(Canso, NS) – The Stan Rogers Folk Festival, informally known as Stanfest, is an annual three-day music festival.
Established in 1997 in honor of the late Canadian folk singer and songwriter Stan Rogers, the festival bills itself as “an international festival of songwriters”, showcasing Canadian and worldwide grassroots musicians in all genres. The festival has won a number of East Coast Music Awards and attracts over 10,000 music fans each year.
The Stan Rogers Folk Festival takes place on the first weekend of July. This has been a tradition ever since the first festival in 1997. The festival was cancelled in 2014, less than a week before it was scheduled to begin, due to the expected arrival of Hurricane Arthur. A series of fund raisers were held throughout the following year and enough funds were raised to pay off the costs of the cancelled festival and set up the festival for 2015.
It’s not often that the memory of one man can motivate an entire town to come together and build on a dream. But Stan was no ordinary guy – his commanding baritone voice and his incredible legacy as a song writing craftsman, have been etched within the Canadian and Maritime landscape – and within the memories of legions of fans – old and new.
Stan, in his all-too-brief lifetime, managed to influence a whole generation of performers, while contributing to the emerging popularity of the East Coast Music scene. Stan wasn’t born a Maritimer – yet the Ontario-based songwriter’s family ties – and his love for the people and places of Nova Scotia’s Northeastern Shore, made him a frequent visitor to Canso and Guysborough County. These visits inspired Stan to write songs like The Jeannie C., Guysborough Train and Fogarty’s Cove – and they also earned Stan a place in the local folklore of the town and the region.
“Some of the finest songwriters and performers in North America gather at this festival, to celebrate Stan’s lasting contributions to folk music. A new generation of powerful songwriters also come together with Stan’s family members, friends and associates not just to share remembrances – but to create new songs and stories,” says Troy Greencorn, artistic director.
The first thing I noticed on my drive to Canso to cover the Sunday night closing performances is that Canso is located in some of the most beautiful scenery in Nova Scotia. I also noticed that it is in that proverbial “middle of nowhere” area. After a three and a half hour drive, I was greeted by a very friendly staff. They went out of their way to assist me.
I got there just as the first performance of the evening was starting. Garnet Rogers, brother to Stan Rogers, was on stage playing his songs. Although Roger and Stan performed together they have different styles . Garnet’s style is a more modern version of folk.
Bio – In a darkened bedroom, lit only by the amber glow from an old floor model radio, two young brothers aged 6 and 12 lay in their beds, listening to the country music broadcasts from the Grand Ol’ Opry, and practiced their harmonies. Two years later, the youngest one was playing the definitive 8-year-old’s version of “Desolation Row” on his ukulele. He soon abandoned that instrument to teach himself the flute, violin and guitar.Within ten years, and barely out of high school, Garnet Rogers was on the road as a full-time working musician with his older brother Stan. Together they formed what has come to be accepted as one of the most influential acts in North American folk music.
Since then, Garnet Rogers has established himself as ‘One of the major talents of our time”. Hailed by the Boston Globe as a “charismatic performer and singer”, Garnet is a man with a powerful physical presence – close to six and a half feet tall – with a voice to match. With his “smooth, dark baritone” (Washington Post) his incredible range, and thoughtful, dramatic phrasing, Garnet is widely considered by fans and critics alike to be one of the finest singers anywhere. His music, like the man himself, is literate, passionate, highly sensitive, and deeply purposeful. Cinematic in detail, his songs “give expression to the unspoken vocabulary of the heart” (Kitchener Waterloo Record). An optimist at heart, Garnet sings extraordinary songs about people who are not obvious heroes and of the small victories of the everyday. As memorable as his songs, his over-the-top humour and lightning-quick wit moves his audience from tears to laughter and back again.
The next act was Hat Fitz and Cara, an act from down under, Australia. They are doing a Canadian tour and their performance at Stanfest was well received by the audience. They play traditional folk including washboard and flutes.
Bio – Hat Fitz is a “veteran” wild man of the blues scene in Australia. He has a record 18 straight appearances at Byron’s East Coast Blues and Roots Festival, a record that is not likely to ever be broken, and one which bears testimony to his amazing live performances and popularity with festival goers.
Cara draws on her soul background (she’s toured Europe and the United States with singers such as Jamiroquai and the hugely popular Corinne Bailey-Rae), and although blessed with a sensational voice she was not content to be labeled as ‘just a singer’. She has taken to drumming duties as well as washboards, flute and tin whistle, sometimes all at once.
Coig was the next act. They play a truly traditional Celtic form of folk.
Bio – CÒIG (Ko-ig) is an exciting ensemble of East Coast musicians, and is one of Cape Breton’s most captivating young bands. Originally coming together for a promotional tour for the Celtic Colours International Festival, the formation proved to be something special, and the group decided to continue to tour together as a band. Proving to be a serious force to be reckoned with in the traditional music scene with their driving tunes, haunting songs and infectious energy, Còig is a treat for the ears of every audience they meet.
Fiddler Chrissy Crowley, from Margaree, Cape Breton has an impressive list of awards, nominations, and international appearances. Chrissy embraces her Celtic roots and makes them her own, through original compositions coupled with contemporary arrangements of traditional tunes. Darren McMullen, from Hardwood Lands, NS, is a highly sought after multi-instrumentalist. Easily switching between guitar, mandolin, whistle and banjo with Còig, this “Swiss-army knife” keeps the rhythm sound diverse, and is sure to impress with his lead playing of his various “on-stage weapons”. Rachel Davis from Baddeck, Cape Breton spends her time switching from international festival stages to small local dances at home. In a genre that sees many performers pushing the envelope and testing new waters, her style of playing traditional tunes in a traditional way is a refreshing reminder of why the Cape Breton fiddle style drives so hard, and is so sought after. Jason Roach, from Chéticamp, Cape Breton is one of the most impressive piano players you will ever hear. With a style all his own, and an unparalleled intensity on the keys, you’ll have to remind yourself that there’s other players on the stage. With a combined total of over 30 nominations and awards, each of Còig’s talented musicians have released their own successful solo albums, and have toured both at home and abroad before coming together as this exciting super group. Their much anticipated debut album “Five” was released in June, 2014 to rave reviews, and has earned the band the 2014 Canadian Folk Music Award for Traditional Album of the Year, the Music Nova Scotia Award for Traditional/Roots Recording of the Year, and most recently, the 2015 East Coast Music Award for Roots/Traditional Group Recording of the Year.
Miss EmiSunshine a young girl came on stage next and captured everyone’s heart with her enthusiastic show.
Bio – It’s impossible to explain the exceptional talents of EmiSunshine, a 10-year-old East Tennessee prodigy who has captured the nation’s attention as a singer, songwriter and multi-instrumentalist. Steeped in Appalachian music, she is a true vocal stylist, one who instinctively knows how to interpret the nuances of a song with her impressive range, even though she has yet to gain the life experience and empathy seemingly necessary to fully comprehend the words she sings. Despite a given name that reflects optimism, she is drawn to darker themes of pain, anguish and even murder, like that of The Louvin Brothers, whom she loves.
The Tennessean is just the latest to describe her as “an old soul,” noting, “Onstage, this soul’s presence is commanding and her singing voice authentic and folksy.” While her youth might remind many of Taylor Swift, a more apt comparison would be to artists such as Dolly Parton, Alison Krauss or members of the Carter Family.
Whether she’s performing on the Today show or the Grand Ole Opry or taking the stage at Nashville’s historic Ryman Auditorium, she is fearless, confident and firm in her musical direction. As she says, she sings “old-time music,” but it’s her own unique blend of roots music that is equal parts Americana, bluegrass, gospel, and country, with a little bit of blues thrown in for good measure. Her talent is indescribable and inexplicable, but fortunately, it doesn’t have to be understood to be appreciated.
“What makes me want to do this is I just love it,” she says. “I just really, really love it. I wouldn’t trade anything not to do this.”
“I love how I get to sing to people and make them happy,” she says. “I’m really blessed that I get to do this. It makes me feel amazing, like I’m touching somebody’s life.”
Bio – Offstage, Emilie Sunshine Hamilton is a typical 10-year-old girl who loves video games, pets and colorful clothes. She’s had a normal upbringing in Madisonville, Tenn., where her mother worked as a nurse and her father is a recording engineer. But when she begins singing, playing or writing, something else takes over, a phenomenon that began before she could talk.
Up next was Everything Fitz. A family band of fiddle players. Their act included some amazing fiddle playing tricks.
Bio – Everything Fitz is a family band featuring the high-energy fiddling and percussive step dancing of four of Canada’s finest young musicians. With roots in the Canadian old-time fiddle tradition and Ottawa Valley step dancing, their unique stage show combines a variety of musical styles- everything from traditional jigs and reels, bluegrass, jazz and swing standards, Celtic, gospel as well as novelty numbers and choreographed dance routines.
Julie (24), Kerry (23), and Tom (20), are all champion fiddlers and provide intricate 3-part fiddle harmonies as well as solo improvisations on fiddle, mandolin, and guitar. Additional instrumentation includes Pat (25) on percussion along with parents Pam and Paddy providing accompaniment on piano and bass guitar. An audience favourite is their award-winning group step dancing.
These spirited young performers are noted for their polished performances and provide wholesome, captivating entertainment for a diverse audience. Performing in theatres, on festival stages, at fairs and exhibitions as well as corporate and fund-raising events and outreach programs in schools, Everything Fitz has received glowing reviews from promoters, organizers and fans across Canada and the United States.
A favorite of mine, Rita Coolidge, took the stage with all the grace of a truly accomplished performer. She performed with her long
time band and it felt like the audience slipped back in time with her.
Bio – Rita’s credentials are the stuff of legend. After earning a degree in art at Florida State University, the Tennessee native decided to give music a shot before settling into a career as an art teacher. She moved to Memphis and was soon singing jingles, demos and background vocals for a number of area bands. Among them was a husband and wife duo, Delaney & Bonnie. When the pair signed their record deal, Rita suddenly found herself on big-time pop music’s leading edge. Her reputation as an A-list backup singer spread quickly. Joe Cocker enlisted her in that role and as a featured soloist on his Mad Dogs and Englishmen tour. (Rita performed a song she’d co-written, “Superstar,” which would later be a huge hit for The Carpenters.) Work with other rock royalty followed, including tours and recordings with Eric Clapton, Jimi Hendrix, Bob Dylan, Leon Russell and Stephen Stills. In 1971, A&M Records moguls Herb Alpert and Jerry Moss signed her to the label, and one of the most enduring solo careers in all of music was underway.
Rita released more than a dozen albums in the years to follow, including 1978’s multi-platinum Anytime… Anywhere. Several of her singles would become classics; “We’re All Alone,” “Higher And Higher” and “The Way You Do The Things You Do” all qualify as “career” songs. She’s performed with high-profile pals like George Harrison, Roger Waters, Robbie Robertson and Jimmy Buffett. In 1973, Rita married singer, songwriter and actor Kris Kristofferson. During their eight-year union the pair teamed up for a number of hits and was twice named Country Duo of the Year. Her “Love Came For Me” appeared on the soundtrack of the movie Splash, “All Time High” was the theme for the James Bond thriller Octopussy and “Heart Don’t Fail Me Now” (with Lee Greenwood) was used as a recurring theme for the CBS daytime drama As The World Turns. When the cable music channel VH1 debuted, she was also one of its original “veejays.”
In the 90s, her place in popular music secured, Rita began devoting more time, energy and talent to other concerns. Her own Cherokee heritage inspired increasing involvement in projects that would benefit or call attention to Native American music, culture and issues. She joined the group Walela (Cherokee for “Hummingbird”) a few years ago with her sister, Priscilla Coolidge and niece, Laura Satterfield. Critics and listeners alike have embraced the trio, whose performances have included the internationally televised Opening Ceremonies for the 2002 Winter Olympics along with Robbie Robertson, someone she cites as being sensitive to the musical void that exists for Native Americans. The connection between this style and her more “mainstream” music, she feels, is a natural one. Rita was honored with a “Lifetime of Musical Achievement” award at the 2002 First Americans in the Arts Awards, as well as being the recipient of a “Native American Music Award for Lifetime Achievement”.
“Like most people of my generation, when I hear the term ‘soul’ or ‘R & B’, I’m thinking of Sam Cooke, Otis Redding… But any time the spirit is speaking through the music, that’s soul in a very pure sense of the word. I don’t know what to call the music most people know me for, really. I guess that’s one of the things I like most about it—it’s really impossible to categorize.
I want to hear music breathe. It has to have some open space; otherwise it’s just a compacted bunch of sound. I’m not a vocal gymnast, and I wouldn’t sing that way if I were. No matter how many notes you can make fit into a phrase, there’ll be a couple that really count. Those are the ones I want to sing.”
Rita Coolidge’s impact is undiminished—her voice as pure, sweet and powerful as ever and her ability to get inside a song honed by experience and overview.
“I guess the fact that I’m still here means I must be doing something right,” she laughs. “It’s good to know that people who’ve liked what I do for all these years still like what I do, and at the same time it sounds good to people who weren’t even born when I started out. And it’s especially satisfying because I’ve made a record that’s really true to the style of music I love. How can you ask for more than that?”
To accommodate the country fans, Jordan Musycsn brought his act to the stage. His band for the night consisted of some of the most talented musicians Cape Breton has to offer. Jordan is young and polite and is adored by the female fans.
Bio – Jordan Musycsyn (pronounced Musician) Jordan’s debut album, The Pitch, is highly anticipated by friends and the music community alike. A masterful storyteller, Jordan writes songs about life and love with humour and pathos. Whether drawing on his own life experience with the humorous songs such as, “GST,” “Mountain Fry Lullaby,” and “Winein’,’’ or his heavier songs of love and loss and the humancondition, such as “Didn’t Back Then,” and “Runaway Lane,” and “Young Wanda,” Jordan moves the audience from laughter to tears and back again.
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