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Pete Seeger (1919 – 2014)

Thanks for the music and the inspiration! Please see for a tribute to Pete Seeger.

Mike Seeger (1933 – 2009)

FolkwaysAlive! joins a vast community of music enthusiasts in mourning the passing of Mike Seeger, musician, educator, and preserver of cultural heritage.

Mike Seeger’s involvement with the Folkways Record Company and Moses Asch goes back several decades and his connection to folkwaysAlive! began at our official launch at the Winspear Centre in October of 2003. He gave a delightful solo performance as part of our gala opening concert, inspiring many audience members to learn more about his musical journey and the traditions he demonstrated. We also had the pleasure of hosting him at a workshop on campus where he generously shared his insights and talent with students and Folkways enthusiasts.

We were honored to have Mike – along with John Cohen and Tracy Schwarz – at our Kennedy Center concert in 2006 when the Province of Alberta was featured at the Smithsonian Folklife Festival in Washington DC. The event was an opportunity to reunite the New Lost City Ramblers and we were again inspired by the music and Mike’s gentle kindness.

Mike’s work in preserving “old time music” is a regular feature in popular music, world music and Folkways courses, giving new generations of students the opportunity to experience his music and legacy.

We’ve been very fortunate to work with Mike Seeger, to learn from his documentary skills and musical talent, and to be inspired by his passion and generosity.

Please see the extended tribute to Mike Seeger on the Smithsonian Folkways
Recordings site at

Kellogg Wilson (April, 1928 – March 26, 2009)

folkwaysAlive! and the Canadian Centre for Ethnomusicology join Kay and family in mourning the loss of Kellogg Wilson who passed away suddenly, but peacefully, in March.

Kellogg was a great supporter of the Centre and donated a substantial collection of jazz recordings to the University in 2003. We had the pleasure of honouring Kellogg at a special jazz concert on February 12, 2005 to celebrate the collection and his generosity. The concert featured Bill Jamieson, saxophone, Maureen Lefever, guitar, Don Bradshaw, bass, and Sandro Dominelli, drums, and included renditions of Kellogg’s favorite works.

Kellogg Wilson had a lifelong passion for jazz. A retired joint professor of psychology and computing science at the University of Alberta, Wilson originally hailed from Lincoln Nebraska and remembered hearing Chick Webb and Ella Fitzgerald over cable radio when he was a boy. The teenage Wilson took up clarinet and tenor sax, and commented that his ‘depraved adolescent’ tastes ran to the likes of Glen Miller and Harry James, but after hearing a recording of Ellington’s “Mainstem” and “Johnny Come Lately,” things changed. “My tastes became more sophisticated after that – but alienated me from the high school band.” Wilson gave up serious pursuit of becoming a musician after hearing Charlie Parker on record. “Charlie Parker scared a lot of people,” remarks Wilson. “After hearing him I knew I’d never be good enough to play seriously.”

Putting down his sax and clarinet, Wilson pursued academics – originally engineering — and when he reached grad school at the University of Illinois, his supervisor happened to be the late Charles Osgood the noted linguist, who Kellogg dryly remarked, “also had quite an interest in jazz.” So the young man with a self-described lust for jazz and a very particular kind of mind pursued economic stability through what some may call the arcane, combining linguistic study and computing science. But his passion for listening developed, as did the music, and over the decades Wilson assembled a collection of over 2,000 jazz recordings. “I collected things that interested me, but I tried for a certain amount of completeness.” The collection shows his passion for saxophone and Ellington, but also seminal archival gems such as boogie-woogie pianist Meade Lewis, or nineteen-thirty jazz trombonist Kid Ory.

“It’s been a bifurcated life, I’ve led,” said Wilson, whose collection that he calls the ‘product of unbridled lust’ also holds local icons such as Bobby Stroup and Tommy Banks. Upon his arrival in Edmonton it didn’t take long for Wilson, an avid and engaged listener, to become known among the local jazz community. He was one of the original minds, along with saxophonist Bill Jamieson and Marc Vasey to start the original Jazz City festival in Edmonton, back in the seventies.

Kellogg Wilson donated his collection of over 2,000 records–spanning over forty years–to the Canadian Centre for Ethnomusicology in 2003, with an additional five boxes of LPs received as recently as March 2009. “I felt that mine would complement the Asch collection.” The University’s collection of Folkways Recordings includes very early jazz, blues and folk music as well as spoken word and performance traditions. Wilson’s collection contributes the next forty years of jazz evolution. Why does jazz belong in a centre for Ethnomusicology? “Jazz is thinking music. It’s an amazing language,” said Wilson. “In terms of world music, improvised music with rhythmic content played by small groups is the norm.” We are grateful to Kellogg for the generous donation of his collection and for his intention to share a passion and inspire future generations of students and musicians.

In Memory of Sam Gesser, 1930–2008

April 2, 2008

folkwaysAlive! joins Smithsonian Folkways Recordings in mourning the passing of Sam Gesser, the first distributor of Folkways Records in Canada, and the man responsible for many iconic recordings of Canadian performers and Canadian music.

Sam Gesser 350pxThe history of Canadian recordings on the Folkways label began in 1950, when Samuel “Sam” Gesser (1930–2008), an enterprising young commercial artist from Montréal paid a visit to Moses “Moe” Asch (1905–1986), founder and owner of Folkways Records in New York. Gesser, having purchased a Lead Belly recording in Chicago, was disappointed to discover that Folkways recordings were not available in Montréal. The two entrepreneurs quickly struck a deal, and Gesser returned home as the newly minted distributor for Folkways in Canada. Almost immediately he set about to remedy the dearth of Canadian traditional music albums, recording local folk singers himself and enlisting the aid of prominent folk music collectors. Between 1950 and 1964, he produced or commissioned about 100 Folkways albums, the earliest of which, Folk Songs of French Canada (Folkways 6929) in 1952 and Folk Songs of Newfoundland (Folkways 6831) in 1953, featured Alan Mills, the most important Canadian folk singer of that era. Contractually bound to purchase a minimum of 100 albums for each tape that he submitted, Gesser devised innovative ways to promote Folkways recordings, showcasing them together with live performances by Mills and his singing partner Hélène Baillargeon in world music programs written and produced for Canadian radio and television.
      When Gesser embarked upon his association with Folkways, Newfoundland and Labrador had just joined Confederation (1949); Canada boasted a population of 14,009,429 (1951); the flags flown were the British Union Jack and the Red Ensign (until the adoption of the Maple Leaf flag in 1965); and “O’ Canada” was yet to be proclaimed the official national anthem (1967). The Folkways recordings document the history of the Canadian folk music revival of the 1950s and 1960s—roughly parallel to, but far less politically motivated than its American counterpart—and furnish evidence of burgeoning nationalism in the years leading to 1967, the centennial of Confederation. (©2006 Smithsonian Institution, reprinted by permission from the booklet accompanying the CD: Classic Canadian Songs from Smithsonian Folkways SFW CD 40539, 2006)

Sam Gesser was a member of the Order of Canada and had been honored with other awards, including a 2005 certificate from The Smithsonian Institution, a 2007 lifetime achievement award from the Canadian Songwriters Hall of Fame, and late last year the very first Resonance Award ~ Prix Résonance, established by the Canadian Museum of Civilization to “honour outstanding lifetime contributions to Canada’s musical heritage” and presented at the annual Canadian Folk Music Awards. Resonance Award ~ Prix Résonance – Canadian Museum of Civilization

At folkwaysAlive!, we appreciated Sam’s generous spirit, his recollections of an extraordinary life well-lived, and his humble acceptance of the acknowledgement he received for his many achievements.

We join a large community of friends who remember Sam and send our most heartfelt condolences to his wife, Ruth, and his family.

* An article and video on Sam Gesser in Smithsonian Folkways Magazine’s Winter 2010 edition
* A Tribute to Sam Gesser from Folk Roots/Folk Branches with Mike Regenstreif on CKUT, 90.3 FM in Montreal. Podcast from Thursday, April 24, 2008. The tribute begins approximately 35 seconds into the clip.
* Sam Gesser’s Obituary in the Montreal Gazette
* Smithsonian Folkways Recordings
* Jewish Public Library & Archives, Montreal

Taking cues from the red carpet

‘Tis the season of bold looks, designer dresses and the inevitable fashion flop.

With the Critic’s Choice Movie Awards, the Golden Globes and the Screen Actors Guild Awards behind us and the Academy Awards and Grammy red carpets stretching out ahead, critics and fashion lovers replica cheap Michael Kors alike will have their eyes peeled and tongues wagging over who wore what, who looked best, and which hot new trends will transcend Hollywood and make their way into closets.

“It’s not often we all go to award shows and red carpets, but picking up themes and trends that you feel comfortable with, and that suits your style, adds a certain life and vitality,” says Anthony Casalanguida, general manager at Yorkdale Mall in Toronto.

Some of the themes that have stood out for Casalanguida so far are the bright colours, dresses with mermaid and fishtail shapes fake michael kors and an overall look of sophistication.

“It was very consistent so far this year, sometimes you see over a dozen things people are doing, but they fell into four categories that I saw . I think we’ll see a continuation of this throughout the season,” he says. Newton says accessories can be a girl’s best friend when trying to re create a star’s style.

“Accessorizing is the key to making any red carpet look your own,” Newton says. “Jewelry, clutches and hair accessories can give an outfit an entirely different dynamic.

“Choose a focal piece, such as a bejewelled necklace, attention grabbing shoes or stacked bracelets and create your own unique Hollywood glamour.”


The pops of colour seen on red carpets is a sign that designers and stars are moving away from the dark hues seen at a lot of formal events. Reds, nudes and pastels were popular choices by the stars thus far and cheap michael kors they’re also popping up in stores, Casalanguida says.

“I would say at almost every store there are blouses (and) shirts in these colours, even for guys,” he says. “At Holt Renfrew you’re seeing mermaid style dresses and jewelled tones as well.”

Casalanguida recommends working the colours into your everyday wardrobe, whether that means a red tie or polo for discount michael kors the cheap michael kors bags guys, a jewel tone headband, coloured blazers or a vibrant shade of lipstick for ladies. A little colour can brighten up your typical winter wear.

Melissa Evans Lee, Bayview Village’s marketing director and resident fashion expert, says bold colours may not be for everybody, but it doesn’t mean you should be afraid of it.

“Start small with the addition of a colourful accent. A very popular colour combination on the red carpet was the pairing of a gorgeous, classic black gown with emerald earrings, as in the case of Debra Messing (at the Globes),” says Evans Lee.


Whether it’s the influence of Oscar nominated films “The Artist” or “My Week with Marilyn,” or fashion’s recurrent cycle of old becoming new again, experts fake cheap Michael kors handbags agree that sexy sophistication is back.

“The ‘Old Michael Kors handbag outlet Hollywood’ starlet really knew what she was doing . they all possessed a certain level of sex appeal that seemed to be effortless,” Lee Evans said.

Michelle Williams in Chanel at the Critic’s Choice Movie Awards, Angelina Jolie in Atelier Versace and Kate Winslet in Jenny Packham at the Golden Globes all channelled this look perfectly.

“Their dresses were all very classic cheap michael kors handbags in their silhouette and styling, while their hair and makeup was very streamlined. The overall effect was glamorous without looking like they tried too hard,” Lee Evans added.

Whatever your red carpet event is even if it’s just dinner with friends or a night on the town don’t forget the final touch.

“Wherever you go and whatever you wear, accessorize with confidence cheap Michael Kors because that really is what people find most alluring,” says Lee Evans.

Just because you’re not a famous actress doesn’t mean you can’t work it like one.


Though you’re favourite celeb may be dressed in haute couture fashion or designer duds that come with high end price tags it doesn’t mean their styles are out of reach.

Often, you don’t have to look further than a nearby shopping mall, says Anthony Casalanguida, general manager at Yorkdale Mall in replica michael kors Toronto.

“If the look is something tremendous on the red carpet, you’ll see a continuation of that in stores,” Casalanguida says. Twist our well accessorized rubber arm.Articles Connexes:

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