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DTSTART:20091010T200000
DTEND:20091010T223000
SUMMARY:The Golden Glows + Roland
LOCATION:AB Grote zaal (Anspachlaan 110\, 1000 Bruxelles)
DESCRIPTION:&  present    The Golden Glows reinterpret the prison\nsongs as they were recorded by Alan Lomax and his father\nJohn A. Lomax. Roland (Van Campenhout) presents the best of\nLEAD BELLY\, bringing back to life the blues legend that the\nworld discovered via father and son Lomax.    As part of the\ntribute to ethno-musicologist Alan Lomax that the AB is\norganising in the fall of 2009\, The Golden Glows – a trio\nfrom Antwerp with a love for old\, somewhat ‘forgotten’\nmusic – have the exceptional privilege of working with\nthis unique musical legacy. 2009 is the year of the blues\nfor The Golden Glows. Following A Songbook from the 20’s\n(music from the 1920's) and A Folksongbook (traditionals\nfrom the 16th to 19th centuries)\, their third musical\nproject will be presented at the end of this year\, The\nSongbook of Blues. So the execution of what we'll simply\ncall A Prison Songbook\, for the sake of convenience\, was\nwritten in the stars...Together with a drummer and a\nsix-member male choir\, The Golden Glows present a selection\nfrom Prison Songs\, recorded in 1947 by Alan Lomax in the\noldest prison in Mississippi\, Parchman Farm. For as far as\nwe're aware\, it's the first time that this precious\nlegacy has been performed live and it is moreover a suitable\nalibi to show another side of the band. Whereas the Glows\nusually opt for soft\, intimate vocal finery and a\nconsistently applied minimalism\, this time they go all out.\nSupported by six sturdy male voices and a phenomenal\ndrummer\, The Golden Glows create a one-off and unique\nperformance that thrives on raw energy and vocal power. Its\nalready certain that the AB will shake to its very\nfoundations on 10 October ...Bram van Moorhem‘Rosie (be my\nhusband)’    Talent scouts and field-researchers have\ntravelled the world since the end of the 19th century\, in\norder to make recordings of the music made by peoples that\nwere totally culturally unknown until shortly prior. Many of\nthose scouts and researchers have released recordings of\ntheir work. Folkways\, Le Chant du Monde and Smithsonian are\nwell-known record labels in that respect. Among the most\nfamous scouts and recording-leaders you will find Chris\nStrachwitz\, Harry Smith and in Great Britain A.L. Lloyd.\nFor an hour\, Jari Demeulemeester leads you through these\nvaluable items.    Roland plays a selection of Lead Belly\nsongsBlues legend LEAD BELLY was discovered by Alan Lomax\nand his father John A. Lomax. In the 30's they travelled\nto prisons in the South of the United States to record\nprison songs. That's where they met Lead Belly and the\nrest is history. His ‘Good Night Irene’ in a version by\nThe Weavers became a number 1 hit and Nirvana’s version of\n‘Where Did You Sleep Last Night (In The Pines)’ is\netched in everyone's memory too. But aside from that\,\nLead Belly played more than 500 songs in all. Who other than\nour very own blues legend ROLAND would be more suited to\npresent an exciting selection of those songs?Huddie\nLedbetter\, better known as ‘Lead Belly’ was born in\n1889 in Louisiana. He learned to play guitar at a very young\nage but also showed an interest in accordion\, mandolin and\npiano. He later fell in love with a twelve-string guitar and\nnamed it ‘Stella’. Huddie travelled throughout he\nSouth-West of the United States with his music\, working\nhere and there on cotton fields or on the laying of the\nrailroads. His songs and voice especially made an impression\nupon women and Lead Belly regularly got into trouble with\ntheir jealous lovers. That ended fatally twice: he was\nsentenced to a prison term for murder in both 1918 and in\n1930. While sitting out that last sentence in the Angola\nPrison Farm in Louisiana\, Alan and John A. Lomax came along\nto record prison songs there. That was how they got to know\nLead Belly and had the opportunity to introduce his music in\nNew York. Later Huddie moved to that city and established a\nreputation in the folk circuit. In 1949\, exactly 60 years\nago\, he passed away and left a gigantic musical legacy\nbehind him. His most well-known songs are ‘Good Night\nIrene’ (later a number 1 hit for The Weavers) and ‘Where\nDid You Sleep Last Night (In The Pines)’\, better known to\nus in the Nirvana version.    In autumn 2009\, the AB will\nbe organising a tribute to the American ethno-musicologist\nAlan Lomax (1915-2002). It is thanks to his pioneering work\nthat anyone can now acquaint themselves with the earliest\nfolksong recordings. Together with his father\, he was\nresponsible for the discovery of blues legend Leadbelly and\nfolk icon Woody Guthrie. Lomax was later the most important\nstaff member of the Archive of Folk Song or to the Library\nof Congress in Washington. As part of this tribute\, the AB\nis also creating a new production. When Stef Kamil Carlens\ntipped us off to Antwerp's The Golden Glows\, we were\nimmediately blown away by their brilliant CD ‘A\nFolksongbook’ - a collection of British and Irish folk\ntraditionals\, Victorian poems and 19th century ballades.\nEspecially for AB\, this trio surrounded themselves with a\nnumber of sturdy voices and have created a unique show based\nupon the prison songs recorded by Lomax\, both male and\nfemale. Alan Lomax Prison SongsThe Golden GlowsJune 1933\,\nTexas. John A. Lomax and his son Alan\, barely 18 at the\ntime\, began their first expedition under the supervision of\nthe Library of Congress. With a primitive Dictaphone machine\nthey made field-recordings of authentic folk music ? working\nsongs\, old ballades and blues. One of the first stops was a\nstate prison in Texas. "I had heard all sorts of\nclassical music\, contemporary music\, chamber music and\npopular music\," Lomax would later declare\, "but\nnothing made such a deep impression upon me as the simple\nwords and melodies of those black detainees." It was\nthe start of a manic search for folk songs that would cover\nmore than six decades and three continents...The Lomaxes had\ngood reason to start their search in a state prison. They\nnamely assumed that the oldest Afro-American songs – slave\nsongs from the 19th century – were to be found in a\ncontext that was very similar to slavery: the prisons (annex\nworking farms) in the south of America in the 30's were\ntypified by forced hard labour\, segregation and even open\nracism from white guards. What's more\, they were\ncurious as to which songs the prisoners sang for their own\npleasure: as this was often the only form of entertainment\nand\, as the prisoners were completely cut-off from the\noutside world\, it was impossible that they could have been\ninfluenced by jazz or popular music on the radio.However\,\nJohn and Alan Lomax found little song material that could be\nattributed to slavery. In 1933 the sound of slavery had\nalready long died out. But they discovered something\ncompletely different: a new musical genre\, a completely\noriginal repertoire that expressed the deepest feelings and\nfantasies of the black detainees\, which\, sometimes\ntragically\, sometimes ironically\, told of the brutal\nconditions in state prisons. These songs\, which recurred in\nvariations in most of the other prisons that Lomax visited\nuntil midway through the 50's\, are today known as\nPrison Songs. Prison Songs are strongly linked to the blues\nbut have a number of characteristic peculiarities: they are\nintended to be sung outside\, in broad daylight\, while\nthey're about dark\, pitch-black subjects – absence\,\nloss\, emptiness. Subjects are easy to find: guards\,\nfleeing\, the length of their sentence\, geographical places\nthey remember\, women as a source of joy and misery\,\nsickness\, death\, firearms and the extremely hard forced\nlabour. The language of these songs is extremely tangible\,\nalmost primitive\, but the themes aren't that in the\nleast\, they're mainly negative: their lack of love\,\nlack of freedom\, and lack of importance.Prison Songs\ndefined the work-rhythm for the men who cut or broke stone\nin a chain gang\, they mediated between strong and weak\,\nserved as a safety mechanism in the perilous forced labour\,\nsoftened the disposition of the guards\, amused and\ncomforted the singers and returned a certain dignity to the\nblacks who carried out inhuman work\, from sunrise until\nsunset\, under the all-seeing eye of armed guards. In other\nwords\, Prison Songs were vital for the mental and physical\nsurvival of the prisoners. October\, 2009. Brussels.\n\nhttps://www.abconcerts.be/en/agenda/the-golden-glows-roland/a105J000001wgaDQAQ
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DTSTAMP:20260922T190029Z
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