Jayme Stone)

Jayme Stone calls himself a banjoist, instigator and composer. His repertoire, which includes four albums – The Utmost (2007), Africa to Appalachia (2008), Room of Wonders (2010) and The Other Side of the Air (2013) – bridge myriad genres, including folk and roots music from around the world, jazz and chamber music. His latest endeavor is the Lomax Project, which he brings here for CelticFest Vancouver next weekend.

Music journalists have said that Stone’s music “sounds like nothing else on earth,” is “spirited,” “enchanting,” “adventurous” and “delicate, imaginative and unusual.” To get a true sense of what Stone is capable, however, and what his oeuvre sounds like, it might help to know more about from where he comes than to where he’s going.

More associated in North American ears with the sounds of Appalachia and bluegrass, the banjo also has a significant presence in traditional American folk and roots music, including country, blues and old-time. However, what we know of as the modern banjo has a longer – and more global – story to tell.

“Predecessors of the banjo and the blueprint for making and playing it came over with slaves from West Africa starting in the 1500s,” Stone told the Independent in an email interview. “It was, and continues to be, part of many African-American traditions, and African influence abounds in all forms of American music, including the blues, jazz, rock and roll and the many roots and branches of traditional music. From my perspective, each of these genres tells a unique story of how immigrant culture from the British Isles and Europe combined with African culture in a different way. The history of the banjo tells a similar story.”

Growing up in Toronto, Stone developed a love for music early but didn’t start playing banjo until his teens. “I was born and raised in Toronto but started playing the banjo at 16 when I moved to Vancouver for a spell. My parents had a good record collection growing up and my uncle Ian loved listening to music and played a little piano. We used to listen to old records with rapt attention, and he was the first person to turn me on to poetry, Eastern philosophy and ’60s culture.” Most significantly, perhaps, delving into those records introduced Stone to the inherent possibilities of his chosen instrument.

“I discovered the banjo at precisely the moment I got serious about studying music,” he said. “I had started playing country blues guitar having fallen in love with folks like Elizabeth Cotten, Mississippi John Hurt and Reverend Gary Davis. At that time, you could mail order cassettes of out-of-print recordings from the Smithsonian Folkways catalogue and I reveled in the discovery of these older artists and avidly read liner notes. In a short span, I heard the banjo in many settings, from southern old-time Appalachian music to Mike Seeger to Earl Scruggs to modern pioneers like Tony Trischka ad Béla Fleck.

“Béla came to play at the Orpheum Theatre in Vancouver and it turned my world upside down. I immediately wanted to play the banjo, but I also realized that you could play any kind of music on the instrument. It was thrilling to see both what a varied history the banjo had and how much music had yet to be played on the instrument. I loved the quirky physics of the tuning, its unique timbre and variety of playing styles. I’ve been hooked ever since!”

Stone’s musical lens is global and multidisciplinary in scope, as he explores songwriting and storytelling traditions from around the world. Bringing all the pieces together is a labor of love. “I’ve long been interested in music from around the world and like immersing myself in different approaches to making music,” he said. “I love the interaction and improvisational spirit of jazz; the clarity of melody and grit of folk music; the attention to detail and color in chamber music; the rhythmic variety of music from foreign cultures. It’s often these core elements that attract me, rather than simply the veneer of style, if that makes any sense. In a way, I like to bring different approaches into my own musical culture and sort of curate my own esthetic world, as if it were an art gallery with all different kinds of art hanging on the walls.”

His reputation for innovation, reinvention and collaboration stems from his role as an instigator. “At bottom, I really just love being engaged in listening to and learning about music. Since I sometimes hear things that don’t exist yet or have an inkling to combine things that aren’t obvious, I have to make that music so it exists in the world. Along the way, I’ve performed, made records, produced them for others and taught – it’s really all a natural extension of my passion for music and interest in sharing it with others. It’s often necessary for independent musicians like myself to wear many hats. I started using the word ‘instigator’ because I often kickstart and head up projects and collaborations. I’ve always been an upstart of sorts.”

Indeed, frequent collaboration has been integral to Stone’s career. Each album and project has been a shared effort, as they take listeners from the banjo’s roots in West Africa, to the music of Bach and Debussy, and along the Cinnamon Route through Persia and India and beyond.

“I really love collaborating,” Stone noted. “It includes so many things I enjoy: learning, sharing, creating, friendship and community. I also like working with musicians that have their own voice and sensibility – often people that play their instruments in unique ways. It just makes sense to collaborate because I could never write music that fully allows them express their personalities and idiosyncrasies. By collaborating, I get to draw on people’s uniqueness while also working it into a context that includes my own voice and approach. I have to be very organized, plan ahead and work with people who I trust. I’ve been doing this for a long time, so I’m pretty used to balancing all the elements and rolling with things when they go awry.”

Stone’s Lomax Project is named after Alan Lomax, the famed field collector of American folk and roots music, an ethnomusicological treasure trove, much of which is archived at the Library of Congress’ American Folklife Centre. Lomax is also well known for having produced radio and live concerts, as well as for his academic contributions and political activism, among other roles. It is fitting that Stone would pay homage to the multitalented and versatile Lomax, whose work was cross-genre, global and truly multicultural.

“Alan Lomax was a folklorist who began accompanying his father, John Lomax, on field recording trips through the American South in the early 1930s when portable recording technology first became available,” Stone explained. “They collected folk songs from people on plantations, penitentiaries, front porches, churches and schoolyards in the hopes of capturing traditional, rural, folk songs from people who made music for their own enjoyment rather than for commercial gain. Alan made field-collecting trips all over America and eventually all over the world for 60-plus years and recorded over 50,000 songs, in addition to taking photographs, making films and writing prolifically about traditional music. He was an incredibly strong-minded, dedicated and prolific cultural force.

“The idea of my project is to unearth songs that Alan collected and collaborate with some of my favorite musicians on new arrangements. We’ll recycle, re-imagine and rework these old melodies and lyrics and try to bring new life to the material.”

The artists with whom Stone will perform in Vancouver include multi-instrumentalist Eli West, fiddler Crittany Haas, singer and composer Moira Smiley and double bassist Joe Phillips. Other Lomax Project artists have included Tim O’Brien, Bruce Molsky, Margaret Glaspy, Greg Garrison, Julian Lage, and Pharis and Jason Romero.

Stone’s own cultural background is Jewish. “I am Jewish or, as I prefer to say, Jew-ish. My family on both sides are Jewish, and I grew up going to Hebrew school, synagogue, having a bar mitzvah and all that. It’s not something I kept up with in my adult life, and I looked more to Buddhist and yoga traditions in my late teens. Since having kids, my wife and I have been slowly coming around to incorporating more Jewish traditions back into our lives. We try to do Shabbat dinner every week and get together for some holidays with other like-minded, somewhat-on-the-fence, modern Jewish families and friends. I can’t say being Jewish has influenced my music per se, but it’s of course one of the many things that has shaped who I am.”

Finding the time to unwind might be difficult, but Stone has a rich life outside of music, too. “When I’m not working on music, I’m spending time with my family. I have an almost-four-year-old girl and a 10-week-old boy, so life is full. When I do find time to unwind, I like to practise yoga, do contact improv dance, read and hang out with friends. I love to cook and we usually make a big deal about meals at home.”

After CelticFest, Stone will play a concert at the Bach Music Festival of Canada with his Other Side of the Air collaborators. The concert will feature the quintet “playing a Bach fugue, a Trinidadian calypso, Bulgarian mountain dance and an Appalachian barnburner.”

And next on the list for Stone? “I’ll be recording the Lomax Project over the next year and an album will be out in the spring of 2015. It’ll include Grammy-winning songster Tim O’Brien, Bruce Molsky, Brittany Haas, Margaret Glaspy, Moira Smiley, Eli West, Julian Lage, Greg Garrison, Joe Phillips and others. We’ll be launching a Kickstarter campaign in the spring to fund the recording.”

Jayme Stone brings his Lomax Project to CelticFest Vancouver on March 14, 8 p.m., at the Vogue; March 15, 8 p.m., at Vancouver FanClub; March 16, 2 p.m., at Mahony and Sons Music Stage (Granville at Robson); and March 15, noon-4 p.m., at the Tom Lee Music City Stage (929 Granville St.) for a series of one-hour workshops with Lomax Project artists. For tickets and information, visit celticfestvancouver.com.

Iraq ‘n’ roll at FanClub

Dudu Tassa & the Kuwaitis will play at Vancouver FanClub on March 9. (photo from Chutzpah!)

The 2012 Vancouver Jewish Film Festival brought Dudu Tassa to local audiences – on film. The 2014 Chutzpah! Festival is bringing Tassa to the city again – in person.

Dudu Tassa & the Kuwaitis will play at Vancouver FanClub on March 9. Tassa, on vocals and guitar, will be joined by Nir Maimon (bass guitar), Neta Shani Cohen (cello), Eyal Yonati (computer), Barak Kram (drums) and Ariel Qasus (qanun). They will perform “Iraq ’n’ roll” – not coincidentally the name of the documentary that screened at VJFF.

Gili Gaon’s film Iraq ’n’ Roll followed Tassa as the rock musician/composer reconnected to his musical roots: specifically, as he gathered information about his grandfather and great-uncle, Daoud and Saleh al-Kuwaiti, respectively, who were famous musicians in Iraq in the 1930s. When they emigrated to Israel in the 1950s, they were unable to make a living as musicians and their music was all but forgotten. That is, until Tassa set about discovering more about his cultural heritage.

In addition to the film, Tassa’s 2011 release – Dudu Tassa and the al-Kuwaitis – reinterprets the al-Kuwaiti brothers’ work in a contemporary context. On the album, Tassa “sings their songs in Arabic and Hebrew, and integrates Iraqi, Middle Eastern and Israeli rock music.” The album features archival materials from the Kuwaitis and “integrates a variety of styles and guests, among them Yehudit Ravitz and Barry Sakharov. Tassa’s mother and Yair Dalal also take part in this exciting project.”

Tassa grew up in Ramat Hasharon, in central Israel, close to Tel Aviv. “I started out by playing the guitar and singing at a young age,” he told the Independent in an e-mail interview. “I was noticed, and realized that this was what I wanted to do in my life and went in that direction. Growing up, my musical taste changed but, in my heart, I will always be a rocker. At home, my mum listened to mostly Arabic music when my dad was out of the house. The general idea was to become ‘Israeli’ and to listen to Hebrew music.”

Tassa put out his first album when he was only 13 years old. He described the genre of the music on that recording as “more oriental singing. I then turned towards rock and, by 2000, I was a singer/songwriter. I joined many productions and became a requested guitar player. I played for many years on a famous TV show with a comedian – that’s how I earned the money to finance my own material.”

His second album came out in 2000 and his third, Out of Choice in 2003, includes a version of “Fug el-Nahal,” which his grandfather and great-uncle used to perform; the song also appears on Tassa’s 2004 album Exactly on Time. While the al-Kuwaiti brothers did not write the song, they performed it, and the song represents Tassa’s first foray into interpreting and performing that type of music, sung in Arabic.

“My grandfather and his brother, Daoud and Saleh al-Kuwaiti, were great composers coming from Kuwait to Iraq. They composed many songs, which spread in popularity throughout the entire Middle East. The sultan in Iraq in the ’40s appointed them to start the National Broadcasting Orchestra and they composed, played and recorded for many years, until they emigrated to Israel in the ’50s.

“My grandfather and his brother, Daoud and Saleh al-Kuwaiti, were great composers coming from Kuwait to Iraq,” explained Tassa of what he discovered in his research. “They composed many songs, which spread in popularity throughout the entire Middle East. The sultan in Iraq in the ’40s appointed them to start the National Broadcasting Orchestra and they composed, played and recorded for many years, until they emigrated to Israel in the ’50s.

“I am named after my grandfather Daoud (David); Dudu is a short name for David,” he added. “My grandfather died just when my mum was pregnant with me.

“I had always heard of my grandparents and the dark side of it was that, when arriving to Israel, they had to make their living out of other things and could not support themselves with music. I was aware of it always, but didn’t deal with it.”

He has since dealt with it, of course, and he is continuing his family’s musical legacy with his current work. About that, he said, “In a way, I guess, it keeps their names alive. In Iraq during Saddam Hussein’s period, the composers’ names were deleted on all the compositions (because of their Jewish heritage), and now the world again recognizes them. Also in Iraq, a few years ago, Iraqi musicologists on TV recognized the Kuwaitis to be the most important composers of modern Iraqi music.”

Tassa is also a record producer, he has composed music for film and TV, and has even tried his hand at acting, which was “a truly new experience” for him – he played a Syrian prisoner in Samuel Maoz’s 2009 film Lebanon.

“I am currently working on a new album,” he said, sharing with the Independent that he still gets “excited each time before the release … like a child.”

Dudu Tassa & the Kuwaitis’ appearance at the Chutzpah! Festival is the first of a tour. “We continue to New York – the Jewish Heritage Museum, where they also have an interesting exhibition on Iraqi Jewry – then to Boston, South by Southwest showcases in Austin and, finally, San Francisco.”

About how musical performance has changed since his grandfather and great-uncle took to the stage, Tassa said, “The fact that we can use the computer, and involve recordings inside a live performance, does change a lot.

“As for the audience, I think they will judge good music and bad music so, in that sense, maybe nothing has changed. As a matter of performance, it’s the same. Either you’ve got it on stage or not. I think that although we try to impress [people] with great lights and sounds, it all comes down to if the listener is moved or not.”

Vancouver FanClub is at 1050 Granville St. The March 9 show starts at 8 p.m. Tickets ($25/$30 plus taxes and fees) are available at chutzpahfestival.com, as is the full festival schedule.

Yosef Nider’s debut violin concert is in honor of his Zaida

Yosef plays for his zaida, Marvin Nider.

Six-year-old Yosef Nider has been playing the violin for two years. On Wednesday, Feb. 26, 10 a.m., in the gymnasium at Vancouver Hebrew Academy, he makes his concert debut. Yosef will play a recital in honor of his beloved Zaida, Marvin Nider, who was diagnosed with pancreatic cancer in February 2013.

Concert for a Cure will raise money for the B.C. Cancer Foundation. Yosef’s mother, Elizabeth Nider, said the idea for the fundraiser came about organically. “Yosef and I were talking about tzedakah one night before bedtime and he asked me if we’re only supposed to give tzedakah to people who don’t have enough money for food and clothing and I said, no, we can give tzedakah to many other places, such as schools, aquariums, scientists or doctors who look for cures for diseases,” Nider told the Independent. “And then, Yosef asked me what kind of diseases, so I gave an example of cancer and he right away said, ‘I want to give all of my tzedakah to cancer scientists so that they can find a cure for Zaida.’ I told him how that was a very nice idea and cancer scientists need lots of tzedakah because they have lots of experiments and testing to do. Then, a few days later, in the car, Yosef announced, ‘Mommy, I want to make a fundraiser for cancer scientists.’ (I’m still not sure where he got the word ‘fundraiser’ from.) And when I asked him what he wants to do, he said, ‘Have a violin concert.’

“At first, he said that he wanted to have the concert at the place where the Cavalia show is held, but I told him it might not work because it’s probably just for Cavalia. Then I told him I’d do some thinking and get back to him and finally we decided that having the concert at Vancouver Hebrew Academy would be best, because other kids could attend and perhaps get inspired to fundraise for organizations or causes that they are passionate about, as well. And here we are.”

The relationship between a grandparent and any of their grandchildren can be close, but sometimes an eldest grandchild holds a special place in a grandparent’s heart. Yosef, his two siblings, Ephraim and Sari, and their Zaida have the added benefit of living in the same city and the opportunity to develop a closeness that comes from more regular interaction.

“Not to generalize but, generally, zaidas have more fun with older kids since there is more to do with them. Not to mention, Yosef and Marvin have a lot in common: they both love skiing, building, wood working and playing with Lego. They have been doing these things together for a few years and, because Yosef loves to ask questions and Marvin loves to answer them, they’ve gotten to be quite a pair.”

“Yosef is the first grandchild, which makes him the oldest grandchild, which means that he has more exciting things to do with his Zaida,” noted Nider. “Not to generalize but, generally, zaidas have more fun with older kids since there is more to do with them. Not to mention, Yosef and Marvin have a lot in common: they both love skiing, building, wood working and playing with Lego. They have been doing these things together for a few years and, because Yosef loves to ask questions and Marvin loves to answer them, they’ve gotten to be quite a pair.”

Yosef takes lessons in the Suzuki method with a private teacher and he has been spending time specifically on his recital repertoire ahead of the concert later this month, said Nider. “Yosef practises every day except Shabbat and that hasn’t actually changed; he is still practising the same amount. He is, however, practising with his violin teacher more on the songs for the concert and not learning any new pieces for now. He is also meeting with [clarinetist and community member] Connie Gitlin … and they are practising to play together.”

Families approach illness and sharing sad news with their youngest members in various ways, but Nider said she felt clear that she should share the news about her father-in-law’s prognosis with her eldest son, a choice she feels fits with her family’s orientation towards life. “First and foremost, where I get all of my ideas and strength is from living a Torah-based life,” she explained. “We, as Jews, have been blessed with a blueprint for life. It says right in the Torah how to deal with difficult situations … so my ideas are certainly not original by any means. I have found tremendous strength from the belief that Hashem runs the world [and] we are never in control.

“I know that this idea has trickled down to our kids without us even realizing it; I know this because the day after we found out about Marvin’s diagnosis, my husband [Jeff] was in shul with Yosef and my husband was having a hard time focusing so he had to leave. My husband told me that Yosef looked up at him and, seeing tears in his father’s eyes, he said simply, ‘Abba, everything happens for the good.’ Yosef knows that there is a greater plan and that we are not usually privy to the reasons why things happen and when. Just this fact alone is essential in dealing with any kind of difficulty, whether illness or otherwise. I also can honestly say Jeff and I are extremely thankful that in Yosef’s school there is no shortage of educators, from preschool to head of school, who believe these same beliefs [and] teach children these values from the get-go. So, what I teach my child at home is hugely supported at school and I have found that these two factors greatly increase Yosef’s appreciation for why things happen, both good and bad, and how we can’t always explain the reasons.

“Personally, I believe that explaining in simple terms what is happening is helpful in keeping children from being afraid. If they understand what cancer is, for example, then there will likely be less fear because it makes sense and it is not a secret.”

“Another aspect that I have found to be effective is being open. Personally, I believe that explaining in simple terms what is happening is helpful in keeping children from being afraid. If they understand what cancer is, for example, then there will likely be less fear because it makes sense and it is not a secret.”

Yosef’s original fundraising goal for the B.C. Cancer Foundation “was $1,000 and he surpassed that goal in less than 24 hours of word getting out about Concert for a Cure,” said Nider. At press time, Yosef had surpassed $6,500 and his new goal was $10,000. The Feb. 26 concert was sold out.

“It’s incredible to see this level of support,” Nider said. “People who don’t even know Marvin but just know Yosef have donated, and vice versa. We didn’t realize it, but the creation of Concert for a Cure has become something of a small piece of joy amidst all of the daily stress and worry that is affecting our family. Marvin and Barbara (Yosef’s Bubby) check the donation website often and it’s giving them nachas to feel supported by friends, family and people who they don’t even know but who believe in this cause.”

Meanwhile, Yosef is also a regular six-year-old. His favorite subjects at school are art and math. Asked what is the best (and worst!) thing about playing the violin, Yosef said that the best thing is “that people listen and that it’s fun.” And the worst? “When people say ‘encore.’” Sorry to say, Yosef, chances are that’s exactly what you’ll be hearing on the 26th – and a hearty bravo.

To donate, visit donate.bccancerfoundation.com/goto/concertforacure.

Music from the New Wilderness at the Cultch

This February, the Cultch, in partnership with Western Front New Music, is presenting a unique show, Music from the New Wilderness, curated by D.B. Boyko. This original performance incorporates archival wax cylinder recordings from the Okanagan, recent field recordings from the Broughton Archipelago, new musical and voice compositions and much more.

One of the six primary participants is electro-acoustic composer from Montreal Adam Basanta.

“Music from the New Wilderness is a concert … which aims to explore the meaning of wilderness in contemporary culture,” Basanta told the Independent. “What does wilderness mean in a world of increased connectivity? What is the function of the wilderness? How has the wilderness changed, not only ecologically but also in terms of human inhabitants and their communities, or in terms of their economies?”

photo - Montreal's Adam Basanta — Montreal’s Adam Basanta. *(photo from Adam Basanta)*

The intertwining of music and wilderness generated new acoustic esthetics, and Basanta was drawn by the unlikely synthesis. In previous installations, he has blended two other waves of recognition: light and sound. “I started experimenting with combinations of light and sound in 2010, while studying for my master’s degree at Concordia University,” he explained. “I am really interested in ways in which light and sound can be combined, and the ways in which both elements influence our perception of objects and space.”

Despite the frequent fusion of video and audio in his compositions, music is the lens through which he experiences the world. “Even if it involves light without sound, music is the sensibility through which I conceive of material (sounding or otherwise) in time. Of course, a lot of my work falls outside of music and into the visual or media arts, but the guiding outlook emerges from a musical perspective.”

Basanta rarely performs, and considers himself predominantly a composer. “When I do perform and improvise, I usually use a laptop and custom software which I create,” he said. “I am interested in ways in which the laptop can be used as an instrument, as it is such a versatile and powerful tool and yet lacks a certain performative capacity that all musical instruments have. This tension between a possibility and limitations interests me and guides most of my work with technology.”

With a predilection for expanding his acoustic frontiers, Basanta was excited to work on the new piece for Music from the New Wilderness. He explained: “I will première a new electronic composition where all sounds come out of speakers (13 speakers to be exact); there is no performer on the stage. Entitled ‘When You’re Looking for Something, All You Can Find is Yourself,’ the work is a product of collaboration with the acoustic ecologist and researcher Jennifer Schine.” Basanta called their mutual piece “cinema for the ears.”

Unlike Basanta, Schine is not a composer. She is an ethnographic researcher and a sound artist. Explaining what the latter term means, Schine told the Independent, “Saying that I’m a ‘sound artist’ is a way to explain that I work with sound and think about listening.… Listening is a way to receive other peoples’ stories and witness the changing environment, soundscape and cultural landscape around us. The idea to witness is commonly thought of as a visual sense, but there are other ways to witness and receive information.”

Her collaborative work with Basanta has its roots in a research project that she began several years ago.

photo - Acoustic ecologist and researcher Jennifer Schine — Acoustic ecologist and researcher Jennifer Schine. *(photo from Jennifer Schine)*

“In 2009, I volunteered at the Salmon Coast Field Station on the Broughton Archipelago, a group of islands along the coast of B.C.,” she explained. “Once a thriving fishing and logging community, this part of the world is now a fading echo of Canada’s early, labor-intensive resource extraction industries. During that time, I met Billy Proctor. He has spent a lifetime studying, living and listening to the rhythms of the coast…. My ethnographic work has involved documentation of Billy’s private museum, the Billy Proctor Museum, where I have been audio recording antique and disappearing sounds relating to Canada’s settler history. These recordings also include Billy’s stories and how his artifacts reflect the history and ecology of the area.”

Her next step was to find a way to share the unique audio chronicles she created with the public, and that’s how her association with Basanta connects to her research.

“Music from the New Wilderness isn’t just about creating music,” she said. “As citizens of British Columbia and the world at large, we are affected by the industrial extraction happening in the forests and oceans of the Broughton and beyond. We are part of this seismic shift in the way we use and connect to our wilderness areas. And so, in this moment of environmental threats, we must begin to realize that the Broughton Archipelago is important because it stands as an example of how to live on this coast. And Billy is important because he is a link into this way of life.”

Schine described her role in the show as “lead researcher, dramaturge and recordist. This composition was inspired by my ethnographic work in the Broughton Archipelago and was really made possible because of the long-standing working relationships I had made with the community and with Billy. This past summer, I took Adam to the Broughton for two weeks and brought him to places that I already knew were acoustically interesting. We were able to record the soundscape and get personable recordings.… As part of our collaboration, in September I went to Montreal, where Adam is based, and worked in his world, the sound studio.”

Schine also created a solo piece for the show, a sound installation called “Conversations with Billy Proctor.” She said: “During intermission, audience members can sit down and hear more stories from Billy Proctor. I hope to provide more of a context of the Broughton Archipelago and Billy’s life story.”

Music from the New Wilderness – winner of the 2014 Rio Tinto Alcan Award for music – runs Feb. 11-15. For more information and tickets, visit thecultch.com/events/music-new-wilderness.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].