Music a family tradition

Rebecca Sichon will perform a set at the Mission Folk Music Festival on July 26. She, her father Boris Sichon, DIVKA and Nastasia Y share the stage earlier that day as well. (photo by Sara De Ledesma)

Ukrainian-Canadian jazz, soul and R&B artist Rebecca Sichon grew up attending the Mission Folk Music Festival, and performed there as part of the Youth Open Stage in 2017. At this year’s festival, July 24-26, she will take to the  stage with her own music and band – she will also perform with her father, Boris Sichon, a festival veteran, as part of the show Unorthodox.

“I believe this will be my 16th time performing at the Mission Folk Music Festival,” said Boris Sichon. “What keeps bringing me back is the atmosphere. It is a very special festival, where there is a real connection between artists, organizers, volunteers and the audience.

“People come not only to listen to music, but also to discover something new,” he said. “As a musician who plays unusual instruments from different cultures, I always feel that people at Mission are open, curious and ready to travel with me through sound.”

Trained in classical percussion in Ukraine, where he was born, and in St. Petersburg, Sichon has traveled extensively – as a composer and performer – learning countless musical traditions along the way. In his performances and workshops, he draws on his collection of more than 400 instruments gathered over decades.

photo - Boris Sichon
Boris Sichon (photo from missionfolkmusicfestival.ca)

This year, though, his participation in the folk festival will be a little different than usual.

“I will be supporting Rebecca’s songs by creating atmosphere around her voice and piano,” he said. “I will be playing different instruments, including flutes, the Armenian duduk and maybe the Australian didgeridoo. I will also bring some atmospheric percussion instruments like the ocean drum, rainstick and wind machine. These instruments bring sounds of nature into the music and create a space around the songs.

“I may also share some solo pieces during the festival, with instruments from different parts of the world,” he added.

“For the Unorthodox set, I will be mostly performing with my dad and singing a few tunes that marked the start of my artistry,” said Rebecca Sichon.

“We grew up singing folk songs in Yiddish, Ukrainian and Romani and plan to showcase a few of our favourites,” she said.

Her personal set will include songs from her album, which is currently in the works, and her more popular tunes – “all living in the world of soul, jazz and R&B.” She will be joined in concert by Nicholas Bosman (bass, electric guitar, vocals), Mat Trewhit (backing tracks, cajon, percussion) and Elias Cerpa (keyboards, vocals).

“I grew up immersed in music, thanks to my very musical father, Boris, and my very encouraging and noise-tolerating mother, Faina,” said Sichon about her choice of career. “The radio was always on in the house, playing classical, jazz, world music or whatever CD my dad would bring home from his tours. I was put into piano lessons at the age of 7, my dad hoping it would give me the skills needed to songwrite and accompany myself in the future. I went on to complete six levels of the Royal Conservatory in piano and, just as my dad hoped, started writing and accompanying myself at the age of 11.”

She has always gravitated to jazz, soul and R&B. “I remember transcribing Ella Fitzgerald’s ‘Airmail Special’ at the age of 9, and loving the complexity of rhythm, enunciation and melody,” she said. “However, in my teens, I primarily wrote and listened to pop, thinking it was the ‘right’ direction to go in artistically. In my early 20s, I realized soul, and its relative genres, are exactly where I want to be musically.”

In addition to the piano, her father encouraged her to try out different instruments when she was young.

“I was a bit resistant to it,” she admitted. “But, as I’ve gotten older, I have slowly started a collection of instruments he’s gifted me, and I have a much bigger appreciation for it now. I do love the guitar and find it the most versatile, but I always come back to the piano; it feels the most grounding and inspiring for songwriting.”

While her dad is a musician through and through, Sichon said, “My mom would tell you she isn’t, but she’s got a beautiful voice, can play piano and is immensely creative in visual arts (she makes clothing and accessories out of wool, aka felting).”

Growing up, her parents instilled in her “a deep respect and admiration for Judaism and its traditions,” she said. “Growing up in a small town, I didn’t have much access to Jewish community, something I later found through attending Camp Miriam, a Jewish summer camp that gave me a meaningful sense of connection and belonging. While I no longer actively practise Judaism, being Jewish remains an important part of my identity. I carry a lot of love for the community and feel proud of my heritage and the generations of family history that came before me.”

Boris and Faina Sichon have five children. “Music was always a natural part of our family life,” said Boris Sichon. “At different times, all of the children played instruments…. Today, Rebecca is the only one who is a professional musician, but, for us, music was never only about becoming a musician. It was about creativity. We often improvised together at home. It was not important whether someone was a great player or just starting. The important thing was to listen, experiment and create something together.”

Father and daughter were making music together long before they shared a stage.

“What I remember most is how emotional those moments were. Of course, she is my daughter, and I love her very much. I shared with her everything I knew about music and the world of instruments,” said Boris Sichon. “But there was also something special in her from a very young age. Even when she was 2 or 3 years old, she could sing children’s songs very clearly, with perfect pitch. She had a natural gift. Her voice always had something that could touch people. She has always been a very sensitive and caring person, and I think that feeling comes through in her singing and in the songs she writes.

“Our first public performance together was around 2011, when she was 10 years old,” he said. “I remember feeling that I was not only accompanying my daughter anymore – I was sharing music with another artist.

“What I admire most about Rebecca is that she has always been herself. She never tried to copy anyone else.”

Both Sichons have a busy summer ahead.

Rebecca Sichon will take part in Canada Together on July 1, at Canada Place. She also has an engagement on July 9 at Intrigue Wines, in Lake Country, BC, and at the Burnaby Blues + Roots Festival Aug. 8, at Burnaby Village Museum. For more information, visit rebeccasichon.com.

Boris Sichon will take part in a festival on Hornby Island in July, “with the Borealis String Quartet and composer Paul Alexander, who has written music especially for this event,” he said. “Before that, I will be involved in a summer camp, sharing music and instruments with young people and encouraging creativity.

He’s looking forward to the Mission Folk Music Festival and, later in the season, the Mission Renaissance Faire.

“All of these projects,” he said, “are connected by the same idea: using music to bring people together, create curiosity and remind us that sound is a universal language.”

The Mission Folk Music Festival takes place at Fraser River Heritage Park. It offers more than 25 acts from across North America and elsewhere, performing a range of genres. Both the show Unorthodox, which also features DIVKA and Nastasia Y, and Rebecca Sichon’s concert take place on July 26. Visit missionfolkmusicfestival.ca. 

Art transcends our lives

Little Richard, left, and Jackie Shane. A still from the film Any Other Way: The Jackie Shane Story, which closes the DOXA Documentary Film Festival on May 11. (image from NFB and Banger Films)

An incredible voice, a charismatic performer, a unique human being. Yet, most of us have never heard of Jackie Shane, a rising R&B star in the 1950s and ’60s, who appeared to disappear in 1971.

Michael Mabbott and Lucah Rosenberg-Lee’s feature-length documentary Any Other Way: The Jackie Shane Story closes the DOXA Documentary Film Festival on May 11 at Simon Fraser University’s Djavad Mowafaghian Cinema. In addition to Toronto Jewish community member Rosenberg-Lee, who may attend the festival, Winnipeg Jewish community member Toby Gillies is coming to Vancouver with co-director Natalie Baird for the May 10 screening of their short, Don’t Let the Sun Catch You Crying, which also takes place at SFU’s Djavad Mowafaghian Cinema.

An R&B legend

A Banger Films and National Film Board of Canada co-production, Any Other Way mixes animation and real-life footage, using Shane’s music, recorded phone conversations between Mabbott and Shane, as well as other interviews, photos and the sole recorded performance of Shane to tell the transgender artist’s story. And it’s a fascinating story, from her leaving her home of Nashville, because of safety concerns, as a queer person, to being a musician in a traveling carnival, to leaving the carnival for Montreal, then leaving Montreal for Toronto, where she immediately felt at home. 

By 1963, Shane was a sensation. Her recording of “Any Other Way” was a hit, even though radio stations in Toronto at the time generally did not play Black music – people called CHUM Radio so much they had to play the song and it rose to #2. Shane was invited onto The Ed Sullivan Show but turned them down because they wouldn’t let her perform with makeup, dressed as she wanted; she didn’t do American Bandstand, saying it was a racist show. Shane chose not to do other shows or tour. She recorded her one live album in Toronto.

But not being able to be her true self took its toll and Shane walked away from her success in 1971, changed her name and moved. “I chose Los Angeles because I wanted to feel something else,” she says in the film.

For family reasons, she eventually had to return to Nashville, where she became a recluse, only emerging in 2016 for a reissue of her songs. Nominated for a Grammy in 2018, she was ready to tour, but died in 2019, before that could happen.

Among the treasures found in Shane’s storage unit was an autobiography she had handwritten, as well as unreleased recordings. 

“Those discoveries … were incredible,” said Mabbott in an interview on the NFB website. “After Jackie passed away, we started working with her family, who didn’t know that Jackie existed, and then inherited her incredible archive. As they were discovering who Jackie was, we were understanding her through her jewelry and tapes. What was also born out of that is the family’s story, which was a slightly unexpected creative approach.

“Hearing the family talk about her, learn about her legacy and describe what it meant to them was obviously very personal but also really universal. This is a family that lived blocks away from her, didn’t know she was there and missed out on having her. I think that a lot of us feel that loss and that translates in all sorts of ways.”

Happy imaginings

image - A still from the short Don’t Let the Sun Catch You Crying, co-directed by Toby Gillies and Natalie Baird, which screens May 10 at SFU’s Djavad Mowafaghian Cinema, as part of this year’s DOXA festival.
A still from the short Don’t Let the Sun Catch You Crying, co-directed by Toby Gillies and Natalie Baird, which screens May 10 at SFU’s Djavad Mowafaghian Cinema, as part of this year’s DOXA festival. (image from NFB)

The NFB short film Don’t Let the Sun Catch You Crying also explores loss. The PR material describes the seven-minute work as a “meditation on love, grief and imagination,” which “celebrates life and the transformative ability of art to elevate and transcend us.” 

Featuring Edith Almadi, the short uses Almadi’s artwork and words to spur contemplation of the bonds people form, and what it’s like to lose a loved one. In this case, Almadi is recalling her son, who recently died. 

“I fly with him,” she says, and she feels happiness. In the animation of Almadi’s artwork, we see her son fly to the moon and beyond, with fairies, butterflies and other creatures. Not only is she with her son in her art, but also with everyone she loves. In her imagination, she is totally free.

“Our initial motivation for interviewing Edith was to save memories for ourselves – we find the way she speaks fascinating and poetic,” write Gillies and Baird in a directors’ statement. “When Edith looks at her drawings, she sees her memories and fantasies. She is able to escape her physical circumstance, through entering her marker and watercolour worlds.”

Gillies and Baird have led an art program at Winnipeg’s Misericordia Health Centre since 2014, and that’s where they met Almadi, a Hungarian immigrant in her late 80s, who uses a wheelchair.

“In our time knowing Edith, she has always loved sharing her outlook publicly,” the directors write. “As we have developed the film, we have shown Edith our progress along the way. She says, ‘That’s me’ and ‘That’s all I have to give’ proudly. Facilitating art-making in this personal care home has allowed us to meaningfully connect with many people in their last stages of life. As directors, this film gives us the opportunity to share this one particular experience of intimacy found through collaborative art-making.”

DOXA runs May 2-12. For tickets and the full festival lineup, visit doxafestival.ca.