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A History of Sacred Steel with the Lee Boys and Calvin Cooke
The Grassy Knoll is a well-named little stage set-up at the Vancouver Island MusicFest. I was there bright and early on the Saturday morning – with a freshly-brewed coffee in hand and the sun overhead – to hear Alvin Lee explain the concept of ‘Sacred Steel’ and to demonstrate the sounds.
From folk to flamenco, from guzheng to Gypsy jazz, from poetry to Asian fusion: the lineup on day 2 of the 30th annual Vancouver Island Musicfest in Comox, BC, was undoubtedly eclectic!
Unlike the evening before (see: Expanding Boundaries: Vancouver Island Musicfest #1) when only the Concert Bowl mainstage was in play, during the day on the Saturday, five additional stages were operating. Four of these were due to start by 10:00am. Clearly I was going to have my work cut out for me.
The weather was glorious when I arrived in the morning to check out the site. Map and program in hand, I made my way to the Grassy Knoll, a small stage on a grassy hillock with facing bleachers intended to create a mini amphitheatre feeling. I managed to grab a coffee and arrive just as Alvin Lee (Uncle Al) was about to explain the roots of what they call “Sacred steel”: a unique form of blues-based Gospel music infused with rhythm and blues, jazz, rock, funk, hip-hop, country, and influences from other cultures.
Meanwhile, all around the site, single performers, bands, and even groups of bands were starting up. I wandered around enjoying the sun, the music, the venue, and the surrounding woods, taking in as much as I could. Some of the programs were billed as workshops / discussions; others were groupings of different artists under thematic titles; and the rest of the performances were more conventional ‘concerts’.
It was a long and full day which was musically rewarding.
Photographically, however, I struggled. Several of the volunteer organisers took issue with me carrying cameras around – although none could articulate what the actual problem was. I was well out of the way each time I was spoken to, and everyone else was taking video and still pictures with their phones! But, this made me extra mindful to not get in the way – however briefly. The stage set-up requires people at the front to sit, so walking around and getting any close-up pictures was almost impossible.
Add to this the bright sun, shaded woods and stages, and the very dark interior of The Barn, and I was constantly changing settings on cameras with which I’m still not adept.
But, it was a long day and I did take a lot of pictures in spite of it all – always hoping for ‘the one’. I’ve decided to allow myself a few extra images in this set, and to try to keep the words to a minimum.
Enjoy!
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The Lee Boys
Alvin Lee on lead guitar demonstrates the progression of sounds in what is called ‘Sacred Steel’ Gospel music.
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Alvin “Lil Al” Cordy on Bass
Frank “The Professor” Owens on Pedal Steel
“Living Legend” Calvin Cooke
Eighty years old, and nominally retired, Calvin Cooke has been immersed in the Sacred Steel gospel traditions of Afro-American Pentecostal churches all his life, and has clearly earned the “Living Legend” sobriquet.
Peter Paul Van Camp
By way of complete contrast to the joyful, heartfelt gospel I had left behind, I found Peter Paul Van Camp reading one of his quirky and thoughtful poems on the Grierson Stage.
Poems, Prayers and Promises
Performer Wayne Levesque looks on as Peter Paul Van Camp leafs through his book of verse.
Lester Quitzau
The session is called Poems, Prayers and Promises, and includes a number of performers for whom the words are as important as the harmony – like award winning Roots/Blues singer songwriter Lester Quitzau.
Woodland Stage
Determined to explore the whole festival venue, I found myself at the little Woodland Stage. Set up like a Gypsy tent in the forest, it is an intimate performance space.
Christy Vanden
The set at the Woodland Stage was half way through, but I was there long enough to admire Christy Vanden’s delicate guitar and sweet vocals.
Gordie Tentrees
Next up on the Woodland Stage were some irreverent and mesmerising story-telling songs from International Acoustic Music Award winner Gordie Tentrees.
Gordie Tentrees & Jaxon Haldane
He was joined on stage by Jaxon Haldane, who is as magic on the guitar and banjo as he is producing hauntingly eerie sounds on the wood saw.
John McLachlan on the Concert Bowl Stage
Asian Culture Old and New
Back on the Grierson Stage, three separate musical acts were collected for an Asian-influenced session …
Jing Xia
… called: Asian Culture Old and New. Award winning guzheng artist Jing Xia joyfully shares her music.
Danhae Oh
Second Moon, whom I’d seen briefly the day before (see: Expanding Boundaries), took their turn on the Asian Culture stage. Danhae Oh’s vocal prowess is breathtaking!
Yunjeong Jo – Second Moon
Hyunbo Kim – Second Moon
Multi-Instrumentalist Benj Rowland on Hurdy-Gurdy
In The Barn, the composite session is entitled: Who Are We?
Grace Petrie and Ben Moss
Independant English folk singer-songwriters who collaborated on the Barn Stage, these two performed some sweet-sounding but hard-hitting songs. (iPhone15Pro)
Belén Rojas and Friend
As part of the Chilean duo Chola y Gitano, Bella and another musician who’s name I couldn’t find, provide accompaniment to …
Gitano (Gypsy)
… Damián Gallardo as he performs …
Damián Gallardo
… some dramatically percussive footwork.
Flamenco Footwork
Accordion
Fellow-Chilean, Pablo Simón Zárate Zavala joins the party.
Workshop on Slide Guitar
Back outside amongst the trees, Lester Quitzau was on the Crossroads Stage talking about – and demonstrating – the way different well-known artists had approached slide guitar over the years.
1951 Austin Panel Van
Music festivals are often associated with hippies and camping out. This delightful installation by Burnaby resident Lyle Brown-John plays on those ideas.
Christy Vanden
In another themed session in The Barn, some of the Canadian performers at the festival paid “Tribute to the Great Canadian Songwriters”.
Wayne Levesque
On the Grassy Knoll, Wayne Levesque tells stories of living and working in the wilds of BC.
Christine Tassan et les Imposteures
They had me at “Gypsy Jazz!” The CD I bought has already had multiple runs-through.
Stephanie Chou
As if by way of complete contrast, the next performance on the Concert Bowl Stage was the Stephanie Chou Quintet. New York-based composer, saxophonist, and singer Stephanie Chou blends Chinese musical influences with Western jazz.
Leon Timbo
The Concert Bowl Stage was the only one still operating. I seated myself as centrally as I could and enjoyed some very different musical genres. Country-soul singer-songwriter Leon Timbo’s style incorporates soul, gospel, and funk.
Leo Kottke
Fancy-fingered and softly spoken, acoustic guitarist Leo Kottke followed.
Lucinda Williams
Multi-Grammy-winning country blues songwriter Lucinda Williams had the audience on its feet.
Night had descended, and the audience no longer heeded the signage about sitting areas. People rushed in front of the stage and blocked the view of those of us who’d sat patiently in the full sun all afternoon.
I decided to forgo the last act of the day and headed to the Merch tent to buy some new CDs before heading home.
It had been a good day, and I certainly got my steps in!
Photos: 13July2024
