Showing posts with label native north america gathering. Show all posts
Showing posts with label native north america gathering. Show all posts
Saturday, September 11, 2021
Sunday, December 8, 2019
NOW: Decade in review: 50 things that defined Toronto in the 2010s
Thanks for the Native North America and Native North America Gatherings mention in your Decade in review: 50 things that defined Toronto in the 2010s NOW... PEACE
Thursday, June 14, 2018
Alanis Obomsawin - Bush Lady LP reissue
As a Canadian citizen and person of settler and immigrant heritage, I feel that it is my responsibility to learn more about the land that I was born on. During my Catholic and public school experiences in the 1970s/80s or even at Simon Fraser University in the early 1990s I was rarely taught about the true history of Canada nor was I conscious enough to seek it out beyond any surface awareness. I'm happy to report that this has changed. In my travels across Canada throughout the first decade of the 2000s, I began to learn more about First Nations, Métis, and Inuit expression from a selection of hand-picked vintage vinyl records. I will never forget the kindness and generosity of the people who created these recordings, some of the most talented singers, songwriters, poets, artists, writers, and filmmakers that I've ever known. It made me happy to learn that many of these artists were still being celebrated in Native communities across Turtle Island (and beyond), yet for others, music took a back seat to the unfolding of life, as it so often does for independent artists, especially when facing a lack of opportunities to make any sort of sustainable living pursuing their craft or calling. Racism, systematic oppression, and white supremacy also played a part, but we must also remember that not all music is made for or aimed at the charts or social media statistics. Bar some longstanding and outspoken voices like Brian Wright-McLeod (The Encyclopedia of Native Music) who has been giving the necessary thanks and acknowledgements to these artists and their gifts for decades, I was appalled to realize how off-the-grid many of these songs were, though as a professional, non-academic, street level music researcher, writer, DJ, and reissue producer for many years, sadly not surprised.
For example, did you know that Mi'gmaq folk singer Willie Dunn wrote and released a devastating song about Chanie Wenjack called "Charlie" at the turn of the 1970s and was involved in a truly radical feature length film about the residential school system called Cold Journey, over forty years before Gord Downie's much talked about Secret Path project? With all due respect and love to Gord (RIP) for his immense contributions, it was maddening, disappointing, and offensive to see a virtual absence any meaningful recognition for Dunn, who passed on to the spirit world in 2013, during the Secret Path's colonial mass media storm. What gives? Do journalists no longer dig beyond press releases? Did they ever? In 1971, Dunn released a masterpiece that should be known by every single Canadian living on stolen land. Land where acts of genocide are still being acted out on Indigenous peoples. Land that is being abused by the government for profit. Our media and music business professionals of all backgrounds need to step it up in 2018 and truly earn their keep and make it known. Yes, there will be mistakes along the journey and we all come to music when we do (no judgement there), but it's our responsibility as settlers and immigrants to make the meaningful effort. The bar has been set. We must catch up, now! Listen... Learn... And Share...
Released by Seattle and Los Angeles-based Light In The Attic Records in 2014, Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 was my personal love letter to a selection of trailblazers who affected and continue to affect my life in a positive and meaningful way. The 24 artists and groups featured made me reach beyond my comfort zone, taught me things that I never learned in school, and gave me their blessing to work w/ their monumental creations, an honour that I will carry in my heart and soul for eternity. While preparing for the compilation's release, there was only one artist that we were unfortunately not able to collaborate with, Abenaki singer, songwriter, veteran Nation Film Board of Canada filmmaker, and force of nature, Alanis Obomsawin. Five years into production and pressure mounting, her musical absence brought me to tears, but for no reason other than I understood the incredible feeling and weight of her poetry and songs as well as her deep connection to longtime friends and peers like Dunn, Shingoose, and Duke Redbird whom she supported over the years as curator of the Indigenous stages at the Mariposa Folk Festival and her work at the NFB. With plans of her own, the timing wasn't right for her involvement. I both understood and appreciated her honesty and integrity.
Needless to say, it was beyond humbling to work with Alanis (and her musical ally, Fred Savard) on the recent Native North America Gathering at the National Arts Centre in Ottawa (as part of the annual MEGAPHONO Festival). It was such an honour to hear her share her musical voice w/ an open and loving audience of Indigenous and non-Indigenous people. I was also thrilled to learn that Bush Lady was going to be re-released in its entirety via Montreal's stellar Constellation Records. I can't recommend this album enough...
To celebrate Bush Lady's re-release, I've created a Spotify playlist for my original "vision" version of NNA V1 (designed to be listened to from beginning to end), with Alanis' "Of The Earth And Of The Sea" poem at the top and introspectively winding down with another of her original compositions, "Odana" at the tail, before the spiritual and hypnotic chant/drum/guitar beat of Willie Dunn and Jerry Saddleback's "Peruvian Dream (Part 2)." I still feel that this sequence is the best way to enjoy the album (preferably with friends and family).
I dedicate this playlist to Alanis and to the Indigenous artists who have strengthened their people and have made this world a better place for everyone... Thank you!
Order Bush Lady HERE
PEACE
For example, did you know that Mi'gmaq folk singer Willie Dunn wrote and released a devastating song about Chanie Wenjack called "Charlie" at the turn of the 1970s and was involved in a truly radical feature length film about the residential school system called Cold Journey, over forty years before Gord Downie's much talked about Secret Path project? With all due respect and love to Gord (RIP) for his immense contributions, it was maddening, disappointing, and offensive to see a virtual absence any meaningful recognition for Dunn, who passed on to the spirit world in 2013, during the Secret Path's colonial mass media storm. What gives? Do journalists no longer dig beyond press releases? Did they ever? In 1971, Dunn released a masterpiece that should be known by every single Canadian living on stolen land. Land where acts of genocide are still being acted out on Indigenous peoples. Land that is being abused by the government for profit. Our media and music business professionals of all backgrounds need to step it up in 2018 and truly earn their keep and make it known. Yes, there will be mistakes along the journey and we all come to music when we do (no judgement there), but it's our responsibility as settlers and immigrants to make the meaningful effort. The bar has been set. We must catch up, now! Listen... Learn... And Share...
Released by Seattle and Los Angeles-based Light In The Attic Records in 2014, Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 was my personal love letter to a selection of trailblazers who affected and continue to affect my life in a positive and meaningful way. The 24 artists and groups featured made me reach beyond my comfort zone, taught me things that I never learned in school, and gave me their blessing to work w/ their monumental creations, an honour that I will carry in my heart and soul for eternity. While preparing for the compilation's release, there was only one artist that we were unfortunately not able to collaborate with, Abenaki singer, songwriter, veteran Nation Film Board of Canada filmmaker, and force of nature, Alanis Obomsawin. Five years into production and pressure mounting, her musical absence brought me to tears, but for no reason other than I understood the incredible feeling and weight of her poetry and songs as well as her deep connection to longtime friends and peers like Dunn, Shingoose, and Duke Redbird whom she supported over the years as curator of the Indigenous stages at the Mariposa Folk Festival and her work at the NFB. With plans of her own, the timing wasn't right for her involvement. I both understood and appreciated her honesty and integrity.
Needless to say, it was beyond humbling to work with Alanis (and her musical ally, Fred Savard) on the recent Native North America Gathering at the National Arts Centre in Ottawa (as part of the annual MEGAPHONO Festival). It was such an honour to hear her share her musical voice w/ an open and loving audience of Indigenous and non-Indigenous people. I was also thrilled to learn that Bush Lady was going to be re-released in its entirety via Montreal's stellar Constellation Records. I can't recommend this album enough...
To celebrate Bush Lady's re-release, I've created a Spotify playlist for my original "vision" version of NNA V1 (designed to be listened to from beginning to end), with Alanis' "Of The Earth And Of The Sea" poem at the top and introspectively winding down with another of her original compositions, "Odana" at the tail, before the spiritual and hypnotic chant/drum/guitar beat of Willie Dunn and Jerry Saddleback's "Peruvian Dream (Part 2)." I still feel that this sequence is the best way to enjoy the album (preferably with friends and family).
I dedicate this playlist to Alanis and to the Indigenous artists who have strengthened their people and have made this world a better place for everyone... Thank you!
Order Bush Lady HERE
PEACE
Tuesday, February 27, 2018
Native North America Gathering in Ottawa
Greetings good peoples,
It's been a while... For those who don't know me, I'd like to introduce myself properly. My name is Kevin Howes and I am Canadian citizen of settler/immigrant heritage, humbly and respectfully working out of the territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. I am a 43 year-old artist, musician, DJ, writer, journalist, filmmaker, photographer, producer, promoter, and connector of people, listening, learning, and sharing under the Voluntary In Nature umbrella since 2006.
I've recently returned from another journey to the east, landing to rare winter conditions here on the coast after a spell in Toronto, Montreal, and Ottawa. Since November of 2014, I have been on (and off) the road helping to raise awareness about the artists featured on the Grammy-nominated Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1984 compilation. These important songs and stories have motivated this labour of love, an honest attempt to bridge cultures, generations, and eras of technology. This is not a marketing exercise or a cash grab, but an organic extension of my passion (and that of the artists who I collaborate w/).
With past experience in music and event production, it was clear to me from the outset that NNA V1 was going to be much more than an album in the shops. It had to be. This history hadn't vanished. It was alive and breathing and still thriving! Duke Redbird is an active poet and educator while Willie Thrasher can be found busking on the waterfront in the town of Nanaimo, an ambassador for his community. Why not assist in organizing a gathering so that audiences could celebrate these trailblazing Indigenous artists through their songs, stories, films, and poetry? In fact, I felt it was my responsibility to push beyond record retail. The first Native North America gathering was held in Toronto's Kensington Market at Double Double Land on November 28, 2014, with Duke Redbird and a 16 mm print screening of Willie Dunn's essential 1968 film, The Ballad of Crowfoot. The past, present, and future rolled into one that evening with a healthy audience of Indigenous and non-Indigenous people. A like-minded event on December 11 at Vancouver's The Lido with Willie Thrasher and his current singing partner Linda Saddleback drew so much attention that we had to host two separate gatherings on the same night.
Since these humble beginnings, there have been up to 15 NNA-related happenings from coast-to-coast and into northern communities. Each has provided a stage for First Nations, Métis, and Inuit artists to share. They have taken a variety of configurations (the largest being the grassroots Trinity-St Paul's edition with performances from ten artists featured on NNA V1 in addition to Dakota/Anishinaabe MC/host and legendary broadcaster/author Brian Wright-McLeod), but have carried the same positive spirit of Indigenous expression, awareness, love, and support. Apart from a small yet helpful Canada Council travel grant to assist w/ the Winnipeg Folk Festival in 2016, these events have received no direct grant funding for myself or the artists. I would like to shame Music BC for rejecting a $2,000.00 CDN grant application for myself and Willie Thrasher and Linda Saddleback (all B.C. residents) in the fall of 2017 for our travels to Sackville, New Brunswick, and Toronto for two NNA-related showcase events. Please tell me how full, appreciative audiences with people of all ages and backgrounds, a national CBC recording and broadcast, and a glowing review by the world's most respected newspaper constitute a "poor marketing plan." It's 2018 and this is what we are up against. Has anything changed?
Willie Thrasher and Linda Saddleback backstage at the Native North America Gathering (Colin Medley photo)
Ultimately, I must thank the artists whose open participation has made any of this possible as well as the co-organizers (and their sponsors), venues, and audiences who have come together to make history with us. Each trip requires months of preparation at VIN HQ, extensive communication, securing media, promotion, and the production itself. Transcending any backend challenges, the Ottawa Native North America Gathering, held at the Babs Asper Theatre in the National Arts Centre on February 9th, was a significant moment of connection for the artists and those in attendance, even in the face of total devastation. Meaningful reconciliation was achieved. I do not use these words lightly. As I briefly mentioned from the stage, I want to thank MEGAPHONO for making this collaboration possible alongside everyone at the NAC, the National Film Board of Canada for letting us license the public usage of their films, but most importantly to Alanis Obomsawin (OC, GOQ), Elder Dr. Duke Redbird, Willie Thrasher and Linda Saddleback, Willy Mitchell, Eric Landry, Leland Bell, Leanne Betasamosake Simpson, Nick Ferrio, Ansley Simpson, the late, great Willie Dunn, and Rosanna Deerchild. All of the artists came together from different regions and it was exciting to see everyone reunite and in some cases, connect for the first time (the Ottawa gathering included artists not featured on the compilation itself: Alanis Obomsawin, Leanne Betasamosake Simpson, Nick Ferrio, and Ansley Simpson, an honour). It was also an honour to meet Willy Mitchell and Leland Bell's partners, Nancy Wolfe, as well as Fred Savard who works closely w/ Alanis. Both myself and Lawrence Dunn had met Fred in Montreal this past December while conducting research on the upcoming Willie Dunn Anthology, set for release by Light in the Attic Records in 2020.
Held annually, MEGAPHONO is a music showcase and industry festival who host a very ambitious schedule of concerts, panel discussions, and networking opportunities for artists, delegates, and audiences from around the world, though emphasizing local talent. Upon arrival, I was whisked into a conference room to be interviewed by journalist and author Michael Barclay (Macleans, Polaris) w/ an aim to "dig into" my methodology and how I have "helped to bring the work of artists previously overlooked by the music industry into the limelight, and how these projects have built community." I'd like to thank Michael and MEGAPHONO's Jon Bartlett and Rachel Weldon for this opportunity to speak my mind about my experience and my views on the business I find myself working in (*just the tip of the iceberg). The JUNOS, which are being held in Vancouver this year, are caught sleeping once again on so many levels. Zzz...
Kevin Howes (aka Sipreano) MEGAPHONO interview (Ming Wu photo)
Next on the busy agenda was as trip to the CBC (or Canadian Broadcasting Corporation for our International readers, Canada's national broadcaster) for a live drive-home show interview w/ Duke and Willie Thrasher to help raise awareness about the upcoming NAC events. With so much to talk about there is never enough time, but Willie injected a little comedy (as usual) into the proceedings w/ an unexpected shout out to his dog Fluffy back home in Nanaimo. The following day was even busier, a public discussion in the afternoon with Alanis, Duke, Willy, and Leland, and the Native North America Gathering in the evening. Indigenous Trailblazers: Carving Paths Through Tradition was a mid-day panel moderated by Rosanna Deerchild (host of CBC's Unreserved) which also featured Cody Coyote, Melody McKiver, Jeremy Dutcher, and Leanne Betasamosake Simpson, representing a variety of distinct heritages and experience. The talk was personal and illuminating for those assembled in the stylish foyer of the NAC, expressing thoughts about Indigeneity, creation, progress, non-Native interest, and the business of music and culture itself.
Duke Redbird and Willie Thrasher at CBC Ottawa (Chris Gergley photo)
After a much needed meal and some rest, it was time to focus on the gathering itself, some six months in the making. The energy backstage was palpable as the eclectic audience came together in unison and in great numbers. The Babs Asper Theatre is a special venue with helpful professional staff and organization. They made sure that each and every participant was made to feel welcome and comfortable on stage. Thank you. Elder Annie Smith St-Georges greeted everyone to the region and commented that "This is history coming back alive, imagine!" a compliment to the positive energy of the evening.
Elders Annie Smith St-Georges (with microphone) and Jim Dumont opening the Native North America Gathering (Scott Doubt photo)
And then the screen lowered... "Always... It's on!!!" read the VIN Instagram (VINstagram?) post, letting the electronic universe know that The Ballad of Crowfoot was being screened. And yet again, we were extremely blessed to have some of Willie's family in attendance. Their support and presence is so meaningful.
"The Ballad of Crowfoot" (Courtesy of the NFB) (Chris Gergley photo)
After a brief introduction by Rosanna Deerchild, Duke Redbird was the first artist to take to the stage and set the tone w/ a lengthy poem that took listeners through his life of creation as well as a reflection of the changing times. It is always a pleasure (and honour) to hear what Duke has to share. He makes us think. He teaches. We learn. The next performer on the NAC's large stage was Eric Landry. Sitting on a stool with his "talking drum" guitar in tow, Eric delivered three songs including "Out Of The Blue," as featured on Native North America (Vol. 1) as well as music from his forthcoming album. Leland Bell followed with "Messenger," another standout from NNA V1, based on a "vision quest." Leland also sung original Anishinaabemowin language material, a treat for everyone. Willy Mitchell started his program with an animated live action story before performing a series of original tunes. He concluded w/ "Big Policeman," a musical account of his personal experience w/ police brutality as a teenager.
Duke Redbird at the NAC as part of the Native North America Gathering (Chris Gergley photo)
Leland Bell at the NAC as part of the Native North America Gathering (Chris Gergley photo)
Eric Landry at the NAC as part of the Native North America Gathering (Chris Gergley photo)
Willy Mitchell at the NAC as part of the Native North America Gathering (Chris Gergley photo)
As if things couldn't get any more real, Rosanna announced the incoming news of the Gerald Stanley acquittal in the Colten Boushie murder. There was a rumble, then a spray of loud, pained words shouted from the crowd followed by complete silence, tears, anger, emptiness, and more pain. The moment seemed to stretch from seconds into long minutes. Young, old, Indigenous, non-Indigenous, we were all suspended by the weight of this horror together and will never forget what happened. "I just want everybody in this room to know how important it is for these kinds of gatherings to happen," said Rosanna with a steadfast conviction. "For these kinds of story tellers to tell their stories..." It speaks to the immense strength of Leanne Betasamosake Simpson, Ansley Simpson, and Nick Ferrio (as well as Rosanna) for centering the energy with a moment of silence, followed by meaningful words and song.
Rosanna Deerchild at the Native North America Gathering (Scott Doubt photo)
After a warm greeting, Leanne elaborated on the evening and its participants before a single note of music was played: "It's an honour to be sharing the stage with these fantastic elder artists, legends, who have given our communities so much. Who have given us hope and strength and joy and who have carried our hearts in heavy times like these. I'm so grateful and I'm so thankful for the people that have come before me and shared the stage with me tonight. I wouldn't exist as an Anishinaabe artist without their tremendous, tremendous, contribution."
Nick Ferrio, Leanne Betasamosake Simpson, Ansley Simpson at the Native North America Gathering (Chris Gergley photo)
"Road Salt" followed, a story/song/poem about the friendship between a crow and a deer. Its guitar interplay and voices spoken and sung washed over the still tender room with love. A song described by Leanne as an "eagle song" came next, culminating in an empathetic interpretation of "I Pity The Country" by Willie Dunn, a devastating number at the best of times, given an added dimension of poignancy considering the night's events and our proximity to the Parliament buildings. Now sitting in the audience, it brought me back in time...
I met Willie Dunn at the end of the winter of 2013, a handful of months before he passed on. Willie was living in Ottawa's Vanier neighbourhood and wasn't in the best of health. We had been speaking on the phone for a couple of years prior and it was such an honour to connect in person and for him to give me his blessing to work with his music and film. Willie knew all too well the crooked nature of the record business, but I like to think that he understood that I was (and still am) coming from a place of integrity. I know that I am trying my best. It's how I was taught by my family and friends and mentors like Ty Scammell as well as the artists themselves. I will champion your creations forever Willie!
In preparation for the release of Native North America (Vol. 1), I dug as deep as I could into source materials from the 1960s-80s wave of Indigenous cultural expression to supplement my extensive range of interviews. Vinyl records, books, newspapers such as the revolutionary Akwesasne Notes, and likeminded films such as Cold Journey, a feature length move about the residential school system, directed by Martin Defalco for the NFB in 1975. Through my research I had uncovered word of a movie called Amisk by Alanis Obomsawin that featured footage of Willie Dunn (as well as Duke Redbird and Sugluk Band) shot in the mid-1970s at a series of "Save James Bay" concerts held in Montreal. Long out of print, I was luckily able to procure a DVD copy from the film board directly.
The NAC screen lowered once more and Willie appeared to those assembled, performing "Buffalo Song" with a power and grit rarely heard in folk music. Willie's tough vocals clashed against his aggressive strumming, his arm moving up and down with both eyes closed shut, tranced out, and intense. To have Alanis Obomsawin with us, to segue from her footage of Willie into her own set was a gift from the creator. At 85 years of age and with over fifty films under her belt (the most recent, Our People Will Be Healed, is a must see) Alanis has recently returned to singing onstage after a lengthy absence. Incredible.
At the National Arts Centre, Alanis shared three spine tingling songs and a letter written to her old friend Willie. It brought such joy to my heart to see her connect with friends old and new and share her gifts with us. The definition of inspiration and celebration. Willie Thrasher and Linda Saddleback were the final performers of the gathering and brought the house down with a new song called "The Sacred Fire Of Peace" featuring a call-and-response chant that shook the foundations of the venue and brought all of the artists on stage in song and dance.
Willie Thrasher and Linda Saddleback at the Native North America Gathering (Chris Gergley photo)
After a rousing standing ovation, the backstage was overflowing with thanks, thoughts, ideas, and hugs, representing the gamut of emotion. There were photos and more interviews as well (much thanks to Xavier and Rolf). We were thrilled to have many distinguished guests with us. Thank you for your presence.
Alanis Obomsawin and L. Bell backstage at the Native North America Gathering (Colin Medley photo)
Duke Redbird backstage at the Native North America Gathering (Colin Medley photo)
Native North America Gathering poster (Colin Medley photo)
The following day, the veteran artists assembled at the life-affirming Wabano Centre for Aboriginal Health in Vanier, a few blocks from where I met w/ Willie Dunn back in 2013. A basket of beautifully crafted drums and rattles were brought out to play along to on a series of songs, stories, and poetry. A big thanks to Sylvie and everyone at the Centre. Willie Thrasher gifted everyone with his spirited version of Redbone's "Alcatraz," a personal favourite, that reaches deep into my soul each and every time. With chili, butter, bread, and non-alcoholic beverages in hand, we filled the building's spacious boardroom for a full screening of Alanis's Amisk. To watch Duke watch his younger self deliver his landmark poem "Old Woman" with a fire so intense as to light the world on fire reminded me that he did just that, and continues to do so, creating real change in society through his open contributions, for example, with the Toronto District School Board. Music industry be damned! This is for the children! This is for the arts! This is for the spirit!
Willy Mitchell at the Wabano Centre (Kevin Howes photo)
Native North America Gathering and friends at the Wabano Centre (Chris Gergley photo)
The evening after the NAC gathering, I received a message from the original publisher of Akwesasne Notes, White Roots of Peace's Rarihokwats (Four Arrows), a lifelong activist and member of the Mohawk Nation (Bear Clan):
"...the reason I am writing is because of the "White Roots of Peace" quality that the evening had. There was present an invisible spirit of unit, shared togetherness, which brought together a rather disparate group of people together who participated in the evening rather than being spectators to it. Wide range of age - lots of seniors, lots of youth; Indigenous and non-Indigenous. All of whom going home quite satisfied, inspired, renewed without even thinking about what was happening. Just happened. There was no message, but they got the message."
Native North America has evolved into much more than an archival music compilation. And it will mean different things to people of different backgrounds, but I am honoured to have played my small role in helping to make it known. Through their unparalleled music, words, art, and film, these trailblazing artists have taught me truths that I wasn't taught in school, to not only understand Canada's troubled history and current actions, but to see outside of my often narrow focus as a person of settler/immigrant heritage. To do that while celebrating the love and life of their peoples and watching much positivity being released into the world for everyone to share has been such a blessing. To quote Willie Dunn in his "Ballad of Crowfoot," I certainly hope that there is "a better tomorrow," and I promise to play my part with continued honour and respect.
PEACE
*I'd like to send special thanks to NNA art director Chris Gergley for joining us on the road and taking such lovely photos (More to come!)
**If you would like to host a Native North America Gathering in your community, please be in touch w/ VIN or the artists directly...
It's been a while... For those who don't know me, I'd like to introduce myself properly. My name is Kevin Howes and I am Canadian citizen of settler/immigrant heritage, humbly and respectfully working out of the territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. I am a 43 year-old artist, musician, DJ, writer, journalist, filmmaker, photographer, producer, promoter, and connector of people, listening, learning, and sharing under the Voluntary In Nature umbrella since 2006.
I've recently returned from another journey to the east, landing to rare winter conditions here on the coast after a spell in Toronto, Montreal, and Ottawa. Since November of 2014, I have been on (and off) the road helping to raise awareness about the artists featured on the Grammy-nominated Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1984 compilation. These important songs and stories have motivated this labour of love, an honest attempt to bridge cultures, generations, and eras of technology. This is not a marketing exercise or a cash grab, but an organic extension of my passion (and that of the artists who I collaborate w/).
With past experience in music and event production, it was clear to me from the outset that NNA V1 was going to be much more than an album in the shops. It had to be. This history hadn't vanished. It was alive and breathing and still thriving! Duke Redbird is an active poet and educator while Willie Thrasher can be found busking on the waterfront in the town of Nanaimo, an ambassador for his community. Why not assist in organizing a gathering so that audiences could celebrate these trailblazing Indigenous artists through their songs, stories, films, and poetry? In fact, I felt it was my responsibility to push beyond record retail. The first Native North America gathering was held in Toronto's Kensington Market at Double Double Land on November 28, 2014, with Duke Redbird and a 16 mm print screening of Willie Dunn's essential 1968 film, The Ballad of Crowfoot. The past, present, and future rolled into one that evening with a healthy audience of Indigenous and non-Indigenous people. A like-minded event on December 11 at Vancouver's The Lido with Willie Thrasher and his current singing partner Linda Saddleback drew so much attention that we had to host two separate gatherings on the same night.
Since these humble beginnings, there have been up to 15 NNA-related happenings from coast-to-coast and into northern communities. Each has provided a stage for First Nations, Métis, and Inuit artists to share. They have taken a variety of configurations (the largest being the grassroots Trinity-St Paul's edition with performances from ten artists featured on NNA V1 in addition to Dakota/Anishinaabe MC/host and legendary broadcaster/author Brian Wright-McLeod), but have carried the same positive spirit of Indigenous expression, awareness, love, and support. Apart from a small yet helpful Canada Council travel grant to assist w/ the Winnipeg Folk Festival in 2016, these events have received no direct grant funding for myself or the artists. I would like to shame Music BC for rejecting a $2,000.00 CDN grant application for myself and Willie Thrasher and Linda Saddleback (all B.C. residents) in the fall of 2017 for our travels to Sackville, New Brunswick, and Toronto for two NNA-related showcase events. Please tell me how full, appreciative audiences with people of all ages and backgrounds, a national CBC recording and broadcast, and a glowing review by the world's most respected newspaper constitute a "poor marketing plan." It's 2018 and this is what we are up against. Has anything changed?
Willie Thrasher and Linda Saddleback backstage at the Native North America Gathering (Colin Medley photo)
Ultimately, I must thank the artists whose open participation has made any of this possible as well as the co-organizers (and their sponsors), venues, and audiences who have come together to make history with us. Each trip requires months of preparation at VIN HQ, extensive communication, securing media, promotion, and the production itself. Transcending any backend challenges, the Ottawa Native North America Gathering, held at the Babs Asper Theatre in the National Arts Centre on February 9th, was a significant moment of connection for the artists and those in attendance, even in the face of total devastation. Meaningful reconciliation was achieved. I do not use these words lightly. As I briefly mentioned from the stage, I want to thank MEGAPHONO for making this collaboration possible alongside everyone at the NAC, the National Film Board of Canada for letting us license the public usage of their films, but most importantly to Alanis Obomsawin (OC, GOQ), Elder Dr. Duke Redbird, Willie Thrasher and Linda Saddleback, Willy Mitchell, Eric Landry, Leland Bell, Leanne Betasamosake Simpson, Nick Ferrio, Ansley Simpson, the late, great Willie Dunn, and Rosanna Deerchild. All of the artists came together from different regions and it was exciting to see everyone reunite and in some cases, connect for the first time (the Ottawa gathering included artists not featured on the compilation itself: Alanis Obomsawin, Leanne Betasamosake Simpson, Nick Ferrio, and Ansley Simpson, an honour). It was also an honour to meet Willy Mitchell and Leland Bell's partners, Nancy Wolfe, as well as Fred Savard who works closely w/ Alanis. Both myself and Lawrence Dunn had met Fred in Montreal this past December while conducting research on the upcoming Willie Dunn Anthology, set for release by Light in the Attic Records in 2020.
Held annually, MEGAPHONO is a music showcase and industry festival who host a very ambitious schedule of concerts, panel discussions, and networking opportunities for artists, delegates, and audiences from around the world, though emphasizing local talent. Upon arrival, I was whisked into a conference room to be interviewed by journalist and author Michael Barclay (Macleans, Polaris) w/ an aim to "dig into" my methodology and how I have "helped to bring the work of artists previously overlooked by the music industry into the limelight, and how these projects have built community." I'd like to thank Michael and MEGAPHONO's Jon Bartlett and Rachel Weldon for this opportunity to speak my mind about my experience and my views on the business I find myself working in (*just the tip of the iceberg). The JUNOS, which are being held in Vancouver this year, are caught sleeping once again on so many levels. Zzz...
Kevin Howes (aka Sipreano) MEGAPHONO interview (Ming Wu photo)
Next on the busy agenda was as trip to the CBC (or Canadian Broadcasting Corporation for our International readers, Canada's national broadcaster) for a live drive-home show interview w/ Duke and Willie Thrasher to help raise awareness about the upcoming NAC events. With so much to talk about there is never enough time, but Willie injected a little comedy (as usual) into the proceedings w/ an unexpected shout out to his dog Fluffy back home in Nanaimo. The following day was even busier, a public discussion in the afternoon with Alanis, Duke, Willy, and Leland, and the Native North America Gathering in the evening. Indigenous Trailblazers: Carving Paths Through Tradition was a mid-day panel moderated by Rosanna Deerchild (host of CBC's Unreserved) which also featured Cody Coyote, Melody McKiver, Jeremy Dutcher, and Leanne Betasamosake Simpson, representing a variety of distinct heritages and experience. The talk was personal and illuminating for those assembled in the stylish foyer of the NAC, expressing thoughts about Indigeneity, creation, progress, non-Native interest, and the business of music and culture itself.
Duke Redbird and Willie Thrasher at CBC Ottawa (Chris Gergley photo)
After a much needed meal and some rest, it was time to focus on the gathering itself, some six months in the making. The energy backstage was palpable as the eclectic audience came together in unison and in great numbers. The Babs Asper Theatre is a special venue with helpful professional staff and organization. They made sure that each and every participant was made to feel welcome and comfortable on stage. Thank you. Elder Annie Smith St-Georges greeted everyone to the region and commented that "This is history coming back alive, imagine!" a compliment to the positive energy of the evening.
Elders Annie Smith St-Georges (with microphone) and Jim Dumont opening the Native North America Gathering (Scott Doubt photo)
And then the screen lowered... "Always... It's on!!!" read the VIN Instagram (VINstagram?) post, letting the electronic universe know that The Ballad of Crowfoot was being screened. And yet again, we were extremely blessed to have some of Willie's family in attendance. Their support and presence is so meaningful.
"The Ballad of Crowfoot" (Courtesy of the NFB) (Chris Gergley photo)
After a brief introduction by Rosanna Deerchild, Duke Redbird was the first artist to take to the stage and set the tone w/ a lengthy poem that took listeners through his life of creation as well as a reflection of the changing times. It is always a pleasure (and honour) to hear what Duke has to share. He makes us think. He teaches. We learn. The next performer on the NAC's large stage was Eric Landry. Sitting on a stool with his "talking drum" guitar in tow, Eric delivered three songs including "Out Of The Blue," as featured on Native North America (Vol. 1) as well as music from his forthcoming album. Leland Bell followed with "Messenger," another standout from NNA V1, based on a "vision quest." Leland also sung original Anishinaabemowin language material, a treat for everyone. Willy Mitchell started his program with an animated live action story before performing a series of original tunes. He concluded w/ "Big Policeman," a musical account of his personal experience w/ police brutality as a teenager.
Duke Redbird at the NAC as part of the Native North America Gathering (Chris Gergley photo)
Leland Bell at the NAC as part of the Native North America Gathering (Chris Gergley photo)
Eric Landry at the NAC as part of the Native North America Gathering (Chris Gergley photo)
Willy Mitchell at the NAC as part of the Native North America Gathering (Chris Gergley photo)
As if things couldn't get any more real, Rosanna announced the incoming news of the Gerald Stanley acquittal in the Colten Boushie murder. There was a rumble, then a spray of loud, pained words shouted from the crowd followed by complete silence, tears, anger, emptiness, and more pain. The moment seemed to stretch from seconds into long minutes. Young, old, Indigenous, non-Indigenous, we were all suspended by the weight of this horror together and will never forget what happened. "I just want everybody in this room to know how important it is for these kinds of gatherings to happen," said Rosanna with a steadfast conviction. "For these kinds of story tellers to tell their stories..." It speaks to the immense strength of Leanne Betasamosake Simpson, Ansley Simpson, and Nick Ferrio (as well as Rosanna) for centering the energy with a moment of silence, followed by meaningful words and song.
Rosanna Deerchild at the Native North America Gathering (Scott Doubt photo)
After a warm greeting, Leanne elaborated on the evening and its participants before a single note of music was played: "It's an honour to be sharing the stage with these fantastic elder artists, legends, who have given our communities so much. Who have given us hope and strength and joy and who have carried our hearts in heavy times like these. I'm so grateful and I'm so thankful for the people that have come before me and shared the stage with me tonight. I wouldn't exist as an Anishinaabe artist without their tremendous, tremendous, contribution."
Nick Ferrio, Leanne Betasamosake Simpson, Ansley Simpson at the Native North America Gathering (Chris Gergley photo)
"Road Salt" followed, a story/song/poem about the friendship between a crow and a deer. Its guitar interplay and voices spoken and sung washed over the still tender room with love. A song described by Leanne as an "eagle song" came next, culminating in an empathetic interpretation of "I Pity The Country" by Willie Dunn, a devastating number at the best of times, given an added dimension of poignancy considering the night's events and our proximity to the Parliament buildings. Now sitting in the audience, it brought me back in time...
I met Willie Dunn at the end of the winter of 2013, a handful of months before he passed on. Willie was living in Ottawa's Vanier neighbourhood and wasn't in the best of health. We had been speaking on the phone for a couple of years prior and it was such an honour to connect in person and for him to give me his blessing to work with his music and film. Willie knew all too well the crooked nature of the record business, but I like to think that he understood that I was (and still am) coming from a place of integrity. I know that I am trying my best. It's how I was taught by my family and friends and mentors like Ty Scammell as well as the artists themselves. I will champion your creations forever Willie!
In preparation for the release of Native North America (Vol. 1), I dug as deep as I could into source materials from the 1960s-80s wave of Indigenous cultural expression to supplement my extensive range of interviews. Vinyl records, books, newspapers such as the revolutionary Akwesasne Notes, and likeminded films such as Cold Journey, a feature length move about the residential school system, directed by Martin Defalco for the NFB in 1975. Through my research I had uncovered word of a movie called Amisk by Alanis Obomsawin that featured footage of Willie Dunn (as well as Duke Redbird and Sugluk Band) shot in the mid-1970s at a series of "Save James Bay" concerts held in Montreal. Long out of print, I was luckily able to procure a DVD copy from the film board directly.
The NAC screen lowered once more and Willie appeared to those assembled, performing "Buffalo Song" with a power and grit rarely heard in folk music. Willie's tough vocals clashed against his aggressive strumming, his arm moving up and down with both eyes closed shut, tranced out, and intense. To have Alanis Obomsawin with us, to segue from her footage of Willie into her own set was a gift from the creator. At 85 years of age and with over fifty films under her belt (the most recent, Our People Will Be Healed, is a must see) Alanis has recently returned to singing onstage after a lengthy absence. Incredible.
At the National Arts Centre, Alanis shared three spine tingling songs and a letter written to her old friend Willie. It brought such joy to my heart to see her connect with friends old and new and share her gifts with us. The definition of inspiration and celebration. Willie Thrasher and Linda Saddleback were the final performers of the gathering and brought the house down with a new song called "The Sacred Fire Of Peace" featuring a call-and-response chant that shook the foundations of the venue and brought all of the artists on stage in song and dance.
Willie Thrasher and Linda Saddleback at the Native North America Gathering (Chris Gergley photo)
After a rousing standing ovation, the backstage was overflowing with thanks, thoughts, ideas, and hugs, representing the gamut of emotion. There were photos and more interviews as well (much thanks to Xavier and Rolf). We were thrilled to have many distinguished guests with us. Thank you for your presence.
Alanis Obomsawin and L. Bell backstage at the Native North America Gathering (Colin Medley photo)
Duke Redbird backstage at the Native North America Gathering (Colin Medley photo)
Native North America Gathering poster (Colin Medley photo)
The following day, the veteran artists assembled at the life-affirming Wabano Centre for Aboriginal Health in Vanier, a few blocks from where I met w/ Willie Dunn back in 2013. A basket of beautifully crafted drums and rattles were brought out to play along to on a series of songs, stories, and poetry. A big thanks to Sylvie and everyone at the Centre. Willie Thrasher gifted everyone with his spirited version of Redbone's "Alcatraz," a personal favourite, that reaches deep into my soul each and every time. With chili, butter, bread, and non-alcoholic beverages in hand, we filled the building's spacious boardroom for a full screening of Alanis's Amisk. To watch Duke watch his younger self deliver his landmark poem "Old Woman" with a fire so intense as to light the world on fire reminded me that he did just that, and continues to do so, creating real change in society through his open contributions, for example, with the Toronto District School Board. Music industry be damned! This is for the children! This is for the arts! This is for the spirit!
Willy Mitchell at the Wabano Centre (Kevin Howes photo)
Native North America Gathering and friends at the Wabano Centre (Chris Gergley photo)
"...the reason I am writing is because of the "White Roots of Peace" quality that the evening had. There was present an invisible spirit of unit, shared togetherness, which brought together a rather disparate group of people together who participated in the evening rather than being spectators to it. Wide range of age - lots of seniors, lots of youth; Indigenous and non-Indigenous. All of whom going home quite satisfied, inspired, renewed without even thinking about what was happening. Just happened. There was no message, but they got the message."
Native North America has evolved into much more than an archival music compilation. And it will mean different things to people of different backgrounds, but I am honoured to have played my small role in helping to make it known. Through their unparalleled music, words, art, and film, these trailblazing artists have taught me truths that I wasn't taught in school, to not only understand Canada's troubled history and current actions, but to see outside of my often narrow focus as a person of settler/immigrant heritage. To do that while celebrating the love and life of their peoples and watching much positivity being released into the world for everyone to share has been such a blessing. To quote Willie Dunn in his "Ballad of Crowfoot," I certainly hope that there is "a better tomorrow," and I promise to play my part with continued honour and respect.
PEACE
*I'd like to send special thanks to NNA art director Chris Gergley for joining us on the road and taking such lovely photos (More to come!)
**If you would like to host a Native North America Gathering in your community, please be in touch w/ VIN or the artists directly...
Sunday, February 4, 2018
ABORIGINAL CKCU (Sunday February 4th, 2018 with Lawrence)
A look at Black History Month, musicians w/ shared black and indigenous heritage. An interview w/ Kevin Howes with regards to the Native North America Gathering.
*Listen here... PEACE
Sunday, January 28, 2018
Tuesday, January 23, 2018
Native North America Gathering x CBC broadcast
The Native North America Gathering in Toronto this past August (the third there thus far and the largest to date) was an event that I will never forget and for many reasons. The most important was the selfless generosity of the trailblazing artists who travelled from communities near and far (the furthest being John Angaiak, who flew in all the way from Alaska), along w/ MC/host Brian Wright-McLeod (Encyclopedia of Native Music) to celebrate the here and now. I'd also like to shout out David McLeod (NCI) from Winnipeg who helped to bring Ernest Monias over to the Big Smoke from Cross Lake, MB, Steven Lambke who provided the necessary spark from Sackville, NB, and Matt Sullivan, co-owner and founder of Light in the Attic Records. Rich Taylor (Gladeye) secured Trinity-St. Paul's, set up the ticket sales, coordinated a catered meal before hand w/ NishDish, organized the live sound, rustled merch table workers and door people, and managed the stage. Jarrett Martineau of RPM Records helped raise awareness via his various channels and offered a speech to set up the CBC broadcast recording. Rhek designed the amazing poster while Jenna Rogers helped to get the t-shirts for the artists made. Troublelight films were on hand to document the proceedings. A BIG thanks to everyone (and I mean, everyone) involved!
For me, this grassroots gathering was a great learning experience. I was humbled to see so many supportive faces in the audience, friends, family, and people that I hold dear, and to meet some of the artists like Ernest, Lawrence Martin, and Leland Bell for the first time (and for the artists to reconnect or meet each other as well). To hear those assembled respond with standing ovations after each set warmed my heart as I scurried around the venue, knowing that these important voices, like that of Lloyd and Vern Cheechoo, were being heard loud and clear. After the concert ended, I received an embrace by the family of the late, great, Willie Dunn whom we had paid tribute to earlier in the evening (along w/ Morley Loon and those who could not be w/ us) with a screening of his crucial The Ballad of Crowfoot, a NFB production from 1968. "You did a good job," they said, and I was humbled yet again. Afterwards, we took it to the streets and the music of Willy Mitchell, Willie Thrasher and Linda Saddleback, Leland Bell, and Eric Landry played on well into the night...
After the dust had settled, I delivered a large silk-screened poster to Duke Redbird on the subway, his face still gazing out from every nook and cranny of the city, alongside Jarrett Martineau, on the cover of NOW. After one more "Bye for now," I took a nostalgic walk down Yonge Street from Bloor and thought of how to reconcile my dreams and realities against the continual oppression of the corporatized music and marketing machine (I left those parts of the story out ; ). Answer? You don't. You simply play it how you see/hear and feel it, and to the great energy who truly knows, it shows. And that's all that matters! PEACE
For those who were there and to those unable to attend, CBC's Canada Live program is broadcasting portions of the August 8, 2017, Native North America Gathering this Friday, January 26th, at 2 pm on CBC Radio 1 and on Monday, January 29th at 7 pm on CBC Radio 2/CBC Music.
*The NNA Gathering Guardian review by Rebecca Bengal can be read here...
**The next Native North America Gathering is on February 9th as part of the MEGAPHONO festival in Ottawa. Link here...
Tuesday, January 9, 2018
Native North America Gathering (Ottawa, MEGAPHONO) February 9, 2018
As I’ve said many times before, I wish that we could all be there together, those who made it possible and those who have supported. Except in spirit, it hurts me that we can’t. Native North America is a 24-artist compilation of Indigenous folk, rock, and country music, but it was always going to be more than just a historical album reissue because the music is still alive and breathing in communities across Turtle Island (and beyond). And then there’s the harsh reality of finance which makes viability or sustenance extremely challenging for most independent artists across the land. The music industry is corporate, corrupt, and short-sighted. It has no vision. Nor does the colonial mass media, just an angle, but there are a few who will actually put their money where their mouth is and I’d like to thank MEGAPHONO for bringing this gathering of trailblazing artists to Ottawa, and for their help, along w/ Fred Savard, in facilitating Alanis Obomsawin's return to the stage to share a few songs and connect w/ old friends and collaborators like Duke Redbird. Alanis’s story weaves in and out of NNA’s narrative and was always intended to be a part of this project, musically. Her generous and open participation at this event warms my heart. What an honour. As always, we will be paying tribute to the late, great, Willie Dunn (with family in attendance) and to everyone who has made this evening possible. Please join us at the NAC on February 9th for a very special gathering. PEACE
*More information here...
Thursday, August 24, 2017
Native North America Gathering in The Guardian
"In the shadow of Canada's 150th anniversary celebrations, once-obscure Indigenous musicians from across North America gathered in Toronto to perform songs fuses to the land of their ancestors."
Link here!!!
PEACE
Thursday, August 3, 2017
NOW Magazine (Native North America Gathering)
So humbled to see my friend Elder Dr. Duke Redbird and the host of CBC's Reclaimed, Jarrett Martineau, on the cover of NOW Magazine Toronto in a feature on Indigenous creative expression and the upcoming Native North America Gathering on Tuesday, August 8th at Trinity St.-Paul's. Tickets still available at Soundscapes, Rotate This, and via Ticketfly. PEACE
Tuesday, August 1, 2017
Native North America Gathering 08-08-17
It's one week away from the most important day of my life... On August 8, 2017, twelve artists featured on the Grammy-nominated Native North America (Vol. 1) compilation will take to the stage at Trinity-St. Paul's in downtown Toronto for an evening of music, film, storytelling, poetry, and art. It's a celebration of Indigenous culture and one that will bridge generations, eras of technology, and connect people of different backgrounds from around the world. I am excited to report that CBC Music will be recording and broadcasting this event, but this is no substitute for those in the region or with the desire to travel. You will not be disappointed. The feeling in the room will be electric, undeniable, and full of emotion and positive energy. Do not miss this gathering!
We are honoured to have family members of the legendary Willie Dunn and Morley Loon in attendance and it is our duty to pay tribute to all of the trailblazing First Nations, Métis, and Inuit artists from the 1960s/70s/80s who played a key role in building the framework and creating potential for today's thriving Indigenous music scene. To provide further context and to share his encyclopedic knowledge of Native music, veteran broadcaster, writer, and educator Brian Wright-McLeod is our host and MC. The Native North America Gathering is a festival rolled into one very special evening, a truly grassroots affair with no corporate sponsorship or direct government grants, made possible through the efforts of the many selfless artists and families involved, Voluntary In Nature, Gladeye, Revolutions Per Minute (RPM.fm), and (most importantly) YOU! We are all very excited to meet friends old and new! Please help us to make it known!
PEACE
Native North America Gathering
Featuring live performances from...
Duke Redbird
Willie Thrasher and Linda Saddleback
Willy Mitchell
Shingoose
Lawrence Martin with Vern Cheechoo
Lloyd Cheechoo
Eric Landry
Leland Bell
Brian Davey
John Angaiak
Ernest Monias
Film:
The Ballad of Crowfoot (Willie Dunn)
Host/MC:
Brian Wright-McLeod
Tuesday, August 8, 2017
Trinity-St. Paul's
427 Bloor Street West, Toronto
Doors: 7pm, show 8 pm
Tickets available at Soundscapes, Rotate This or via Ticketfly
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