June Tabor on decorating in the bathroom

Some of the most refreshing music to be heard around the clubs in the past autumn was provided by a new dynamic duo in posing boots, June Tabor accompanied by Martin Simpson. Shortly after their initial run of dates together, June came down to Southern Rag Towers to take part in another of our series of mildly scurrilous interviews with people The Sun has never heard of.

After strapping her firmly into a chair still bearing marks of struggle from last issue’s Nic Jones encounter, Ian Anderson and Maggie Holland did most of the talking whilst Caroline Hurrell applied more subtle methods of persuasion in the form of rather too many bottles of red wine. The latter method proved more fruitful!

he first time I met you would have been around 1967 when you came down to Bristol with the New Modern Idiot Grunt Band. What were you doing in folk clubs in those days, were you already singing or just an audience person?

No, I sang the first time I ever went to a folk club, would you believe? I got taken along to one just opened in Leamington, I’d been known to sing all sorts of things at school. I went along with a school friend when I was about sixteen, and we walked in and she went straight up to the organiser and said “My friend sings, will you put her on?” I was hiding at the back thinking “Oh my God, what shall I sing? I don’t know any folk songs”. And my first public appearance in a folk club I sang Kumbaya and Michael Row the Boat Ashore, because that was all I knew. I’d been watching the Hallelujah programme on television, so I got up and sang and I’ve been doing it ever since. I got friendly with the resident group and started going round with them, and started to get hold of records and things and learn traditional songs.

How early on did you get interested in traditional songs, because at that time the clubs were fairly heavily into Bob Dylan and Bert and John?

June Taber and Martin Simpson

Well the club I went to regularly, the resident group were very much into Irish stuff, Clancy Brothers, that kind of thing, but fairly soon after I started going I went into Dobells and acquired an Anne Briggs EP; that would be after about a couple of months of going to folk clubs, and I learned everything off that. I used to drive my mother mad by sitting in the bathroom learning how to decorate! And if you remember that particular Anne Briggs EP, it was the one with My Bonny Boy and Rosemary Lane and things like that; very, very highly decorated singing, so I learnt how to do that by copying Anne Briggs, and then I found out about Topic by getting that EP and I acquired the Belle Stewart (The Stewarts Of Blair) so my style evolved from a mixture of things, Irish decorated style and Scots tinker style.

That’s interesting because you must be one of the few people who went straight into singing British traditional songs rather than starting off in something else and then delving deeper into things. The next time I remember meeting you, you were at Oxford at the Heritage Society. I gather that had quite a marked effect on you. Was this where you ran across the old singers for the first time?

Yes, apart from the odd albums I’d picked up by looking in the Topic catalogue and picking out things that had female singers on, Lizzie Higgins, Jeannie Robertson, that sort of thing. Because the people I’d been mixing with up to that time had been very Irish orientated, or people like the Grunt Band doing blues and all that sort of stuff, then to go to Oxford and actually find this immense band of people who were really very much into Traditional with a capital T music and sitting in a pub playing tunes and English music. that was tremendous, I’d never come across anything quite like that before. And of course Peta Webb was at the same college as I was, and she was a leading light in the club at the time.

Continue at FROOTS: June Tabor on decorating in the bathroom – fRoots Magazine

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June Tabor: An Introduction to June Tabor

 

There will be many who have collected June Tabor’s recorded work over the years but for those who are perhaps less familiar with her work, this introduction is a grand way to discover one of the best voices of her era.

An Introduction to June Tabor

Topic Records – Out Now

It is hard to believe but June Tabor has been part of the British folk music scene for a little over 50 years since making her early appearances at the Heart of England Folk Club, in the Fox and Vivian pub in Leamington Spa. So this release is a welcome addition to Topic Records ‘An Introduction To’ series.

Once described by Elvis Costello as “The great voice of English folk music”, this compilation covers her work for the Topic Records label between 1976 and 2011, some 13 albums in all, some solo but others in collaboration with the likes of Martin Simpson and Maddy Prior who, together, found fame as The Silly Sisters. But it is a solo performer upon which this collection concentrates, albeit with some help from her friends [ . . . ]

Continue at FOLKRADIO: June Tabor: An Introduction to June Tabor | Folk Radio

June Tabor is bringing folk to Cork 


Ed Power talks to folk legend and farmer June Tabor who tops the bill at Triskel in Cork for a weekend of music from the ECM label

JUNE TABOR’S laughter has the quality of a babbling brook — it is loud, sparkling and goes on quite a while. But the biggest surprise is that the 67-year-old icon of contemporary folk music is capable of humour at all. Tabor’s public persona is of a severe matriarch, weighed down by all the sadness in the world.

“Well I AM serious — about my music,” says Tabor, taking a break from tending her farm in the rugged hinterlands between Wales and England. “The songs are about difficult subjects. You should be serious about it. What I don’t like is when people say ‘Ooh, your music is a bit dark isn’t it? ‘Dark’ — what is that supposed to mean? Life is a serious matter — the problems we face are often very serious. That doesn’t mean I walk around with a scowl, my jaw about to hit the floor.”

Tabor is a towering figure in English folk. Her haunting interpretations of venerable dirges such as ‘Bonny May’ and the 17th-century Canadian ballad ‘Plains of Waterloo’ remind us the genre can be as powerful — and relevant — as music written just yesterday. Thus, she has helped demolish the perception in England of folk as historically the preserve of cranks, obscurists and morris dancers, and carved a trail for younger artists such as The Unthanks and Sam Lee.

“I discovered traditional music when I was 15 or 16,” she says. “My family has no musical background at all, except that my mum and dad liked to sing along to anything they’d heard on the radio. To me, singing was a natural expression. I sing even when nobody is listening. I will be on a bike singing and people may perhaps wonder, ‘why is that woman singing to herself?”

Her introduction to folk came via religious programming on the BBC. “I’m extremely old and a long time ago there was this unwritten rule that public broadcasters had to put on religious programmes on a Sunday. That is where I first encountered folk. Then a traditional club opened in the town next door and a friend said, ‘Well you like folk music — let’s go’.”

If singing came naturally, live performance did not. “You have to learn how to do it — and it’s a petrifying experience at the start,” she says. “Goodness, it can be scary. “But I do enjoy it — when you get an audience that is listening. I’ve had audiences where no one is listening and that is a very depressing experience. It doesn’t always happen that things go fantastically — if it did, then it wouldn’t feel so special.”

Tabor was born in Warwick in the English midlands and studied at Oxford. She found work as a librarian after graduation (and later ran a restaurant). But music was the constant running through her life. Having started as accompanist to influential folk singers such as Martin Simpson and Rosie Hardman, in the ’80s she forged a partnership with jazz pianist Huw Warren, later to become her musical director.

After stepping away from music for several years she joined the Oyster Band for the seminal Freedom and Rain LP in 1990 and collaborated with Elvis Costello on the track All This Useless Beauty (which he wrote especially for her). Her most recent solo release, 2011’s Ashore, was a rumination on mankind’s often troubled relationship with the sea.

She travels to Cork this weekend for a Triskel Christchurch performance with Quercus, her jazz-influenced collaboration with Warren and experimental saxophonist Iain Ballamy of Food. It’s part of a three-day celebration of the Munich classical and jazz crossover label ECM, which, along with its support of Quercus, has helped introduce to the world such far-flung avant-gardists as jazz pianist Keith Jarrett, experimental guitarist Pat Metheny and minimalist composer Arvo Pärt [ . . . ]

Source: June Tabor is bringing folk to Cork topping a bill of music from the ECM label

Watch June Tabor concert from 1990 on The Hobbledehoy

English folk queen June Tabor moves from Silly Sister to majestic blend of jazz

GERMAN prestige jazz and classical label ECM, whose stable includes jazz maestros Keith Jarrett and Jan Garbarek and the top-notch a cappella group Hilliard Ensemble, has joined Universal Music, which handles top classical labels Deutsche Grammophon and Decca and jazz icon Blue Note. [ . . . ] Read Full Story: English folk queen June Tabor moves from Silly Sister to majestic blend of jazz | News Local