Photos by Anthony Ungaro
supplied by courtesy of JMH Dull Productions

The past few weeks have really put folk music in perspective, and this is the perfect time to give thanks.


It is also a time to apologize to everyone who has sent me an e-mail that has yet to be returned! I am truly sorry, but you would not believe the deluge of e-mails I’ve been receiving! I promise to catch up this weekend!

Two weeks ago I attended the Northeast Regional Folk Alliance (NERFA). It may have been the finest conference I’ve attended. I wrote about it in a previous column, so I won’t repeat myself – too much. Suffice it to say that “the tradition” is being carried on by new faces and new voices, and they are making some exciting music. I’ve been hosting a folk music radio program since 1980 and enjoying folk music for many years previous to that – and I can safely say that some of the most interesting and provocative music I’ve heard is being created in these times we live in.

Last weekend, I had the distinct honor of emceeing one of the concerts at the Eisteddfod Festival – NY. This celebration of TRADITIONAL folk music spawned from an event that has a 40 year history – the annual Eisteddfod Festival presented in Pittsburgh and later in Massachussetts by Howard Glaser, a noted collector of music. After the festival ended its run, the Folk Music Society of New York (NY Pinewoods) decided to revive the idea and has been presenting a New York version of the event since 2003 (with a one year hiatus in 2005).

This festival, which deserves much higher attendance, gathers together some of our nation (and the worlds) finest collectors and performers of traditional music. I cannot think of another event that features such a diverse lineup that honors strictly traditional music.

Last weekend’s Eisteddfod was held in Jackson Heights,Queens and I witnessed some inspirational and entertaining performances from Norris Bennett, Martin Grosswendt, a reunited Bermuda Quadrangle (Jeff Warner, Jeff Davis, David Jones and Jerry Epstein), and many others. Due to some unforseen circumstances, I was not able to attend the entire weekend, but the music I did hear was exceptional. Reports from Saturday confirm that the entire weekend was well received and well produced.

It is a good sign to see that the attendance is growing – but it still has a long way to go. I promise to keep you posted on next year’s event – and I want you to make every effort to attend!

Experiencing two weekends of radically different folk music – traditional and contemporary – actually helped me understand the importance of perpetuating both styles. The age old arguement of “what is folk music” will not be answered easily. Suffice it to say, there is room for both.

At the recent Pete Seeger concert, an elderly gentleman came up to me at intermission to complain. He was very disturbed that Pete Seeger wasn’t singing “folk songs”, nor where the other performers – in his opinion. Believe me, I do respect that opinion and I understand why he is upset. This gentleman has been a devotee of folk music for decades and it is people like him who have made it possible for people like me to do radio programs. I do understand his concern and dismay at not hearing “traditional” folk music.

You often hear people worrying that the music will die out and be forgotten, but I think it is important to remember those worries have been raised since the late 1800’s – and I think the music is as strong as ever.

The Folk Revival of the 1950’s and 1960’s was a brief commercial flirtation with music that has a life of it’s own. Folk music is homemade – it reaches each of us in different ways – both physically and emotionally. At one point, the only way to share the music was in the oral tradition. Times change, communications change, but the inherent tradition of “sharing” remains. The songs were sung in response to daily life situations, not simply a form of entertainment (although entertainment is an important factor).

Watching young artists share their original songs at NERFA was not much different from watching an established collector sing an ancient ballad at Eisteddfod. Both individuals shared their songs to reach their audience – explain a story, share an experience, embrace a culture – AND to entertain.

A few weeks ago I was interviewed by a local newspaper. My 12 year old son’s teacher saw the article and brought it in to school to show it to the class. After the teacher read the story about my involvement with folk music, one of my son’s friends raised his hand and asked “What is folk music”? My son quickly responded “It’s good music”.

After I raised his allowance, I began to think about his classmates genuine question. With all the budget issues, child-left behind programs and other obstructions to education – music usually suffers. 40 years ago I was learning about folk music in the very school my son now attends. I think our work is cut out for us.

I do try to keep my radio programs informative and serve as a window to the diverse world of folk music. It would be very easy to focus on a handful of well known artist and songs, and rehash the listener favorites week after week – but who would that be serving? I do hope that listeners will turn to radio programs like mine to discover new music as well as to recognize the artists and music that have built our “folk community”. It is not always easy to blend, but I promise to continue to do my best. I do hope listeners will tell me if I am right or wrong, and I also hope that listeners will do more than just listen. Attend a concert, share a song with a friend, make music for yourself. Help us reach those children who are growing up and asking “what is folk music”.

John Dull and Ron Olesko
onstage at the concert