Local 1000 AFM

The Traveling Musicians Union

Soft-Seat Theater

Kray Van Kirk

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Folk singers often try to one-up each other with obscure details and pastimes. No slouch in that regard, Kray Van Kirk, who will be playing our house concert series on Friday, May 19th, has not one but two obscure distinctions. First, he holds a Ph.D. in fisheries population dynamics modeling. If that’s not obscure enough, he does a spot-on impression of Japan’s nineteenth century blind swordsman, Zatoichi.

A fine finger-style guitarist with a precise baritone, Van Kirk obtained his doctorate from the University of Alaska. Coming off five years of living in his van and playing music across the US and Canada, he thought that a career in the sciences might be a bit more secure than playing music for a living, especially as a single parent. Eventually, however, he realized that healing the world was primarily a matter of the heart, not the head, and he put aside his computer, picked up his guitar, and set out again.

When Van Kirk reached Scotland and the prestigious Fringe Festival, the Daily Fringe Review wrote “The evening’s act was Kray Van Kirk, whose 12-string guitar and soaring vocals were spellbinding; the Alaskan singer-songwriter, in his Edinburgh debut, was not the reason I arrived early, but was certainly why I stayed late.”

Van Kirk, however, is not your average crying-in-your-coffee singer songwriter. “We need a renewal of myth and wonder and hope,” he says.

This is where the Zatoichi impression comes in handy. Shintaro Katsu played the blind but fictional wandering masseuse as a bumbling nobody in movies from 1962 to 1989. Prior to unleashing his unrivaled swordsmanship, he closes his eyes, cocks his head to one side and listens intently, as does Van Kirk. “We are driven by myth and the seasons of the heart. We need new stories and new myths so that everyone, absolutely everyone, regardless of creed, color, gender, sexuality or anything else, can listen and look and see themselves on the Hero’s Quest.”

Thus his songs: ‘Thunderbird’ resurrects the Phoenix in an empty desert diner in the American Southwest (yes, the Phoenix drives a Thunderbird), ‘The Queen of Elfland’ plucks Thomas the Rhymer from the English-Scottish border in 1250 and drops him and the Queen into a subway car, ‘The Library Song’ has Superman moonlighting as a librarian, and ‘The Midnight Commander’ celebrates an insane old man leading the city of New York to take up arms (and underwear) against hatred.

Of this charming, Quixotic, and decidedly eclectic performer, the Borderline Folk Club in New York wrote “it is what every singer-songwriter should aspire to.”

Alana Cline

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Alana is a Toronto-based fiddler specializing in combining Irish, Cape Breton and Scottish styles to create her own sound. She performs both solo and in a duo with her father, Leigh Cline.

Alana & Leigh Cline specialize in telling the history and stories behind tunes and musical styles, and many of their tunes are from the 1700s and 1800s. They also specialize in performances and workshops comparing different Celtic fiddle musical traditions. They include occasional Balkan tunes in their sets.

Having performed in Canada and the US, a small selection of performances include the Great American Irish Festival, Celtic Island Music Festival, Trenton Scottish Irish Festival, Irish Real Life Festival, Chris Langan Weekend, City of Toronto’s Canada Day Celebrations, The Royal Agricultural Winter Fair, Music Niagara, Toronto Public Library, Burlington Public Library, folk clubs, and at private corporate events for Tourism Ireland, Corus Entertainment, Enterprise Ireland, Maple Leaf Foods, and Discover Halifax. Alana & Leigh have a self-titled CD.

Alana first started playing at the age of 8 under the tutelage of Cape Breton fiddler Sandy MacIntyre. She studied privately with All-Ireland Fiddle Champion Maeve Donnelly over a period of two years, and also studied the North-East Scottish fiddle style with Paul Anderson, whose teaching lineage goes back directly to Niel Gow and the Golden Age of Scottish fiddle music. 

Alana has augmented her playing style with private lessons from Irish fiddlers Kevin Burke, Liz Carroll, Tony DeMarco and Patrick Ourceau. In 2008 Alana became the first Canadian to be accepted to the auditioned Meitheal School of Irish Traditional Music in Limerick, Ireland with Paul O’Shaughnessy of Altan as one of her instructors. She has also studied fiddle at the Gaelic College of Celtic Arts in St. Ann’s, Cape Breton, Nova Scotia.

Windborne

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“A quartet the likes of which I haven’t seen since… Coope, Boyes and Simpson, the Watersons, or The Voice Squad. Just absolutely phenomenal!” -BBC Traveling Folk

Windborne combines bold and innovative harmonies, styles from a variety of cultures with traditions of harmony singing, and a vocal blend that comes from longtime friendship and years of singing together. They also carry on the alliance of folk music and social activism, breathing new life into songs of change from the past that still ring true in modern times.

“The best musical discovery of the year…Stunningly powerful vocal harmony… Windborne sets a new bar for folk harmony singing today”  -Brian O’Donovan, WGBH-NPR

 

Hear Windborne in action:

Song of the Lower Classes – a protest song from the Chartists in England in the 1840s, a grassroots movement for voting rights

Stabat Mater (Corsica) live in Mont-Saint-Michel – a traditional setting of the Stabat Mater text from southern Corsica. A clip of this video went viral on TikTok in 2021, getting over 2 million views!

The Song of Hard Times  – Windborne’s arrangement and expansion of a song from the 1930s, found in the archives at the Library of Congress

WindborneSingers.com

Facebook.com/WindborneSingers

Instagram / TikTok: @WindborneSingers

YouTube.com/WindborneSingers

 

MORE ABOUT WINDBORNE:

Internationally acclaimed vocal ensemble Windborne is a group of vocal chameleons who specialize in close harmony singing, shifting effortlessly between drastically different styles of traditional music within the same concert. Their musical knowledge spans many cultures, but they remain deeply rooted in American folk singing traditions – a typical concert program includes music ranging from American labor anthems and English ballads to ancient Corsican polyphony and traditional Quebecois tunes.

 

Hailed as “the most exciting vocal group in a generation,” Lynn Mahoney Rowan, Will Thomas Rowan, Lauren Breunig, and Jeremy Carter-Gordon share a vibrant energy onstage – their connection to each other and to the music clearly evident. They educate as they entertain, telling stories about the music and explaining the characteristics and stylistic elements of the traditions in which they sing. 

 

But there’s another, crucial dimension to Windborne. They are adherents to folk music’s longtime association with social activism, in particular its ties to the labor and civil rights movements and others that champion the poor, the working class, and the disenfranchised. Breathing new life into old songs, they seek out music from movements over the past 400 years and sing them for the struggles of today’s world. They believe deeply in the power of music to change hearts.

In addition to performing in New England and around the world, Windborne has taught workshops in schools, community centers, singing camps, and universities. Seasoned teachers and song-leaders, they delight groups young and old with enthusiastic, clear, and nuanced instruction for musicians of all levels of experience. Singers not only learn the notes of a song, but also work on the varied vocal styles, language pronunciation, and gain an understanding of the song in its original cultural context.

In 2014, Windborne was one of 10 groups selected by American Music Abroad and the US Department of State to tour as cultural ambassadors through music. They traveled to Turkmenistan, Kyrgyzstan, and Angola, touring with internationally known artists, performing at sold-out national theaters, and collaborating with traditional musicians in each country. They also taught music and dance workshops to schoolchildren, English-language learners, dance schools, choirs, and music conservatories.

 

Erin McKeown

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Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. Her brash and clever electric guitar playing is something to see. Her singing voice is truly unique —clear, cool, and collected. Over the last 20 years, she has performed around the world, released 11 full length albums, and written for film, television, and theater, all the while refining her distinctive and challenging mix of American musical forms.

Her first musical, Miss You Like Hell, written with Pulitzer Prize-winning playwright Quiara Alegría Hudes, opened Off-Broadway at The Public Theater in 2018. It was nominated for 5 Drama Desk Awards, including Best Lyrics, Best Music and Best Orchestrations, and The Wall Street Journal named it Best Musical of 2018.

Leading her own band, she has performed at Bonnaroo, Glastonbury, and the Newport Folk Festivals. A familiar presence on NPR and the BBC, McKeown’s songs have also appeared in numerous commercials and television shows.

While a student at Brown University, Erin was a resident artist at Providence, RI’s revolutionary community arts organization AS220. A 2011-2012 fellow at Harvard’s Berkman Klein Center For Internet & Society, she is also the recipient of a 2016 writing fellowship from The Studios of Key West and a 2018 residency at the Virginia Center for the Creative Arts. McKeown is currently a 2020-21 Professor of the Practice at Brown University.

Her latest album KISS OFF KISS is out now.

Mariel Buckley

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I am a singer-songwriter who has been actively touring Western Canada for 5 years. Prior to my most recent release, I attended several conference and showcase opportunities (Folk Alliance International 2016, 2017, 2019; AmericanaFest 2015, 2018; BreakOut West 2017, 2018) to promote and engage local and international industry for the release. After releasing my sophomore album, “Driving In The Dark”, international interest and touring opportunities continue to present themselves. I play 1-2 local shows in my home city of Calgary per year, if any and focus the entirety of my live show strategy around touring new markets, specifically targeting the UK and USA Americana scenes as this is where my music has been charting based off of radio play demographics. With recent bookings at the Philadelphia Folk Fest, several tour dates with Sarah Shook and other US plays, we are hunting for a US agent to continue touring and making an impact across borders.

Joe Stanton

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Singer/songwriter/fingerstyle Guitarist from the Canadian West Coast.

Joe’s philosophy of “playing wherever they’ll listen” has taken him and his Martin D28, on a 40 year
journey from his favorites haunts in his home on the Canadian Sunshine coast, to a concert in a hot air
balloon over the Swiss Alps, to the Kerrville Folk festival in the hill country of Texas, to the world
fingerpicking championships in Winfield Kansas, and aboard the historic “Canadian” VIA Rail train from
Vancouver to Toronto.
Joe’s acoustic guitar style has been likened to his heroes, Leo Kottke, Chet Atkins, Bruce Cockburn, and
his songwriting has resulted in 5 cd’s, styles ranging from Bluegrass, to contemporary folk, to alt country,
 
Over the years Joe has performed all over Canada, The U.S. and Europe. Highlights include performing
for the Olympic Torch Relay at the Vancouver Winter Olympics, The Kerrville Folk festival in Texas, as
well as the prestigious Vancouver Island Music festival in 2012.
 

kevin harvey

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5 piece Acoustic/Electric 7 piece all blues All original material, Roots/SoulFolk inspired by various roots genres.

Leigh Cline

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I am a guitarist who works in Folk, Celtic & Greek/Turkish genres having been part of the 1960s -70s folk scene both as a player and as a presenter (Mariposa Folk Festival among others) as well as performing and recording in Greece & Turkey since the 1970s. I presently work with my fiddler daughter Alana Cline and we perform Cape Breton, Scottish and Irish traditional tunes from the 1700s onwards as well as modern traditional style material. We also  specialize in performances and workshops comparing different Celtic fiddle musical traditions.

Zachary Lucky

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Award nominated songwriter Zachary Lucky is unapologetically old-school country, armed with a husky, baritone voice – He carries himself like a younger Richard Buckner or a heartier Doug Paisley and often receives comparisons to songwriters such as Gordon Lightfoot and Kris Kristofferson. He sings of Canadian places and people as knowingly as he might Townes Van Zandt or the Rio Grande. His shows and songs are relatable on many levels, and conjure universal feelings that have passed through our collective timelines. Hailing from Saskatchewan Canada, but now based in Orillia, Ontario.

John O’Connor

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John O’Connor 

In 1983, while living in Seattle, John O’Connor sent a batch of his songs off to Flying Fish Records cold and–almost unheard of in the music business at that time–landed a contract to make an album of his powerful original songs. Songs For Our Times came out in 1984 and was named one of the best albums of the year by the Washington Post and several folk publications and radio stations.

Geoffrey Himes, in his Washington Post review said of John’s songs, “Mister, Slow It Down,” … is the best hitchhiking song since Kris Kristofferson’s “Me and Bobby McGree.” O’Connor’s “Missy and Me” is the best song about old age since John Prine’s “Hello in There.” “A Cold November,” an a cappella ballad about a poor man harassed by a Chicago cop, echoes Woody Guthrie’s hobo songs.

Almost 40 years later, having traveled the country, touring and working as a union organizer, John has gathered a treasure-trove of songs, stories and poems about the working class, war and peace, love and loss. Craig Harris has said, “…O’Connor has shaped his own acute observations of the working class into songs that beg to be sung along to…” Si Kahn calls his songs “wonderful: direct, simple, singable, powerful.” “Songwriting… right out of the same well that slaked Woody Guthrie and Pete Seeger,” commented the St. Paul Pioneer Press Dispatch.

John’s music has always been inseparable from his involvement in working class politics. He began his involvement in the labor movement right out of high school when he went to work in the factories of Waterloo, Iowa. His passion for American folk music led to a career as a folk singer and a cultural educator, performing in concerts, festivals, coffeehouses, schools and colleges, union education programs and political action events.

John recorded three albums with Flying Fish, one of them with the political quartet, ‘Shays Rebellion’, and a CD on the Chroma label. He also recorded a CD produced in conjunction with Collector Records called “We Ain’t Gonna Give It Back”, which is regarded by many as one of the best collections of original songs on the American labor movement. The late Joe Glazer said of John, “He writes the best songs about labor you are likely to hear.” Britain’s Southern Rag has said that “John O’Connor deserves to be numbered with the all-time greats of contemporary folk music.”

In 2017 John released his first CD in more than 20 years. Upon release, Rare Songs was ranked for several weeks in the top 50 albums on the US folk charts. John McCutcheon wrote, “John O’Connor’s wonderful new album, Rare Songs… is a welcome return of one of our best and most humane songwriters.”

Some 50 years after walking through the gates of his first factory job, John is still stalwart in his focus of fighting for the working class and inspiring them with his music and their music. John’s songs have been recorded by numerous singers from around the world. In 2009, the French topical singer, Renaud, adapted and recorded O’Connor’s song of deindustrialization, North by North, which went to number one on the French charts.

Also an accomplished poet, John has seen his poems published in dozens of literary magazines. He has won the Associated Writer’s Program’s Prague Prize and has been nominated twice for a Pushcart Prize. His book of poems, Half the Truth, won the Violet Reed Haas Poetry Award in 2015.

John McCutcheon

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For fifty years John McCutcheon has been a stalwart of the American folk music scene, a multi-instrumentalist, songwriter, storyteller, author, activist, union man.  He was introduced to folk music as an 11-year-old watching the March on Washington on television.  The wedding of art and activism captured him then and he’s spent the many years since exploring that union. 

 

Besides being considered one of the world masters of the hammer dulcimer, John also plays guitar, banjo, fiddle, autoharp, piano, Jew’s harp, mountain dulcimer, and a host of other instruments he’s wise enough not to play in public.  His songwriting has been internationally praised, his classic “Christmas in the Trenches” was mentioned as one of the One Hundred Essential Folksongs by Folk Alley.

 

He has toured internationally for decades with a unique blend of storytelling and music.  “Folk music’s rustic renaissance man” is how the Washington Post described him.  “Calling John McCutcheon a folksinger is like saying Deion Sanders is just a football player,” heralded the Dallas Morning News.  But perhaps the most insightful description comes from John’s mentor and friend, Pete Seeger, “John McCutcheon is not only one of the best musicians in the USA, but also a great singer, songwriter, and song leader. And not just incidentally, he is committed to helping hard-working people everywhere to organize and push this world in a better direction.”

 

A lifelong unionist, he is one of the co-founders of Local 1000 and served as president 1997-2012.  He currently serves as the chair of the Fair Trade Music committee and also is on the executive board of the Atlanta Musicians Union (AFM 148-462).

 

He is the recipient of the Joe Hill Award from the Labor Heritage Foundation and the Utah Phillips Lifetime Service to Labor Award from Local 1000.