Charlie Backfish – AcousticMusicScene.com https://acousticmusicscene.com Sat, 07 Jan 2023 17:03:40 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 Remembering Ian Tyson, 1933-2022 https://acousticmusicscene.com/2023/01/07/remembering-ian-tyson-1933-2022/ Sat, 07 Jan 2023 16:48:05 +0000 http://acousticmusicscene.com/?p=12440
Ian Tyson
Ian Tyson
Ian Tyson, an influential Canadian troubadour best known for having penned the hit songs “Four Strong Winds” and “Someday Soon” as half of the internationally acclaimed folk duo Ian & Sylvia, died on December 29, 2022 at his ranch in southern Alberta at age 89. Folk DJ Charlie Backfish will pay tribute to him and his music during a special edition of his long-running weekly radio show Sunday Street that airs January 8 from 9 a.m. to 12 p.m. ET on WUSB 90.1 FM on Long Island, NY and online at wusb.fm or https://tunein.com/radio/WUSB-901-s2324/.

Born to British immigrants in Victoria, British Columbia on September 25, 1933, Tyson grew up in Duncan, BC. He was a rough-stock rodeo rider in his late teens and early 20s and took up the guitar as “the means by which to pass the time” during a two-week hospital stay while recovering from a shattered ankle — an injury he sustained in a bad fall while competing in the Dog Pound Rodeo in Alberta.

Tyson hitchhiked from Vancouver to Toronto in 1958 after graduating from the Vancouver School of Art and became part of the city’s nascent folk scene centered around the coffee houses of its bohemian Yorkville neighborhood. There he met a young singer named Sylvia Fricker, who would become his musical and life partner for a while. They moved to New York, where noted manager Albert Grossman (Bob Dylan, Peter, Paul & Mary, Pozo Seco Singers, etc.) signed Ian & Sylvia to Vanguard Records and they became an important part of the early 1960s folk revival.

Ian & Sylvia - Four Strong WindsThe duo released its eponymously titled debut album in 1962 before getting hitched two years later. They would go on to record and release nearly a dozen albums. Although Ian and Sylvia’s 1964 sophomore release, Four Strong Winds, featured primarily covers of songs by others, its original title track became one of Canada’s best-loved songs and, along with “Someday Soon” and Sylvia’s “You Were on My Mind,” has been covered by numerous other artists — a number of whom will be featured on Sunday Street.

Here’s a link to view a video of Ian and Sylvia performing Four Strong Winds for the Canadian Broadcasting Corporation (CBC):

https://www.youtube.com/watch?v=B3m7ckGhnsc

As the folk boom began to wane later in the 1960s, spurred in part by the British Invasion, Ian & Sylvia moved to Nashville and began incorporating elements of country and rock into their music. They formed the band Great Speckled Bird in 1969 and becoming pioneers of country-rock, along with the Byrds and others.

After hosting a national Canadian television music show from 1970 to 1975, Tyson realized his dream of returning to the Canadian West. His marriage to Sylvia had ended in divorce in 1975 and Tyson, disillusioned with the Canadian country music scene, opted to return to his first love – training horses in the ranch country of southern Alberta.

Tyson Turns to Cowboy Songs and Western Music

His songwriting was greatly affected by his change in lifestyle – most notably on his third solo album, 1983’s Old Corrals & Sagebrush, comprised solely of traditional and new cowboy songs that he recorded after spending three idyllic years cowboying in the Rockies at Pincher Creek. Although Tyson didn’t know it at the time, a cowboy renaissance was about to find expression at the first Elko Cowboy Poetry Gathering that year in a small cow town in northern Nevada. Invited to perform his ‘new western music” at it, Tyson was a regular attendee at the gatherings for more than 30 years. Tyson’s 1987 album Cowboyography also helped to re-launch his touring career across Canada and the U.S.

Tyson seriously damaged his voice following a particularly tough performance at an outdoor country music festival in 2006. “I fought the sound system and I lost,” he said afterwards. With a virus that took months to pass, his smooth voice was now hoarse, grainy, and had lost much of its resonant bottom end. After briefly entertaining thoughts that he would never sing again, he began relearning and reworking his songs to accommodate his ‘new voice.’ To his surprise, audiences now paid rapt attention as he half-spoke, half-sung familiar words, which seemed to reveal new depths for his listeners, according to publicist Eric Alper. Although a heart attack, followed by open heart surgery in 2015, further damaged his voice, Tyson continued to release music well into his senior years – including the 2015 album Carnero Vaquero and his last single, “You Should Have Known.” Released in September 2017 on Stony Plains Records, the Canadian label on which he released 15 albums since the 1980s, that song unapologetically celebrates the hard living, hard drinking, hard loving cowboy life.

Tyson was a Much-Honored Artist During His Lifetime

Tyson earned numerous awards and accolades over the years. A Juno Award recipient for country male vocalist of the year in 1987 and a Canadian Country Music Hall of Famer since 1989, Tyson was inducted into the Canadian Music Hall of Fame – along with his former wife and singing partner, Sylvia, three years later. He became a member of the Order of Canada in 1994, received a Governor General’s Performing Arts Award in 2003, and was inducted into the Alberta Order of Excellence in 2006. ASCAP paid tribute to him during the 20th annual Folk Alliance International Conference in 2008, while he was inducted into the Canadian Songwriters Hall of Fame in 2019.

January 7 Sunday Street Tribute to Ian Tyson will Feature Music, Stories and Reflections

On the January 7 edition of Sunday Street, Backfish will explore Tyson’s wide-ranging career. He’ll share some recently-recorded reflections from Tom Russell, a widely acclaimed folk and Americana singer-songwriter, painter and essayist who co-wrote may songs with Tyson and recorded Play One More: The Songs of Ian and Sylvia (2017), featuring some of the duo’s lesser-known songs.

A Tom Russell painting of his longtime friend, mentor and musical collaborator Ian Tyson.
A Tom Russell painting of his longtime friend, mentor and musical collaborator Ian Tyson.
“It’s hard to come forth with words about the passing of Ian Tyson, wrote Russell in a Facebook post shortly after he died. “My friend and mentor for so many years. He was the best man at our wedding in Elko. We co-wrote at least 10 songs including Navajo Rug [the 1986 Canadian country song of the year], Claude Dallas, Rose of San Joaquin, When The Wolves No Longer Sing, and Ross Knox. We had a good talk a little while ago. My thoughts go back to many great memories of co-writing songs in a cabin in the Rockies. It’s a sad day. He’ll be with me forever.”

Here are links to view videos of Russell and Tyson performing Tyson’s classic “Summer Wages” and their co-write “Navajo Rug” in Calgary in 2019:

https://www.youtube.com/watch?v=w4Rk-E_spoI

https://www.youtube.com/watch?v=VGlbCQ_DjdE

The three-hour radio show will also feature stories and observations from Tyson himself, Sylvia Tyson, and Ramblin’ Jack Elliot, interspersed with music. “Many of Tyson’s songs, as well as his vocals on the songs of others will be part of the three-hour program, according to Backfish. Besides Tyson himself, Ian and Sylvia, The Great Speckled Bird, and Tom Russell, listeners will hear from Neil Young (who covered “Four Strong Winds” on his 1978 album Comes A Time), Gordon Lightfoot (who Ian and Sylvia mentored and whose song “Early Morning Rain” was the title track of their 1965 release), Greg Brown and Bill Morrissey, Lucy Kaplansky, Fourtold, Gretchen Peters, James Keelaghan and Jez Lowe, Marianne Faithfull, Cindy Church, Corb Lund (an Alberta-based Canadian country artist with whom Tyson performed a series of concerts in 2018 and who told CBC News in a 2019 interview “He’s kind of our Willie Nelson or Johnny Cash or Leonard Cohen. He’s a guy who’s most embodied the region in art, musically at least.”), Ramblin’ Jack Elliott, The McDades, Michael Martin Murphey, and Bob Dylan (who recorded Tyson’s song “One Single River,” along with the Band, in Woodstock, New York, in 1967).

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Remembering Terence Martin, A Gifted Singer-Songwriter https://acousticmusicscene.com/2011/11/09/remembering-terence-martin-a-gifted-singer-songwriter/ Thu, 10 Nov 2011 04:43:36 +0000 http://www.acousticmusicscene.com/?p=4395
Terence Martin
Terence Martin, a gifted New York-based singer-songwriter and published poet, has lost his battle with pancreatic cancer. Martin, who succumbed to the disease on Nov. 7, was born in London, England, grew up in Los Angeles, California, and moved east in 1997 to become part of New York’s thriving acoustic music scene. He recorded and released six albums independently and was working on another one at the time of his passing.

So well-respected was Martin among his peers in the folk music and singer-songwriter communities that many of them participated in benefit concerts in recent weeks to help defray his medical expenses. Such notable artists as Buskin & Batteau, Richard Shindell, Sloan Wainwright and Pat Wictor performed in benefits at Larchmont, NY’s Watercolor Café last month, while close friend Monty Delaney helped organize one in Katohnah, NY, where, in addition to many others taking turns at the mic performing songs penned by Martin, the songwriter himself, who was very touched by the outpouring of love and support, graced those of us in attendance by performing a few with his band.

“Anyone who heard Terence knew he was a world-class songwriter and poet,” wrote John Platt, host of Sunday Breakfast on New York’s WFUV-FM, in a post to the Folk DJ Listserv, sharing the sad news of Martin’s passing. “For years I couldn’t understand why he didn’t pursue national recognition more aggressively; then I realized that he chose the life of a teacher, father, and husband over the life of a traveling troubadour. Who can argue with that?,” Platt continued. As Charlie Backfish, host of Sunday Street on WUSB –FM in Stony Brook, NY has said of him: Terence Martin was “an extraordinarily skillful writer whose powerful songs are impossible to forget.”

Jim Colbert, a fellow singer-songwriter, shares his personal remembrances and reflections:

I did not know Terence Martin well, but I spent part of Monday night crying over his death from pancreatic cancer, and praying for his family and friends.

The last time I saw Terence Martin, he was in his black Jeep Wrangler headed east on Pennsylvania Route 6 as the late morning fog was burning off the hills, heading back home to Long Island. We would e-mail a couple times a year, usually initiated by me. I’d drop him a note when I played one of his songs on the Folk Show or he released a new disc; he would respond with gratitude and a genuine interest in my own music. He was gentle, supportive, intelligent and funny as hell – he had a dry acerbic wit, and was a keen observer of the world and the people in it, not unlike my wife Cynthia. More than anything, he was flat out one of the best songwriters I have ever encountered.

We spent a day and a half or so together once, hanging out and doing a songwriting workshop and evening performance together in Cloudersport, PA, along with Jud Caswell and Eve Goldberg. We shared coffee and dessert at a small restaurant on Route 6, talking about songwriting and scrapple and pie and our influences. He played his song Folding Chairs three times for me that day, trying to demystify it for me. “Folding Chairs” was my introduction to Terence’s music; “Folding Chairs,” played in my family room on an acoustic guitar by my friend Chris Cinnelli, who gave me Terence’s CD that weekend. I told Terence later how I thought this was nearly a perfect song. I said I wished I could write a song that good, just once in my life. He seemed a bit uncomfortable with the praise, and spent a long time basically telling me that the worst thing I could do was try to emulate “Folding Chairs;” that what I should concentrate on was being true to myself and my music. He was gently supportive, encouraging, motivating and challenging all at the same time. He listened to the songs I played him, and listened hard. He made me want to write better songs. I could see why his English students often revered him, and probably why some of them that maybe were wasting their potential might not have.

Terence’s guitar style solo was deceptively simple; often working out of first position formation shapes with embellishments, but not unlike Danny Schmidt, he had a gift for incorporating crisply picked flowing melody lines into the picking patterns. It served the songs perfectly. He was playing a sunburst Gibson J-45 that weekend, and the dry woody tone worked perfectly with his voice.

That evening, I played the second of two opening sets, and Terence came up to the microphone next, launching into an impromptu version of about half of my song “Mountain Laurels.” It fit his voice and style beautifully; I always hoped we would have the chance to do it together somewhere down the road. It was a magic moment, and it made me sad that Cynthia couldn’t be there to see it happen.

I left that weekend feeling validated as a performing songwriter. Make no mistake, I’m not turning diva. I’m not putting myself above the level I’m on or harboring delusions about where I fall on the folkie food chain, or implying I can’t improve, or even about whether what I do is what people want to hear. But this was the weekend I stopped apologizing for my style, for the performance and simplicity of my songs and started embracing that. To Terence, this was Jim Colbert being Jim Colbert, and I think I came to terms with that notion that weekend.

There have been a handful of performing songwriters who have really reinforced to me the merit in what I do; that have helped me with the ideas of balancing art with life, that sometimes the creation is its own reward, in being true to myself and my music. Joe Crookston is certainly one; Carolann Solebello and Marc Douglas Berardo and Kevin Dremel. Terence Martin is on that list too. Terence was probably the first performer to really challenge and question my approach that what I was doing somehow needed disclaimers and apologies. “Just play it,” he told me. “Play it like you feel it, play it like you mean it.” I’m no doubt paraphrasing a bit, but that was the point.

And so I cried, for someone I seldom saw or spoke to, who, in the strictest terms, I did not know long or well, but who left a lasting impression on who I am as a writer and performer. I cried the selfish tears of knowing I would not see Terence again, at least not in this lifetime; that my wife would never get to meet him – I think they would have gotten along quite well. That we would never again share a gig or pie or bullshit about Jeeps and philosophy and guitar pickups. But mostly, I cried knowing that, while there were likely dozens of people Terence made a similar impact on, there are no doubt dozens of people who would benefit from his low key, easy going support and validation and will never know that.

To steal one of his own lines, “It was the the way it didn’t go.”

Rest in peace, Terence, my friend.

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