The Bruce Cockburn Newsletter Online
has contributed a new song called "3 Al Purdys" to The Al Purdy Songbook project
Photo: Recording at Fantasy Studios in Berkeley, CA
September 26, 2015
Christmas With Cockburn Live, Featuring Bruce Cockburn
with the singers and players of San Francisco Lighthouse Church
Bruce will be perforning at the San Francisco Lighthouse
Church on December 11 and 12, 2015. In an email, Bruce told me "The shows will
be benefits for social programs the church runs."
The event is still in the planning stages and more
information will be forthcoming. Tickets are expected to be limited to about
400. You can learn more about the event as it is available at
the church's webiste and here at the
Soundcheck - Redding, California - April 28, 2012
September 15, 2015
[Woodpile editor's note: Bruce is among many who signed the Leap Manifesto]
Leap manifesto: bold climate and economic vision for Canada
by Andrea Harden-Donahue
We could live in a country powered
entirely by truly just renewable energy, woven together by
accessible public transit, in which the jobs and opportunities of
this transition are designed to systematically eliminate racial and
gender inequality. Caring for one another and caring for the planet
could be the economy’s fastest growing sectors. Many more people
could have higher wage jobs with fewer work hours, leaving us ample
time to enjoy our loved ones and flourish in our communities.
Canada is not this place today – but it could
These are the inspiring words of the leap
manifesto, a bold 15 point vision for Canada, launching today. Maude
Barlow will be one of several high profile speakers alongside David
Suzuki, Naomi Klein, Stephen Lewis, Tantoo Cardinal (and more)
attending a press conference at the Toronto Film Festival for the
You can read, and sign the manifesto at
download a useful graphic outlining the 15 demands and
supporting research paper from the Canadian Centre of Policy
Alternatives on why we can 'afford to leap.'
Here are the manifesto's 15 demands.
- The leap must begin by respecting
the inherent rights and title of the original caretakers of this
land, starting by fully implementing the United Nations
Declaration on the Rights of Indigenous Peoples.
- The latest research shows we could
get 100% of our electricity from renewable resources within two
decades; by 2050 we could have a 100% clean economy. We demand
that this shift begin now.
- No new infrastructure projects
that lock us into increased extraction decades into the future.
The new iron law of energy development must be: if you wouldn’t
want it in your backyard, then it doesn’t belong in anyone’s
- The time for energy democracy has
come: wherever possible, communities should collectively control
new clean energy systems. Indigenous Peoples and others on
the frontlines of polluting industrial activity should be first
to receive public support for their own clean energy projects.
- We want a universal program to
build and retrofit energy efficient housing, ensuring that the
lowest income communities will benefit first.
- We want high-speed rail powered by
just renewables and affordable public transit to unite every
community in this country – in place of more cars, pipelines and
exploding trains that endanger and divide us.
- We want training and resources for
workers in carbon-intensive jobs, ensuring they are fully able
to participate in the clean energy economy.
- We need to invest in our decaying
public infrastructure so that it can withstand increasingly
frequent extreme weather events.
- We must develop a more localized
and ecologically-based agricultural system to reduce reliance on
fossil fuels, absorb shocks in the global supply – and produce
healthier and more affordable food for everyone.
- We call for an end to all trade
deals that interfere with our attempts to rebuild local
economies, regulate corporations and stop damaging extractive
- We demand immigration status and
full protection for all workers. Canadians can begin
to rebalance the scales of climate justice by welcoming refugees
and migrants seeking safety and a better life.
- We must expand those sectors that
are already low-carbon: caregiving, teaching, social work, the
arts and public-interest media. A national childcare program is
long past due.
- Since so much of the labour of
caretaking – whether of people or the planet – is currently
unpaid and often performed by women, we call for a vigorous
debate about the introduction of a universal basic annual
- We declare that “austerity” is a
fossilized form of thinking that has become a threat to life on
earth. The money we need to pay for this great transformation is
available — we just need the right policies to release it. An
end to fossil fuel subsidies. Financial transaction taxes.
Increased resource royalties. Higher income taxes on
corporations and wealthy people. A progressive carbon tax. Cuts
to military spending.
- We must work swiftly towards a system in
which every vote counts and corporate money is removed from
This transformation is our sacred duty to
those this country harmed in the past, to those suffering needlessly
in the present, and to all who have a right to a bright and safe
Now is the time for boldness.
Now is the time to leap.
Andrea Harden-Donahue's blog
We Are as the Times Are
Ken Rockburn's book regarding the history of the famed
Ottawa musical venue, Le Hibou, can
be purchsed here. Bruce played many a show at Le Hibou in the 1960s and early
More online info can be found at
Denis Faulkner's website. He was the founder and first
owner of the venue from October 1960 to December 1968.
September 11, 2015
The Ottawa Citizen
Coffeehouse nights: New book remembers Le Hibou
Review by Parick Langston
Book review: We Are as the Times Are
By Ken Rockburn
In town: The author will launch his book at Irene’s on
Bank Street on Sept. 14, 2015.
Ken Rockburn’s many nights at Café Le Hibou, the legendary Ottawa coffeehouse
that between 1960 and 1975 showcased an extraordinary lineup of musicians and
other artists, included one which left him bemused.
The veteran broadcast journalist and author of the newly
published We Are as the Times Are: The Story of Café Le Hibou recalls being 16
and squiring an attractive young lady to the coffeehouse for a concert by
American blues great John Hammond. After his first set, Hammond made a beeline
for the couple’s table and started chatting up Rockburn’s date.
Says Rockburn: “I’m sitting there thinking, ‘Am I pissed
because John Hammond is hitting on my date or am I in awe because John Hammond
is sitting at my table?’ I chose the latter.”
Le Hibou was, in other words, a spot where expectations
might be rattled, where almost anything could happen thanks to a cavalcade of
culture that included not just nervy performers like Hammond and the
voodoo-influenced Dr. John the Night Tripper and the up-and-coming Gordon
Lightfoot but also poetry readings (by Irving Layton among others), theatre
(including Too Many Guys For One Doll, an original musical satire on municipal
affairs and then-Ottawa mayor Charlotte Whitton), film (English and French), and
dance (including a lecture and demonstration of modern dance by the now-renowned
With entertainment options few and far between, “People
saw Hibou as this kind of oasis where things were happening outside their (life)
in Alta Vista,” according to Rockburn who’s known for his work with Cable Public
Affairs Channel (CPAC), CBC, and others.
The idea for his comprehensive, highly readable book,
which he launches Sept. 14 at Irene’s Pub, came from Rockburn’s friend Paul
Kyba. Realizing that all the former owners of the coffeehouse were still living,
Rockburn set out to record the memories before it was too late.
The memories include those of Denis Faulkner. A
University of Ottawa student at the time, he co-founded with three others the
coffeehouse at its first location above a Rideau Street chiropractor’s office
just east of Coburg Street. Faulkner says he had no inkling at the time that “a
little place for people to meet and talk and have good coffee and listen to folk
singers or flamenco would morph into an almost-iconic institution.”
Just how iconic is clear from Faulkner’s website Café Le
Hibou Recollections (lehibou.ca). In addition to a history of the place
and a comprehensive list of its 15 years of bookings, the website includes a
slew of recollections from fans. Those memories range from a first date at the
club that blossomed into marriage to a posting from someone who says hanging
around Le Hibou transformed him from a respectable student with good grades to a
grungy guy barely eking out a pass but who, in retrospect, “wouldn’t trade those
days for anything.”
Such heartfelt posts, says Faulkner, prove that not just
the club with its red checked tablecloths and candle-stuffed Chianti bottles but
the entire era was meaningful to many. “It was a remarkable time. It was the
1960s; the future was wide open.”
Judging from the performers, it was an inclusive future
at Le Hibou. Folk singers Judy Collins and Murray McLauchlan played there as did
bluesmen Muddy Waters, Howling Wolf, and Sonny Terry and Brownie McGhee. So did
jazz guitarist Lenny Breau. Ditto a nascent Neil Young.
A very young Joni Mitchell landed a three-week gig for
$150 a week in 1967. While there, reports Rockburn, she hooked up with musician
Bill Stevenson, and the two dropped acid in Strathcona Park.
Rockburn also quite rightly dedicates considerable space
to poet/songwriter William (Bill) Hawkins. He was a regular at Le Hibou and a
member, along with Bruce Cockburn, Sneezy Waters and others, of
the Ottawa band the Children which played the venue. A troubled man from whose
poem Gnostic Serenade the title of Rockburn’s book – We Are as the Times Are –
is taken, Hawkins was, says Rockburn, “an intellectual magnet” in Ottawa’s
counterculture scene. But substance abuse sapped his creative drive, and Hawkins
vanished from the scene in 1974 to drive a cab for years before finally
re-emerging with new music and poetry. It’s an especially poignant section of
Le Hibou was also a locus of live theatre for several
years. Saul Rubinek, Luba Goy and others performed at the club after it moved to
Bank Street in 1961 and after its final move to Sussex Drive just over three
years later. Productions were eclectic, from original pieces to John Webster’s
17th century tragedy The Duchess of Malfi.
None of which made the owners wealthy. “I never intended
it to be, but it was non-profit,” says music promoter and former Treble Clef
music store owner Harvey Glatt. He was a partner in Le Hibou from 1961 to 1968
and booked the music acts.
Glatt also recalls the respect paid to performers. “It
was very important that people be quiet; if they weren’t, we’d ask them to
Sneezy Waters, whose first gig at Le Hibou was in that
show about Charlotte Whitton, recalls the community-building aspect of Le Hibou.
“It wasn’t a drug den or a bar. For me, it was like a library: you’d go to learn
Waters was also there when Le Hibou closed in the spring
of 1975. It was the victim, as Rockburn details, of everything from increased
competition from licensed clubs (Le Hibou was basically dry) to the coup de
grace: a leap in rent at the National Capital Commission-owned Sussex Street
address from $450 a month to $2,000.
“I was there on the last day,” says Waters. “There was
gnashing of teeth and wailing and a pretty heavy sadness. There were people on
the street looking through the windows. It was hard to imagine it would be gone.
A Le Hibou timeline
October, 1960: Café Le Hibou opens at 544 Rideau St.
Owners: Denis Faulkner, Andre Jodouin, Jean Carriere and George Gordon-Lennox.
It serves coffee and light food, and hosts poetry readings and occasional
October, 1961: The club moves to 248 Bank St. and hires
its first paid entertainer: local folk singer Tom Kines.
February, 1965: Le Hibou moves to its
final home at 521 Sussex Dr., a heritage building with a 15-foot, stamped tin
June, 1965: Gordon Lightfoot, who had
not yet released his debut album, plays the first of several dates.
November, 1968: John Russow, the coffeehouse’s night
manager, and his wife Joan buy Le Hibou.
June, 1968: Newly sworn-in prime minister Pierre Elliott
Trudeau pays a late-night visit to Le Hibou accompanied by his chauffeur and a
single bodyguard. He misses the show but signs a poster.
October, 1969: Van Morrison and his “jazz rock band” play
a multi-night gig.
Spring, 1972: Pierre Paul Lafreniere, the final owner,
buys the club.
May 3, 1975: Le Hibou closes.
Sources: Denis Faulkner, Ken
September 11, 2015
Al Purdy Was Here exposes Canada’s cultural roots
Al Purdy Was Here, Brian D. Johnson’s
documentary about the deceased, highly combative Canadian poet, is not only
one of the engaging treats in this year’s TIFF Docs program; it’s
investigation of how a rebel poet created his own myth and part
total-pleasure songbook, the film will have its world premiere on Tuesday,
Sept 15 at TIFF Bell Lightbox. And 15 years after his death, this should
remind a lot of people that Al Purdy was indeed here.
From the perspective of fall
2015, this is not just nostalgia but a timely reminder of those golden
pre-Harper years decades ago when culture played a key role in Canadian
nation-building, and poets led the charge.
Just as striking for many is
the emergence of Johnson, best known for more than two decades as the film
critic at Maclean’s, as a hot director.
No one is more surprised —
almost apologetic — than Johnson himself.
“I know this sort of looks
like a man-bites-dog case about a long-time film critic deciding to reverse
engines,” he told me one recent evening at a Yorkville cafe.
True, he had retired from
Maclean’s in early 2014 and had time to do something completely different.
“But it wasn’t a career
choice. I got pulled into this thing gradually and before that I didn’t know
a thing about Al Purdy.”
It was Marni Jackson, the
talented author, who lured her husband into this project, one chapter at a
“Marni had interviewed Purdy
and she had written about him,” says Johnson. “I owe the film to her.”
Jackson knew all about the
A-frame cabin that the back-to-the-land poet and his wife, Eurithe, had
built out of discarded lumber in Ameliasburgh. That’s in Prince Edward
County, which later became a high-end rural favourite of Ontario’s social
Indeed, Eurithe, at 90,
emerges now as one of the great strengths of the new film, with sheer star
quality. Terrific songs and a surprise Act 3 plot turn are the other
ingredients that make this a breakthrough not just for Purdy followers but
for many who know little or nothing about the poet.
Along the way we get
performances by Bruce Cockburn, Tanya Tagaq and Sarah
Harmer, as well as insights from Margaret Atwood, Michael Ondaatje and
“Marni was well down the Purdy
road,” Johnson says. She worked on a 2013 event at Koerner Hall: a
fundraiser to restore the A-frame house and keep it going as a mecca for
writers, while raising money to maintain a poet-in-residence program there.
The event was filmed and
Jackson asked Johnson to edit the footage.
“I found this guy enchanting
and charismatic,” he recalls. He was also boisterous and an entertaining
But there were many sides to
this hard-drinking, high-school dropout who hopped a freight train, heading
west during the Depression, and worked in factories before pioneering the
idea a guy could earn a living writing poems.
A lot of bad poems came before
the good ones, such as his best known work “At the Quinte Hotel,” in which
beer drinking looms large. He won the Governor-General’s Award twice.
Songwriters agreed to
contribute to the Purdy legend. The obvious next step was a documentary film
about this larger-than-life character.
Asked for his advice, Johnson
replied that maybe there could be a half-hour for TV.
It was the music that later
made him think this should be a full-length documentary. And since he had
previously made a seven-minute short film in which other poets read a book
by Dennis Lee, Johnson was the right guy to direct this movie.
It was the CBC, through its
documentary channel, and film distributor Ron Mann (of Films We Like) that
drove the project forward. Now the film is likely to have a limited
theatrical release before reaching TV screens in 2016.
For CBC management, this was a
great opportunity. The public network was enduring scandal, crisis and
It helped that the team for
this film included Jackson as co-writer, Nicholas de Pencier as
cinematographer and a young co-producer, Jake Yanowski, who, according to
Johnson, wound up mentoring his much older partner.
“This is a tale about Al Purdy
and his legacy, but people are bringing more to it,” Johnson told me. “This
is about our cultural roots. It evokes nostalgia for a time when poetry
mattered, when Canadian culture was still being invented and this activity
was a key part of nation-building. Today that seems like a far-fetched
ambition for anyone to entertain.”
August 25, 2015
Wicked Local Beverly
MUSIC REVIEW: Bruce Cockburn
performs 'gem of a show'
by Blake Maddux
Bruce Cockburn, a 2001 Canadian Music Hall of Fame inductee, treated a
general admission audience to gem of a show at The Cabot last Friday night.
Performing a total of 20 songs, Cockburn drew from 14 albums, the best
represented of which was 1997’s "The Charity of Night."
If there was a pattern or strategy to his song selection, it was apparent
only to him.
Thankfully, this was no mere greatest hits show. In fact, anyone who knew
only the contents of the 1979-2002 singles anthology that was available for
purchase in the lobby would have been able to sing along to only five songs.
And those familiar with the 1970-1979 collection, which was not for sale
that night, would have recognized two others.
However, a performer as seasoned, versatile, prolific and dependable as
Cockburn would have done a disservice to both long-time fans and newcomers
-- not to mention himself -- by serving up only the “hits,” which I put in
quotes because he has reached the U.S. top 40 only once in his 45-year
The fact that Cockburn was perfectly free to eschew playing it safe was
evidenced by the myriad requests that those in attendance shouted out, as
well as the surprising number of times that the audience registered
familiarity with a given song immediately after he started plucking his
guitar and before he sang a word.
Speaking of the guitar, Cockburn has clearly retained all of what one is
justified in calling his virtuoso mastery of the instrument. Having attended
the Berklee College of Music in the mid-60s, he is rarely, if ever,
satisfied to simply select the few chords that are necessary to accompany
In fact, three of the evening’s numbers were instrumentals, including the
first song that he played after taking the stage and the one that opened the
second set following the 30-minute intermission.
The first instrumental was “Bohemian 3-Step,” from the 2011 release "Small
Source of Comfort," which is Cockburn’s latest album, but one that he
acknowledged is “not very recent.”
Before diving into “The Iris of the World,” also from "Small Source of
Comfort," he explained that he had spent the time since that album’s release
writing an autobiography (titled "Rumors of Glory" after a song from 1980
that he played early in the first set) and being the father of a daughter
who is about to turn 4 years old.
Given the time and energy required for those hefty endeavors, he said, there
was “nothing left over for songs.”
Reassurance that something still remained came in the form of a song that he
introduced as a new one, of which he said “there aren’t very many,” but that
he was “happy to have any."
This suggested that he remains a devotee of the Christian faith that he
has embraced on a personal level for several decades, but from which he
has also distanced himself due to his disapproval of the use of
Christianity to advance political agendas, with which he disagrees.
I should note that Cockburn did not neglect all of his better-known
songs. “Lovers in a Dangerous Time,” which Cockburn released in 1984 and
the soon-to-be hugely popular Canadian band Barenaked Ladies covered
seven years later, appeared in the first set. He saved the
aforementioned lone top-40 entry “Wondering Where the Lions Are,” which
prompted a call-and-response sing-along, for the second spot of the
Other crowd-pleasers included “If I Had a Rocket Launcher” and “Call It
Democracy,” two politically forthright compositions that he played
Last month, I reviewed a show about which I wrote that
two septuagenarians – namely, Brian Wilson and Rodriguez – had set the bar
pretty high for all of the younger acts currently on tour. Having turned 70 in
May, Cockburn may now join that distinguished company.
Photo by Blake Maddux
August 13, 2015
Bruce Cockburn Accepts His Folk-Hero Status
by Nicole Pensiero
Bruce Cockburn - who will give a solo acoustic
performance at 9:05 p.m. Saturday - recalled a time, early in his
career, when he would "vehemently deny" he was a folksinger.
"I didn't want to mislead people, and I was fussy
about labels like that," said the 70-year-old Canadian-bred, San
Francisco-based singer-songwriter. "But if Ani DiFranco's a folksinger,
then I guess I am, too."
Cockburn, who last year released his
well-received "spiritual memoir" Rumors of Glory, has lasted more than
40 years in the fickle music business, and has dozens of albums -
ranging from jazz-influenced rock to worldbeat to, yes, what's probably
best termed folk - to show for his efforts.
A word-of-mouth favorite in the United States,
Cockburn's something of a national treasure in his native Canada, where
his face has adorned postage stamps. (He has also been honored with 13
Juno Awards - the Canadian version of the Grammys - has 21 gold and
platinum records, and was inducted into the Canadian Music Hall of
But accolades mean far less to Cockburn than the
durability of his music.
"My songs, from an emotional point of view, are like
a scrapbook of a place and time," he said. Singing the intense, overtly
political "If I Had a Rocket Launcher" from 1984, can be "outright painful."
It takes Cockburn back to his state-of-mind at the time he wrote it in
response to the appalling conditions at Guatemalan refugee camps. But,
Cockburn noted, there are times when performing that very song is "necessary
or appropriate," depending on current world events.
"It's part of the process of performing from the
heart," he said. And regardless of a song's topic - love, politics, or
spiritual connection - Cockburn always welcomes the opportunity to play for
his fans, as well as hopefully attract some new ones.
"I like people to listen to what I'm doing," Cockburn
said, adding that he also gets to be a music fan himself at outdoor
festivals, always discovering "something interesting and new."
This Philadelphia Folk Festival appearance will
afford Cockburn the opportunity to sing his best-known songs - like 1979's
"Wondering Where the Lions Are" and the haunting "Pacing the Cage" - as well
as introduce some new material, "depending on how confident I feel."
August 10, 2015
The Western Star
Cockburn to play two shows at Woody
Point literary festival
by Gary Kean
If a tree falls in the Newfoundland forest next month, there’s a chance
Bruce Cockburn just might hear it.
The stalwart of the Canadian music scene for the past
four decades is coming to Newfoundland and Labrador and plans to drive
between shows in St. John’s and Woody Point.
He’s played the capital city before, but this will be
his first time venturing outside of St. John’s to play or to take in the
“I hear there’s a lot of spruce and moose,” he said
in a recent interview from San Francisco.
Cockburn’s visit will feature appearances at two folk
festivals. He was scheduled to play the 39th annual Newfoundland and
Labrador Folk Festival in St. John’s this past Saturday, before trekking to
the Writers at Woody Point literary festival.
Cockburn will open the festival with a pair of
concerts at the Heritage Theatre in Curzon Village on Tuesday and Wednesday.
On the third day, he will be interviewed before a live audience at the
theatre by Canadian novelist, essayist and memoirist Lawrence Hill.
His albums have sold more than seven million copies
worldwide, but Cockburn has more than his well-known music to discuss. Last
November, he released his memoir, “Rumours of Glory,” at the request of
He said he had been asked to write a book before, but
the time just wasn’t right until now.
“We’ve all seen coffee table books about 20-year-old
rock stars and 25-year-old hockey stars and stuff like that that say ‘here’s
the life of so-and-so, but there’s no life there to talk about really,” he
said. “It’s just an excuse to sell people something.”
Cockburn, who was born in 1945, said he didn’t know
what the publisher meant when they asked him to pen “a spiritual memoir.”
Others have also expressed interest in the background stories of his songs
and his life of humanitarian work and advocacy.
The end result is an intimate peek into the
inspiration behind all of his work.
“I thought it was worth trying to do the book because
there was room in between the songs for a more concrete statement about the
kinds of things the songs talk about and about my own life,” he said.
July 9, 2015
Winnipeg Free Press
Excerpted from the article Good Times, Great Music by
Melissa Tait & Joe Bryska
Last month, the Free Press sat down with Winnipeg Folk
Festival legend Mitch Podolak and asked him to flip through a pile of archival
photographs of the event he founded 41 years ago.
"We owe the Winnipeg Folk Festival in a lot of ways to
Bruce (Cockburn), because people did not have any idea at all what a folk
festival was — none. We knew we had Bruce and we used Bruce in a way we didn’t
use anybody else.
"We said, ‘There’s a free Bruce Cockburn concert in the
park,’ and 14,000 people showed up the first night to see that, and what they
got was the folk festival. Thank you, Bruce."
Photo 1975, David Landry Collection, Archives of
Montreal Folk Festival Friday 19th June 2015
Ottawa Jazz Festival Saturday 20th June 2015
Reviewed by Richard Hoare
When it was announced that Bruce was appearing at The Montreal Folk Festival and
Ottawa Jazz Festival with Gary Craig and Roberto Occhipinti I experienced an
adrenalin rush. This was followed by return to rational thought, “Leave it
Richard, you live in the UK”!
Something clicked in me that the drummer/percussionist that is Gary Craig
coupled with the versatile bassist that is Roberto Occihpinti would make
Cockburn’s performances incandescent. Bruce has known Roberto since the days
that he lived in Toronto, once sat in with one of Roberto’s R’n’B bands in that
city and has wanted to work with Roberto for some time but calendars clashed.
Roberto is the brother of Michael Occhipinti who recorded a CD in 2000 of
Cockburn’s songs as jazz instrumentals. The album was entitled Creation Dream
and the musicians included Hugh Marsh, Jon Goldsmith and Bruce himself on one
track. I reviewed this fine work for Gavin’s Woodpile when it was still a paper
number 52, August 2002].
nagging draw continued until, on Friday 19th June, I strolled out of Monk metro
station, Montreal, in the bright sunshine to walk the length of Monk Boulevard
trying to find the Theatre Paradoxe where Cockburn was headlining the festival
that night. At last I spotted the vertical sign on the side of
the historical Church Notre-Dame-du-Perpétuel-Secours, now a community centre.
I had arrived. Before the sound check started Bruce introduced me to his
daughter, Jenny, who lives in Montreal.
The new trio had just spent two days in a rehearsal studio in Toronto. The sound
check in Montreal was largely able to be a rehearsal, as the crew had ironed out
the bugs in the PA. Roberto and Gary were already subtly jamming when Bruce
arrived on stage to sing a few lines of Fever over their riff! Playing a vintage
double bass Roberto has drive, subtly, solos, a violin bow and diverse talent to
bring it all together. Gary’s playing with Cockburn goes back to the early 1990s
involving both recordings and concerts. Craig brings that magical combination of
beat and percussion without drowning out Cockburn’s amplified acoustic
instruments. Fresh life was being blown through a back catalogue that was not
specifically tied to an album release. Bruce selected instruments for different
songs from his collection of two Manzer guitars, a 12 string guitar, the metal
bodied Dobro and a charango made by Linda Manzer.
This trio brought an urgency and vibrancy to the Cockburn catalogue. Bone In My
Ear, with Bruce on charango and Roberto on bowed bass, was absolutely amazing.
There were tears in my eyes. Occhipinti even asked to try various “chugging”
numbers before the close of the sound check.
The evening concert had had a variety of start times banded around in
advertising and the media so by the time the musicians walked on stage at 9pm
the audience in this 700 person capacity theatre were more than ready for the
The back catalogue tracks, After The Rain, Rumours Of Glory, Lovers In A
Dangerous Time and Tokyo were well received. Mango, Open and Bone In My Ear all
benefitted from Roberto’s bowed bass. Slow Down Fast enabled the trio to stretch
out and Waiting for a Miracle brought the first half to a close.
The interval was over when the guys returned to kick off with Comets Of
Kandahar, almost more appropriate for the double bass than the recorded violin
version. City Is Hungry employed some jazz chops before settling back into songs
like Iris Of The World, Strange Waters, Rocket Launcher and Let The Bad Air Out.
Wondering Where The Lions Are gave a boost to the proceedings and the fire of
Call It Democracy and Put It In Your Heart brought the second half to a close.
The last new album was 2011’s Small Source of Comfort, and for the last three
years Bruce has been writing his Memoir. During that time, song writing has
taken a back seat but Cockburn has started to write again. When the trio came
back for encores Bruce explained that he was surprised to have written a gospel
song before launching into the urgent Jesus Train “heading for the city of
and this was the first time he was playing it to a concert audience. The show
concluded with the timeless God Bless The Children. The day had been very
enjoyable with just a faint hint of energy loss from the trio halfway through
the second half.
It was late, the merchandise line was long and the metro would close soon for
the night so I headed back to my hotel without seeing the band. At the end of
the sound check that day Bruce had invited me to join the tour bus for the two
hour drive to Ottawa tomorrow.
Saturday was another bright sunny day and the tour bus left midmorning from the
hotel downtown that the trio and crew had stayed at on Friday night. The bus
banter included films, other music projects and family. Before I knew it the bus
was pulling into Ottawa up to the backstage area of the jazz festival. While the
stage was being set up Gary and I took a walk passed the parliament buildings,
The Rideau Canal locks and took in a couple of markets for snacks. As we
wandered, Gary said to me - Today we have to avoid the “sophomore slump”. The
Laurier Avenue Canadian Music Stage was housed under a tall marquee tent with a
reputed 500 person capacity. With two of the tent sides rolled up for an
additional standing audience on the left and back, the atmosphere was expectant
for the earlier start of 7.30pm.
Cockburn grew up in Ottawa and the Ottawa Sun newspaper billed this show as a
homecoming gig. Bruce’s two brothers, who still live in the area, were chatting
with him in the bus when Gary and I returned from our walk and we were
introduced. We were even very close to
the various locations of Le Hibou where Cockburn started performing all those
The sound check was largely that, getting interference out of the PA system.
However I was entertained with three instrumental jams along the way.
As a festival date there was no interval, the set was slightly shorter than the
day before but the audience and trio interaction maintained a vibrancy
throughout the set. In fact this home crowd gave several standing ovations
during the set. Comets Of Kandahar and City Is Hungry nailed the trio’s jazz
credentials to the stage and Bruce played some wonderful guitar solos on Rocket
Launcher, Jesus Train, Put It In Your Heart and Slow Down Fast. If you think
it’s just Richard raving about Bruce again check out the review in the Ottawa
Sun on line
[Or see the article just below this one].
I waited at the end of the merchandise line to thank Bruce and his road manager
for a great visit. “See you in October in the UK” they both said in unison!
I really hope that any new work incorporates the talents of Gary Craig and
Roberto Occhipinti. A while ago Cockburn was quoted as saying he would like to
record with Sunn O))), Seattle drone metal band. Scott Walker has recently done
that. What we need now is the new twist to Cockburn’s music that is Bruce,
Roberto and Gary.
My thanks to Daniel Keebler, to my wife, Mary, our
family and my employer for their blessings, which
enabled the dream to become reality.
June 20, 2015
The Ottawa Sun
Bruce Cockburn diehards packed the tent for hometown hero
by Aedan Helmer
As odd pairings go, it was a doozy.
Ottawa-raised Bruce Cockburn making a celebrated return
to his hometown -- tucked away in a full-to-bursting Laurier Ave. tent -- while
the Philly-bred Roots crew invaded TD Ottawa Jazzfest's Main Stage, taking a
Saturday night off from their house gig under the bright late-night television
lights of The Tonight Show.
You could almost sense the spirit of Pete Seeger at the
side of the stage, vowing to yank the plug.
But once Questlove, Blackthought and company took the
stage, they left no doubt they were right where they belonged -- though some of
the jazz traditionalists in the crowd may have disagreed, once their lawn chairs
were evicted from prime dancing ground.
And while Tonight Show viewers are only treated to
snippets around commercial breaks The Roots got to strut their stuff in front of
a packed Confederation Park.
Launching into their signature The Next Movement -- with
its acid jazz-infused Rhodes hook putting The Roots in a class of their own when
they broke out with 1999's seminal Things Fall Apart -- the band did proceed to
rock the mic with Proceed, The Fire and Mellow My Man, barely pausing to take a
breath through the entire 90-minute set.
A late addition to the festival's star-studded roster --
and one that would have been circled on calendars of the young, urban crowd who
might otherwise give Jazzfest a miss -- The Roots ended up bumping Bruce
Cockburn to a side stage, and an earlier time slot, after he was originally
announced as a Main Stage headliner.
It was a shame Cockburn's throng of fans didn't get to
see him in all his glory, and while it's always a delicate dance at festivals, a
wiser scheduling move may have seen the celebrated songwriter playing the Main
Stage in the early evening slot, shifting Duchess and their Andrews
Sisters-style torch songs to the tent.
As it was, the Laurier tent was already swelling to the
seams by the time Cockburn emerged.
And so cherished is Cockburn, especially around his old
stomping grounds, simply striding onstage earned his first of several standing
ovations from the lucky 500 fans who crammed in to the standing room-only show.
Dressed head-to-toe in black, capped by a grey tuft and
trademark round-rim glasses, Cockburn dug into his acoustic guitar on the
instrumental opener Comets of Kandahar, his gruff and wonderfully strained
vocals making their first appearance on The Iris of the World, both drawn from
his latest studio offering, 2011's Small Source of Comfort.
But as Cockburn acknowledged, the songs are "from my most
recent album, which is not very recent."
"I got involved in writing a memoir, and it took up all
my creative energy, so we're not here promoting an album, we're just here to
play some music," he said to more applause.
He did just that, delighting his long-serving faithful
with songbook staples like If I Had a Rocket Launcher, Rumours of Glory and
Lovers in a Dangerous Time, with its unmistakable opening chords ringing,
setting things in motion for one of the all-time great lyrical entries into the
Accompanied by the excellent Roberto Occhipinti, who has
won Junos of his own as a renowned bassist, and drummer Gary Craig, Cockburn
shone as an instrumentalist as well as a gifted wordsmith, with his acid-laced,
politically-charged lyrics propelled by some absolutely menacing guitar work.
And, this being Jazzfest, he left plenty of room for
Occhipinti to explore, which he did expertly, walking the length of the upright
bass or breaking out the bow for the uncharted waters.
And while Duchess were delightful, with their Andrews
Sisters-inspired torch song harmonies -- which they saucily trademarked as
girl-on-girl harmony -- they may have been better suited to the cozy confines of
the tent, if only to allow Cockburn and company to truly stretch out on the Main
June 16, 2015
The Ottawa Citizen
Bruce Cockburn: Back to his musical basics
by Lynn Saxberg
After spending the better part of the last three years
writing a memoir, Bruce Cockburn has little desire to continue working to the
kind of schedule required by a publisher.
“I’ll be happy if there are no deadlines at all,”
declared the Canadian Music Hall of Famer by phone from his home in San
“The actual writing, the sitting down and coming up with
language was fun, as much fun as writing songs. I always feel like Sherlock
Holmes on the trail of something: I’m tracking down the next line. That was true
of the book, but the presence of deadlines made it very stressful.”
The memoir, Rumours of Glory, was published last year
(accompanied by a nine-CD box set), freeing Cockburn up to get back to his first
love, writing songs. He has three new tunes in the works, none of which are
ready to perform, and no deadline to finish them. As is his preference.
“I went through a brief phase early on where I thought
real writers write every day so I thought I should try that,” explains the
70-year-old Ottawa-born singer-songwriter-guitarist. “After about a year doing
that, I ended up with about the same amount of usable stuff as if I had just
waited for the good ideas so I opted for waiting for the good ideas, and it’s
been that way ever since.”
It’s been four years since his last studio album, Small
Source of Comfort, long enough to see further changes in the ever-shifting music
landscape. Even a legend like Cockburn, known for hard-hitting topical songs
like If I Had a Rocket Launcher and Lovers in a Dangerous Time, has to wonder
where he fits in.
“I’m still trying to figure out how to approach coming
back to being a songwriter,” he says. “I did gigs through that period so I was
not completely away from the scene, but I didn’t write anything. It’s different
now than it was even five years ago, and it’s moving fast. By the time I feel
like I’m ready to make a CD, will I make one or will I sprinkle out a bunch of
In the next breath, he answers his own question: “I still
think in terms of making CDs, and I know lots of other artists do, too, and not
just old guys. I don’t think the medium is dead. I think that there is a place
for a collection of songs, and I don’t really sympathize with the trend, which
is to just put out these things one-off without any kind of background or
“An album is kind of like a book, a collection of poetry,
and so where that will fit in in the current scene, I don’t know if it does at
all. But I’m not worried about it until I have enough songs to worry about it.”
In the meantime, there are plenty of gigs, including a
hometown show at the Ottawa Jazz Festival. He’ll be playing with longtime
drummer Gary Craig and a new sideman, Toronto bassist Roberto Occhipinti, who’s
known for his jazz chops. “I’m hoping there will be some jamming and stuff in
the set, but I won’t really know ’til we do some rehearsing,” Cockburn says,
describing the jazzier configuration as a new adventure.
Another factor influencing his life these days is his
three-year-old daughter, Iona, who frequently travels with her parents when Dad
is on tour. Needless to say, there are no journeys planned to war zones.
“It makes for a slightly more complicated balancing act
with respect to touring,” Cockburn says. “That’s the biggest single effect. It’s
also harder to get time. I’m living the life of a young family man and I’m not a
young family man. I’m an old family man. There are energy requirements that I
manage to meet but it’s hard work sometimes.”
Except for lack of sleep, Cockburn says he’s in good
health. Retirement is a long way off.
“I’ll retire when I have to. If my hands stop working or
my brain stops working and I recognize it, then I’ll retire, I guess, but I
don’t have any expectations of quitting voluntarily.”
United Church Observer
Interview with Bruce Cockburn
by Mardi Tindal
Q You gave your memoir the
same title as one of your songs, Rumours of Glory. What does that title
say about your religious journey?
A I’ve certainly gone through different perspectives on the
whole issue of God and Jesus and what it is to be a seeker. I think what that
song is attempting to portray is the hint of God — “rumours.”
The hints are around us all the time, yet we tend not to see evidence of God’s
presence as readily as it’s presented. At least I don’t. But once in a while it
hits you, and this song was triggered by what’s described in the first verse. I
was in New York, looking up between the buildings at the part of the sky that
was visible, at dusk in winter. It was crossed by two vapour trails, and they
were lit by the setting sun, which wasn’t visible because it was behind the
The streets were darkening and filling with people coming out of their jobs. It
was that — the contrast between the relatively grumpy-looking crowd of people
leaving work and trying to get on the subway, the grit of New York streets, and
then this glorious image in the sky. It seemed like one of those hints.
As a title for the book, it’s ironic more than anything. My career has been
pretty good, but is it glorious? I’m not glorious enough to be featured in the
Q You write that the Catholic mystic
Thomas Merton has influenced you. Merton embodied a spirituality of paradox, as
do you. You say you’re living your life as best you can in line with the word of
Christ, and yet you’re not necessarily taking that word as gospel. You say that
praying in the company of others can be nurturing, and yet question the value of
religious worship or affiliation.
A I see a pattern full of that contrast. It’s full of ambiguity
and dichotomy and slipperiness. Just look at people in any context — it could be
at a cocktail party or a worship service or a war. You’ll see all this stuff
going on. There’s beauty and grace, and there’s spite and ugliness. What I see
is that God’s there in that relationship. It’s for me to be open to him and
receptive. That’s what I work at. A long time ago, when I was new to the game so
to speak, the forms [of religion] were valuable. I still like ritual, but the
ritual has to be about that relationship to God.
Q Much of this seems beyond words at all.
A I think there’s a trap inherent in taking words at face
value. Sometimes that’s what you have to do, and it’s appropriate, but other
times you have to read the heart of the person speaking and look past the actual
words. If I hear a minister preaching, I have to try to hear past the literal
words if I’m going to take him seriously. I’m not saying that the words don’t
matter, because they do. But if you want to know whether or not to admit those
words into yourself, you need to feel the heart of the person delivering them.
It’s about the relationship with God.
Q You describe your early days in The United Church of
Canada in your book, and tuning in to a sermon when you were 10 or 11 and
noticing that the minister was talking about “real stuff” — “he was nailing
A I was sitting there with my parents and had my pad of paper
and my pencil, getting ready to occupy myself during the sermon. For some
reason, that day I listened to [the minister] speak, and it really made sense to
me. In this case, I don’t think I was looking past the words. I was looking at
the words for the first time, and grasping that it wasn’t just a guy up there
telling you to wash your hands and pray or whatever.
Another powerful experience was my acquaintance with Peter Hall, the organist at
Westboro United [in Ottawa], who taught me theory and piano. He was a real
mentor, helping me appreciate music and get deeper into it.
Then in the 1980s and ’90s, through my travels and connections with charitable
work in various parts of the world, I was aware that the United Church was very
active and very outspoken on some issues I thought were really important. The
United Church has stood out as an agent for positive social change.
Q You’ve said that people who maintain a relationship with
the Divine bear a special burden of healing. How do you see that call of Christ
A There are some obvious worldly examples. How do you exercise
compassion and forgiveness to ISIS, for example? I have trouble with that. I
want to kill them all, but I don’t think that’s what I’m supposed to do. That’s
probably the most extreme example.
I feel like the world’s getting screwier and screwier and there’s a kind of
entropy taking hold. The challenge is to respond to that increasing madness from
a godly base.
It’s tricky. That one-to-one relationship with God becomes really important,
although it can get off balance too. People do all kinds of horrible things
thinking that God told them to do it. So you need some community around you to
bounce off, to keep you moving in the right direction.
Q How do you maintain that relationship with the Divine?
A I struggle with a lack of trust, which I didn’t know back in
the day. When I was a more active churchgoer, I felt like I had a pretty solid
faith. But I had a conversation with a Presbyterian minister friend of mine who
said, “Do you believe in an all-powerful, all-seeing God?”
I said, “Yeah, I do, but I don’t trust him. I don’t want to be available to him,
because he’s going to ask me to do [things] I don’t want to do.” This is a
totally wrong-headed way to think about it, but this is my default position, and
I struggle with that. I’m winning, little by little — or God’s winning. It’s
getting better. The period of doubt I’ve gone through has been an exercise in
I’ve been doing Jungian-based dream work for a long time, and through it I’ve
come to find myself; I’m able to feel love from God and receive it.
MJ [my wife] recently started going to a Pentecostal church, but it doesn’t
conform to my previously held stereotype of a Pentecostal church. It’s full of
spirit and brains and fun, a real sense of joy. I was shocked to discover this
and finally let MJ persuade me to go with her. Then I got invited to play with
the band. So I go now and sit in the church band as a guitar player. It’s an
Q You’ve had a lot of labels in your day — including
psalmist and prophet.
A And some less complimentary ones!
Q Which seem to fit now?
A You know, I’m just a guy trying to live. I don’t have a
convenient label for myself, but I can look with hindsight and see prophetic
bits in the songs. I’ve written three songs since the book came out, and the
most recent is a gospel song. So where is that going? I don’t know. Part of the
job of being human is just to try to spread light, at whatever level you can do
it. Songs are one level, and it’s not simple. You can spread light with dark
songs, because they invite people to notice and respond to what’s around them.
They are invitations to look.
This interview has been condensed and edited.
May 13, 2015
Music review: A
life in music and words: Bruce Cockburn explores range of human
emotion at Iron Horse show
by Steve Pfarrer, Staff Writer
When you’ve been writing and playing songs for 45-plus years,
you have a lot of material to work with. In fact, you might have
so much that you’d need to write a memoir to put it all in
That’s just what Bruce Cockburn, the
venerable Canadian songwriter and guitarist, has done. “Rumours
of Glory,” which was published late last year, recounts his long
career as a musician, human rights activist, and spiritual
explorer. With 31 albums and a raft of musical and humanitarian
awards to his credit, Cockburn — who turns 70 May 27 — has a lot
of ground to cover.
He brought copies of his book, as well as
a new boxed set of CDs, to Northampton’s Iron Horse Music Hall
last Friday, the first of two nights he would perform there
before a sold-out house. He also brought four guitars — two
six-string acoustics, a resonator guitar and a 12-string
acoustic — to showcase his inventive finger-style work and the
jazz, world music, blues and folk sounds he incorporates in his
Cockburn is by his own admission a pretty
shy, introverted person — though he’s become somewhat less so
over the years — and he joked that he’d felt a little
self-conscious when he’d visited Northampton’s “local
bookstores” to see if they had copies of his memoir.
“My manager, Bernie, always used to tell
me to visit local record stores when I was on tour and check out
what they had of mine,” he said. “I never liked to do that.” He
added that he’d looked as unobtrusively as possible for his book
in Northampton’s stores “but I didn’t see any. But maybe they
bought 100 copies and sold them all.”
Not to worry. As one woman at the packed
Iron Horse called out, “We have it, and we love it!”
The crowd also loved Cockburn’s songs,
which he plucked from throughout his long career: 1973’s “All
the Diamonds in the World,” “Hills of Morning” from 1979,
“Understanding Nothing” from 1987, and 1995’s “Pacing the Cage.”
There was also the beautiful guitar piece “The End of All
Rivers,” one of the tracks from his 2005 instrumental album,
As good a guitarist as he is — Cockburn
often lays down a thumping rhythm with his thumb and plays
melodic leads with his first three fingers — he’s won much of
his acclaim as a lyricist, and his songs have been covered by a
wealth of artists, from Barenaked Ladies to Jimmy Buffett.
Whether writing about his own spiritual explorations or the
injustice he’s witnessed around the world, he brings a poetic
intensity and sense of the mystical to many of his songs. He’s a
Christian, he says, who has moved away from organized religion
but still stresses the importance of what he calls “the divine”
in his life.
Case in point: For the second song of his
set, he played “Strange Waters,” which is built around slow,
chiming chords and observational lyrics about a journey that
could be both literal and metaphorical: “I’ve stood in airports
guarded glass and chrome / Walked rifled roads and landmined
loam / Seen a forest in flames right down to the road / Burned
in love till I’ve seen my heart explode.”
At the Iron Horse, Cockburn’s voice
sometimes strained when he approached the top of his range. Yet
that lent a sense of urgency to songs like “Call It Democracy,”
a full-throttle attack on the International Monetary Fund and
its role in bracketing poor countries in debt: “Padded with
power here they come / International loan sharks backed by the
guns / Of market hungry military profiteers / Whose word is a
swamp and whose brow is smeared / With the blood of the poor.”
It was one of Cockburn’s more impassioned
moments during an otherwise fairly low-key set; he played the
song on his 12-string guitar, giving it some added drive and
volume and bringing the crowd to its feet at the end.
“I guess not a lot has changed since I
wrote this,” he said about the 1985 song. “I’m not sure when the
revolution is going to come.”
Then, when someone called out, “Let’s
start it now,” he paused for a moment, then quipped, “I’m in
danger of making a speech.”
In search of humanity
Cockburn, born and raised primarily in
Canada’s capital of Ottawa, took up the guitar in his late teens
and studied at the Berklee College of Music in Boston in the
mid-1960s, though he left without a degree. He later played with
a number of rock bands in Canada before concentrating on
songwriting, releasing a series of folk-oriented albums
beginning in the early 1970s.
In the 1980s, though, his music began to
embrace wider influences, and he also developed a reputation as
a “political” songwriter, in part from songs like “If I Had a
Rocket Launcher.” That 1983 tune was inspired by his visit to a
camp of Guatemalan refugees on Mexico’s border, people who had
fled the attacks of Guatemala’s military — many of whose leaders
had been trained by the United States — during the country’s
30-year civil war. Furious about the refugees’ plight, Cockburn
imagined shooting down Guatemalan helicopters that buzzed the
Over the years, he’s traveled to
countries such as Nicaragua, Mozambique and Iraq as part of his
activism, playing benefit concerts and jamming with musicians in
other nations. He’s also worked with organizations such as
Oxfam, Amnesty International, Doctors Without Borders and
Friends of the Earth.
Yet in his memoir, Cockburn, who now
lives in San Francisco with his second wife, says his songs
“tend to be triggered by whatever is in front of me, filtered
through feeling and imagination. I went looking for humanity in
all its guises ... the love, the meanness, the artists, the
farmers, the juntas ... the conflicts, the peace, the music.
That’s why I don’t think of the things I write as ‘protest’
Indeed, although the crowd at the Iron
Horse applauded all his tunes, the ones that seemed to bring out
the warmest feelings were the ones exploring the range of human
emotion, from regret and sadness to wonder and faith. He had the
audience singing along with the chorus of “Wondering Where the
Lions Are,” a lilting folk tune about a sudden feeling of
optimism that he introduced by saying, “Here’s one that came
back into the repertoire recently after being out of it for a
long time.” The tune, from 1979, was Cockburn’s only Top 40 U.S.
Though he played solo, Cockburn added
unusual textures to some of his songs by activating, through a
foot pedal, a pair of heavy steel chimes positioned on either
side of the stage. The chimes lent a particular resonance to
“The End of All Rivers,” the instrumental track, which Cockburn
played with reverb, echo and digital delay on his guitar,
allowing the song’s hypnotic central riff to repeat as he added
a long solo over the top.
He also closed the show with two songs,
“Mystery” and “Put It In Your Heart,” that speak to the power of
love and beauty to offset the worst the world and humankind can
show — or the problems that can bedevil a single person. On the
gentle “Mystery,” which included a pretty solo, he sang “Come
all you stumblers who believe love rules / Stand up and let it
As the song ended and applause rang out,
one woman seemed to speak for many when she called, “I don’t
want the show to end!”
May 2, 2015
and The Hellbender Salamander
I recently contacted Mark Pagano of the St.
Louis-based band, Fire Dog, which also includes Celia on bass guitar and Mike
Schurk on drums. Bruce contributed a few lines via telephone for the song,
Hellbender. It first appeared on the CD, May These Changes, in 2012. Bruce later
phoned in to particpate in a revamp of the same song, which appears on the CD,
For the Kids, to be released in May 2015. Also of note, Fire Dog covers Bruce's
song, For The Birds, on the latter CD. The following is from Mark Pagano.
As for Bruce's part on "Hellbender"... It was indeed a
phone call to Sawhorse Studios. He delivered the lines that I had researched and
written: "It's true that since the 1980's the Hellbender population has been
devastated due to rising temperatures, water pollution, and the mysterious
chytrid fungus. The Hellbender is now an endangered species." He said them a
couple of times and we just cut them in.
We recorded the song in 2011 after a friend brought me to the Hellbender
Breeding Center at the St. Louis Zoo earlier that year. Shortly after recording
the track, the St. Louis Zoo announced that after ten years of work they finally
had fertilized eggs.
In 2013, I began using the song in St. Louis Public Schools as a teaching tool in
my songwriting residencies. I also began using another line that is a direct
quote from Jeff Briggler of Missouri Department of Conservation: "What happens
to the Hellbender, happens to us." Kids really connected with this line so when
we revamped "Hellbender" on the "For the Kids" album, I asked Bruce to call it in
again, which he did this past November .
It was really a great moment for me to have Bruce in studio even if it was via
phone. I love his delivery of the lines... it's so Bruce Cockburn!
One detail... The friend who brought me to the
breeding center, Mikal Shapiro (Kansas City, MO), was working on a project called
Go-Go Global Girls. The song
"Hellbender" was originally produced for this project.
Visit the Fire Dog website
May 1, 2015
Parting Shots: Bruce Cockburn
by Dean Budnick
In his new memoir, Rumours Of Glory, Bruce
Cockburn shares stories from a career that began in the mid-1960s, following a
stint at Boston’s Berklee College of Music. The Canadian troubadour also offers
accounts of his world travels, social activism and spiritual life. There are
plenty of musical memories as well, which are reinforced by a 9-CD box set of
the same name, with tracks selected by Cockburn from his 31 albums to offer
parallel audio accompaniment.
In your book, you describe your rather unique
reaction to hearing yourself on the radio for the first time back in 1970.
I had been writing songs for a few years in a bunch of
different bands. So I had these bodies of songs and I felt choked up on them. I
felt that having to carry all these songs in my head was getting in the way of
writing new ones. So I wanted to make a record, and in my imagination, that
record would allow me to forget about those songs because they would have been
there and accounted for, so I could get on to writing new ones. Of course, what
I didn’t realize was that it doesn’t work like that—when you record those songs,
then everyone wants you to play those songs.
On the day my album came out, I was in the Yorkville
area, which was the Toronto equivalent of Haight-Asbury or the Village in New
York, and was the center of the counterculture scene. This was at a time when
free-form FM radio was really just taking off and all the stores in that area
would listen to this particular radio station called CHUM. So I’m in a store and
they were playing my music. No one knew me but I felt like I had a big finger
pointing at me. It was terrifying.
So I left the store and went into a different store that
had the same radio station on and they were playing the whole album. You could
do that kind of thing back in those days. I felt like I would never have a sense
of privacy again. It was a very excruciating experience and I felt I had to duck
While we are on the subject of hearing yourself, Bono
references your song “Lovers in a Dangerous Time” in U2’s “God Part II” [“Heard
a singer on the radio late last night/ Says he’s gonna kick the darkness till it
bleeds daylight”]. Do you recall the context in which you first heard that? Was
it obvious that he was referencing you?
I think the album was out for a year or two before I
actually heard it, but it was obvious when I heard the song. I had met Bono in
the late ‘80s or very early ‘90s at a Christian festival in England. We had a
chat and he expressed his approval of that song at that time, but nobody ever
called me to tell me that they had done it. I kind of heard it through the
grapevine and eventually I did hear the album, and there it was.
Did you have any exchanges with Jerry Garcia over the
years, and what was your response to hearing him perform a song of yours
[“Waiting for a Miracle,” which became a Jerry Garcia Band staple in 1989 and
appears on the group’s selftitled 1991 live album]?
I heard from audience members that his band was doing the
song live. Then his record company applied for the mechanical licenses that are
part of the process. I was very excited, so I got the album and I put it on. It
was a beautiful version, musically, and it had great energy, but the lyrics were
unrecognizable in places. Right after that, a Bob Dylan song came on [“Simple
Twist of Fate”] and the lyrics were quite altered in Garcia’s version as well,
so I felt better. I told myself: “Well, if he is doing it to everybody, then I
am in good company.” [Laughs.]
Sometime that same year, the Dead were doing one of their
week-long extravaganzas at Madison Square Garden. I happened to be in New York,
and somebody said, “Let’s go put you together with Jerry.” So I was ushered up
onto the stage behind the amps where his tent was, and Jerry came out. He was
very gracious and a lovely guy. We shook hands, and he said, “Man, it’s great to
meet you! That’s a beautiful song, I hope I didn’t screw up the lyrics too
much!” And then I said, “Well, I was going to wait till the second time I met
you to bring that up, but it’s OK you did it your own way, and I’m glad you
Speaking of iconic rock guitarists, you once shared a
bill with Jimi Hendrix and you nearly shared a stage with him.
I was in a band that was originally called The Flying
Circus but, because of competition from another band, we changed it to Olivus.
We thought the name was terribly clever and we got a job opening shows,
including some big ones like Wilson Pickett, Cream and Jimi Hendrix.
The Hendrix one was in Montreal in an arena and, after
the show, there was a party in which all the participants were invited to a
studio downtown. Hendrix had done an amazing show and, after a while, Mitch
Mitchell came in and I got to talk to him. Then Hendrix came in and there was a
stage with instruments and equipment but no one was using them. So he looked
around at the people in the shadows and he said: “I don’t know what they are
staring at. I want to play some music.”
Then he got up onstage and there were open jam sessions.
I could have played, but I felt that I wouldn’t have anything to contribute to
this jam session, so I would be better off not to reveal that to anyone present.
I listened to a little bit, then I left. It was very interesting. He had a
natural vibe about him. He just seemed like a regular guy and he seemed to
expect other people to act like him, too.
What is the most inspiring live performance that you
have ever witnessed as an audience member?
It would be a toss-up between the first time I saw Ani
DiFranco and the only time I have ever seen Laurie Anderson, for very different
reasons. I saw Laurie Anderson when she was touring the Mister Heartbreak
album, and that was an incredible union of art, technology, humor and
thoughtfulness. Then years later, the first time I met Ani, we were both playing
at the Telluride Bluegrass Festival [in 1995]. At the time, I had never listened
to her music, but I couldn’t believe what I was hearing.
I chose to answer in terms of pop performances, but
nothing could top hearing John Coltrane on a Saturday afternoon at The Jazz
Workshop in Boston in ‘64.
April 21, 2015
Term extension benefits Canadian artists, music companies
and the economy: Music Canada
OTTAWA and TORONTO, /CNW/ - Music Canada applauds the
Government of Canada's 2015 Budget for announcing the intention to amend the
term of copyright for sound recordings from 50 to 70 years.
"By proposing to extend the term of copyright in recorded
music, Prime Minister Harper and the Government of Canada have demonstrated a
real understanding of music's importance to the Canadian economy. Thank you. We
look forward to seeing the full details when the Budget Implementation Act is
tabled," says Graham Henderson, President of Music Canada.
"With each passing day, Canadian treasures like
by Buffy Sainte-Marie are lost to the public domain. This is not in the
public interest. It does not benefit the creator or their investors and it
will have an adverse impact on the Canadian economy," adds Henderson.
Leonard Cohen reinforces the urgency of the problem, "In
just a few short years, songs we recorded in the late 1960s will no longer have
copyright protection in Canada. Many of us in our 70's and 80's depend on
income from these songs for our livelihood. We would deeply appreciate any
adjustment that would avert a financial disaster in our lives."
This change will rectify the long-standing competitive
disadvantage that Canadian artists and Canadian music has had by not being
aligned with our international trading partners. A 70 year term of
copyright has become the norm internationally. More than 60 countries
worldwide protect copyright in sound recordings for a term of 70 years or
longer, including all of Europe, the U.S., and Australia. Across Europe,
Canadian artists are denied to the full 70 year term of protection due to
Canada's shorter term of protection.
"The world has changed since our original copyright laws
were drafted," says Bruce Cockburn. "Every piece of music
is, at least theoretically, with us forever. Extending the copyright term is an
eminently sensible response to this new situation, and a welcome one!"
"I support extending the length of copyright for sound
recordings in Canada to 70+ years," adds Jim Cuddy. "The copyright of a
creative work should not expire in the lifetime of an author."
Term extension fosters increased investment in new
artists. With a significant average annual investment by music companies
of over 28% of revenues in developing talent, the next generation of performing
artists will benefit from this copyright amendment now and well into the future.
"I'm glad that Canada has extended our copyright term, so
we can continue to use the proceeds from classic Canadian recordings to invest
in great Canadian talent," said Kardinal Offishall.
Music Canada is a non-profit trade organization that
represents the major record companies in Canada, namely Sony Music Entertainment
Canada, Universal Music Canada and Warner Music Canada. Music Canada also
works with some of the leading independent record labels and distributors,
recording studios, live music venues, concert promoters, managers and artists in
the promotion and development of the music cluster.
April 10, 2015
Excerpt from the
Words & music: Welcome to the very
first Word of South
by Mark Hinson
“When Mark Mustian told me of the concept of Word of the
South, I leapt at the chance to invite Bruce (Cockburn) down to Tallahassee,”
Robert Olen Butler said.
The novelist is teaming up with Canadian
singer-songwriter Bruce Cockburn (“Wondering Where The Lions Are”) on Sunday
afternoon. Cockburn will play guitar while Butler reads a short story. The two
first worked together in 1997 during the SummerStage Festival in New York City’s
Central Park. Butler admits he is a longtime fan of Cockburn.
“I had loved Bruce Cockburn’s music since the very early
70s, a decade before I began to publish,” Butler said in an email. “I loved his
music so much that when I published my first novel, ‘The Alleys of Eden,’ in
1981, I immediately sent a signed, adulatory copy to him through his management.
I never heard back from him, though I certainly didn’t expect to. Sixteen years
later it turned out he’d read and loved ‘The Alleys of Eden’ and he’d been
following me since.”
April 8, 2015
Released in October 2014, this book contains a contribution from
Bruce. More on the project
here. You can
preview some of the book, including Bruce's part in it, at Amazon.
Global Chorus: 365 Voices on the Future of the Planet
by Todd McLean
Global Chorus is a groundbreaking collection of over 365
perspectives on our environmental future. As a global roundtable for our times,
in the format of a daily reader, this book is a trove of insight, guidance,
passion and wisdom that has poured in from all over the Earth. Its message is
enormously inspiring, and ominous in its warnings. And yet, united in a thread
of hope, its contents are capable of helping even the most faithless global
citizen to believe that we have the capacity to bring about lasting positive
change in our world. Places at this roundtable are occupied by writers,
environmentalists, spiritual leaders, politicians, professors, doctors,
athletes, businesspeople, farmers, chefs, yogis, painters, actors, architects,
musicians, TV personalities, humanitarians, adventurers, concerned youth,
concerned senior citizens, civil servants, carpenters, bus drivers, activists,
CEO’s, scientists, and essentially those who have something thoughtful and
visionary to say about humanity’s place upon Earth. Compiled for your reading as
a set of 365 pieces, Global Chorus presents to you a different person’s point of
view for each day of your year.
January 26, 2015
An Interview With Bruce Cockburn - Discussing his
spiritual memoir, Rumours of Glory
by Craig Ketchum
At four p.m., Canadian singer-songwriter legend Bruce Cockburn
strides into the hotel lobby in his signature black Doc Martens and
shakes my hand warmly. At age 70, he is slighter than he appears in
his old music videos. He’s
here to talk with me about his spiritual memoir
Rumours of Glory. The book
narrates his journey of faith and
activism, explaining the stories behind his songs and his choices.
We take the elevator to a business lounge, a
cozy gold-tinted room outfitted with two computers and nearly-trendy
transparent plastic chairs. Despite his big name and stack of music
awards, the setting seems luxurious, since Cockburn’s international
activism has been far from first-class; he’s been to war zones in
Mozambique, Guatemala, Honduras, and Iraq, where set up camp amongst
refugees and in decrepit hostels.
“Writing the book was like writing a
song,” Cockburn says as we each take a seat in our respective
plastic chairs. “I feel like a bloodhound sniffing out a trail and
sensing that there’s something there to discover.”
essence, Rumours of Glory
is just that: its pages mirror Cockburn’s
songwriting. Part personal narrative, part social commentary, part
didactic, the memoir allows the audience to learn by posing
When I read the book, I tell him, I was so
fascinated by the history of the issues and places he unearths; the
logical next step was to explore them for myself.
As I say this, he chuckles. “I’m certainly
not the only one who’s mentioned those things, but the invitation is
out there,” Cockburn says. Wryly, he smirks. “I guess it’s proof
it’s the same guy writing.”
Originally, Cockburn says he was going to
arrange the book in vignettes, with various scenes that add up to a
whole. It was his co-writer Greg King’s idea to arrange it
chronologically; Cockburn says King urged him to put in a lot more
of the political background that drives the book. When HarperCollins
asked for a spiritual memoir, Cockburn says he hadn’t considered
pairing it with so much of the political tensions that have driven
his travels. But it makes sense that the two twine together, just as
they do in his songs.
In high school, Cockburn discovered his
grandmother’s guitar in his attic. He was then inspired to become a
musician, and was eventually initiated into the Ottawa music scene
in the mid-1960s. Cockburn played with a number of outfits, even
opening for the Jimi Hendrix Experience in 1968, until he decided to
pursue a solo career.
In the 1980s he started to pursue
international activism; his songwriting became infused with deep
concerns for human rights, the environment, and faith. During this
time he spent a good deal of his shows explaining his songs to the
audience. “Specifically, it was the song ‘If I Had a Rocket
Launcher,’” he interjects as I mention the time period. “When I
first came up with the song I felt it could be so easily
misconstrued; I didn’t want people to take it wrong and think I was
telling them to go down and kill Guatemalan soldiers. I wanted to
make sure people got it right.”
I ask him whether he still finds himself
needing to explain those stories. “Not very often, and not very
much,” he says. “I think I’ve said enough in print about it, and now
there’s the definitive version in the book,” he says. “So I’ll tell
people to read that!”
One of the
strongest themes in Rumours of
Glory is his dismay at social
elites who ignore alarming truths about systemic violence. He uses
the example of The Washington Wives’
self-appointed censorship that prevented Cockburn’s songs about
poverty and injustice from being aired. All because of a single
profanity in “Call It Democracy.” Ironically, this line accused
social elites for being calloused towards the marginalized.
When I ask him about it, he is pleased to
elaborate. “I’ve flirted with so many tribes over the years. A lot
of people’s lives have converged with mine for a time,” he says.
“You can get picky about other religions — take Shinto, for example
— and call them all superstition. Or you can honour the profound
things that are expressed through that belief system. And you can
walk away thinking, ‘I could learn something from these people,’”
“I don’t claim to be an authority on
anything, and I really don’t think anyone should be claiming to be
an authority on anything.”
Cockburn says he is grieved by the deep scars
that have been inflicted upon humanity when people dig their heels
into exclusive claims to truth. We witness it, he says, in the
inability of “a significant portion of the right-wing Christian
community” to see that they are of the same persuasion as those they
call radical in the Middle East.
“Above all, you can’t go around killing
people because they don’t agree with you. We need to pull the plank
out of our own eye and our own psyche before we try to fix someone
else’s wiring,” he says.
“When I look around at the mystical
traditions, filled with people who have been reticent to share their
knowledge, nowadays they are just throwing it out there. Maybe it’s
an impulse from God encouraging us to get together, to love each
other, to love the planet, and see miracles happen,” says Cockburn.
He speaks with the experience of age, where
little is shocking, and yet he does so without much cynicism. I see
the hope instilled in him by good gifts that cause him to wonder:
his daughter, his friends, and his faith.
I can’t help but think that the world needs a
few more Bruce Cockburns, keeping us wide-eyed enough to stop
destroying the world, one another, and ourselves. Around us is a
world filled with violence because we refuse to really see and hear
people who are different.
Because, like Cockburn, we need to be lovers
in a dangerous time.
Photos courtesy of
February 11, 2015
Sounds of Nashville are coming to Belfast with Jim
Lauderdale, James House and Max T Barnes, and Bruce Cockburn joining festival
by Rebecca Black
There is a treat in store for country music fans as some of the world's most
renowned artists prepare to perform in Belfast.
US performers Jim Lauderdale, James House and Max T
Barnes, Canadian Bruce Cockburn along with local talent Foy
Vance, Cara Dillon and Peter McVeigh are among the names already confirmed among
the highlights at the Belfast Nashville Songwriters Festival.
The event was officially launched yesterday ahead of the
first chords being played on Wednesday March 4.
"Belnash" gigs will be taking place at the Holiday Inn
and the Empire Music Hall in Belfast until Sunday, March 8.
With more than 40 events and showcases and the Song
Writing Convention, the annual event has become a well-established part of the
Belfast music scene.
The festival also hosts two new international shows from
Nashville, The Bluebird Café Live @BelNash and The Music City Roots Show that
will be broadcast into 60 million homes across America.
This will be the 11th year of the event which attracted
visitors to Belfast from across Ireland last year.
Organisers have said the event has "just kept growing and
growing each year".
Belfast and Nashville, Tennessee, have links that go
right back to the founding of the US city in 1780 by two Co Antrim families, the
Robertsons and the Donelsons.
By the time Nashville was settled, 250,000 people had
left these shores for the New World, with many making Tennessee their home.
The two cities officially became sister cities in 1994.
The music festival has helped these historical links to grow into modern times.
Tickets are available from www.belfastnashville.com and
Visit Belfast Welcome Centre on 028 9024 6609.