44 Results for : fiddler´s
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The new Broadway Fake Book
ABC|ACE IN THE HOLE|Ain't misbehavin'|All Alone|ALL AT ONCE YOU LOVE HER|ALL GOOD GIFTS|All I ask of you|ALL OF YOU|All shook up / Presley Elvis|All the things you are|Almost like being in love|ALMOST PARADISE|Alone in the universe|Always look on the bright side of life / Python Monty|Always starting over|ALWAYS TRUE TO YOU IN MY FASHION|America|AN AMERICAN IN PARIS|And all that jazz|And I am telling you I'm not going|ANOTHER OP'NIN' ANOTHER SHOW|Another suitcase in another hall|Anthem (aus Chess)|Any dream will do|ANY PLACE I HANG MY HAT IS HOME|Anyone can whistle|Anything goes|Anything you can do|APPLAUSE|Aquarius|As if we never said goodbye|As long as he needs me|AT THE BALLET|Azure te (Paris Blues)|Bali ha'I|Baubles bangles and beads|Be our guest|Beauty and the beast|Begin the beguine|Being alive|BESS YOU IS MY WOMAN NOW|The best of times|THE BEST THING FOR YOU|THE BEST THINGS IN LIFE ARE FREE|Bewitched|BIDIN' MY TIME|BIG D|Big girls don't cry|BIG SPENDER|BILL|THE BLUE ROOM|Blue Skies|Body and soul|Boulevard of broken dreams / Green Day|Breathe|Bring him home|Broadway baby|Brotherhodd of man|BRUSH UP YOUR SHAKESPEARE|Buenos Aires|Burn|Burning love|A BUSHEL AND A PECK|But not for me|BUTTON UP YOUR OVERCOAT|BY MYSELF|BY STRAUSS|Bye bye baby|C'EST MOI|Cabaret|CAMELOT|Can you feel the love tonight / John Elton|Can't help falling in love / Presley Elvis|Can't help lovin' dat man|Can't take my eyes off of you|CAN'T WE BE FRIENDS|Capped teeth and Caesar salad|CARAVAN|Castle on a cloud|A change in me|CHILDREN OF THE WIND|Chim chim cheree|Circle of life / John Elton|Climb ev'ry mountain|CLOSE AS PAGES IN A BOOK|Close every door (aus Joseph and the amazing technicolor)|A COCK EYED OPTIMIST|The colors of my life|COME BACK TO ME|Come rain or come shine|COME TO ME BEND TO ME|Comedy tonight|Consider yourself|CORNER OF THE SKY|DANCE ONLY WITH ME|DANCE TEN LOOKS THREE|Dancing in the dark|Dancing on the ceiling|Dancing queen / Abba|DAY BY DAY (AUS GODSPELL)|December 1963 (oh what a night) / Four Seasons|DEEP LOVE|Defying gravity|Diamonds are a girl's best friend|DO I HEAR A WALTZ|Do I love you because you're beautiful|Do it again|Do Re Mi|DOIN' WHAT COMES NATUR'LLY|Don't cry for me Argentina|DON'T CRY OUT LOUD (WE DON'T CRY OUT LOUD)|Don't get around much anymore|Don't rain on my parade|Don't stop believin' / Journey|DOWN WITH LOVE|Dreamgirls|Drink with me (to days gone by)|DRINKING SONG|Ease on down the road|Easter parade|EASY TO BE HARD|Edelweiss|Elaborate lives|Electricity|Embraceable you|Empty chairs at empty tables|Ev'ry time we say goodbye|EV'RYTHING I'VE GOT|Everything's alright|Everything's coming up roses|FALLING IN LOVE WITH LOVE|Falling slowly / Hansard Glen + Irglova Marketa|Fascinating rhythm|Feeling good|A FELLOW NEEDS A GIRL|Fever|FIDDLER ON THE ROOF|Find your grail|Fine and dandy|Fly fly away|Footloose / Loggins Kenny|For good|Forget about the boy|FORTY SECOND STREET|Friend like me|FRIENDSHIP|From this moment on|FUNNY FACE|THE GENTLEMAN IS A DOPE|Get me to the church on time|GET OUT OF TOWN|Getting to know you|Gigi|GIMME GIMME|THE GIRL THAT I MARRY|GLAD TO BE UNHAPPY|GOLD|Gonna build a mountain|Good morning|Good morning Baltimore|Good morning starshine|Good riddance (Time of your life) / Green Day|Goodnight my someone|GREASE|Great balls of fire / Lewis Jerry Lee|Guys and dolls|HAIR|Hakuna matata|HAPPY TALK|Hard to be the bard|HAUNTED HEART|Have you met Miss Jones|HE LOVES AND SHE LOVES|HE WAS TOO GOOD TO ME|Heart (aus Damn Yankees)|HEAT WAVE|Heather on the hill|HEAVEN HELP MY HEART|Hello Dolly|HELLO YOUNG LOVERS|HELPLESS|Here I am|Hernando's hideaway|HEY LOOK ME OVER|HEY THERE (THE PAJAMA GAME)|High flying adored|Holding out for a hero / Tyler Bonnie|Home|Honey bun|Honeysuckle rose|How are things in glocca morra|How could I ever know|How high the moon|HOW LONG HAS THIS BEEN GOING ON|How to handle a woman|A HUNDRED MILLION MIRACLES|I AIN'T DOWN YET|I AM IN LOVE|I believe in you|I CAIN'T SAY NO|I CAN DO THAT|I Can Dream Can't I|I CAN HEAR THE BELLS|I can't get started|I CAN'T GIVE YOU ANYTHING BUT LOVE|I could have danced all night|I COULD WRITE A BOOK|I DIDN'T KNOW WHAT TIME IT WAS|I don't know how to love him|I dreamed a dream|I ENJOY BEING A GIRL|I feel the earth move|I get a kick out of you|I GO TO RIO|I GOT LOST IN HIS ARMS|I got plenty o' nuttin'|I got rhythm|I got the sun in the morning|I GUESS I'LL HANG MY TEARS OUT TO DRY|I GUESS I'LL HAVE TO CHANGE MY PLAN|I HAVE DREAMED|I hear a symphony|I hear you knocking / Domino Fats|I heard it through the grapevine / Gaye Marvin|I know him so well|I KNOW IT'S TODAY|I LOVE A PIANO|I LOVE MY WIFE|I love Paris|I LOVE YOU (MEXICAN HAYRIDE)|I LOVED YOU ONCE IN SILENCE|I loves you Porgy|I only have eyes for you|I remember it well|I SEE YOUR FACE BEFORE ME|I talk to the trees|I wanna be a producer|I want to be happy|I WANT TO GO TO HOLLYWOOD|I want to know what love is / Foreigner|I whistle a happy tune|I WILL NEVER LEAVE YOU|I WISH I WERE IN LOVE AGAIN|I won't send roses|I'd do anything|I'd give my life for you|I'll be seeing you|I'll be there|I'll Build A Stairway To Paradise|I'll know|I'll never fall in love again|I'm alive|I'M beginning to see the light|I'M FLYING|I'M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER|I'm gonna wash that man right outa my hair|I'm not that girl|I'M NOT WEARING UNDERWEAR TODAY|I'VE GOT A CRUSH ON YOU|I'VE GOTTA CROW|I've grown accustomed to her face|I've never been in love before|I'VE TOLD EV'RY LITTLE STAR|If ever I would leave you|IF HE WALKED INTO MY LIFE|If I loved you|If I only had a brain|IF I RULED THE WORLD|If I were a bell|If I were a rich man / Bock Jerry|IF MY FRIENDS COULD SEE ME NOW|IF THIS ISN'T LOVE|If you knew my story|If you really knew me|IF YOU WERE GAY|The impossible dream|In my life|In my own little corner|Is you is or is you ain't my baby|ISN'T IT A PITY|It ain't necessarily so|It don't mean a thing (if it ain't got that swing)|It might as well be spring|It never entered my mind|IT ONLY TAKES A MOMENT|IT WAS WRITTEN IN THE STARS|IT'S A GRAND NIGHT FOR SINGING|IT'S A LOVELY DAY TODAY|It's all right with me|IT'S DE LOVELY|IT'S NOT WHERE YOU START|IT'S THE HARD KNOCK LIFE|Jailhouse rock / Presley Elvis|JOEY JOEY JOEY|Johanna|JOHNNY ONE NOTE|THE JOINT IS JUMPIN'|JUNE IS BUSTIN' OUT ALL OVER|Just in time|Just one of those things|Just the way you are|Kansas City|The lady is a tramp|LAMBETH WALK|The last night of the world|LAZY AFTERNOON|LEANING ON A LAMP POST|Let me entertain you|Let the sunshine in|Let's call the whole thing off|Let's hang on|LET'S HAVE ANOTHER CUP O' COFFEE|Let's hear it for the boy|LET'S TAKE AN OLD FASHIONED WALK|LIDA ROSE|A little bit in love|A little fall of rain|LITTLE GIRL BLUE|LITTLE JAZZ BIRD|A little less conversation / Presley Elvis|LIZA (ALL THE CLOUDS'LL ROLL AWAY)|LONG BEFORE I KNEW YOU|The longest time / Joel Billy|Look at that face|LOOK FOR THE SILVER LINING|Look to the rainbow|LOOKING FOR A BOY|Losing my mind|LOST IN THE STARS|A LOT OF LIVIN' TO DO|Love changes everything|Love for sale|LOVE IS A SIMPLE THING|Love is here to stay|LOVE IS SWEEPING THE COUNTRY|LOVE LOOK AWAY|LOVE MAKES THE WORLD GO 'ROUND|Love me or leave me|LOVE POTION NUMBER 9|LOVELY TO LOOK AT|LOVER COME BACK TO ME|Luck be a lady|LUCKY IN LOVE|LUCKY TO BE ME|Lullaby of Broadway|Mack the knife|MAGIC TO DO|Make believe|Make someone happy|Makin' whoopee|MAMA A RAINBOW|MAMA I'M A BIG GIRL NOW|Mama who bore me|Mame|Mamma mia / Abba|Manhattan|Maria|THE MASON|MASTER OF THE HOUSE|Matchmaker|Maybe|MAYBE (AUS ANNIE)|MAYBE THIS TIME|Me and my girl|MEADOWLARK|Memory (aus Cats)|Memphis lives in me|The merry widow Waltz|MIRACLE OF MIRACLES|MISS MARMELSTEIN|MR WONDERFUL|Mood indigo|MORE I CANNOT WISH YOU|More than words / Extreme|The most beautiful girl in the world|MOUNTAIN GREENERY|Movin' out (Anthony's song) / Joel Billy|Mr Mistoffelees|The music of the night|MUTUAL ADMIRATION SOCIETY|MY CUP RUNNETH OVER|MY DARLING MY DARLING|My eyes adored you|My favorite things|My funny Valentine|My girl|MY HEART BELONGS TO DADDY|MY HEART STOOD STILL|MY LUCKY STAR|MY MAN (MON HOMME)|My new philosophy|My One And Only|My romance (aus Jumbo)|MY SHIP (AUS LADY IN THE DARK)|The name of the game / Abba|Namely you|Naughty|Never never land|NEVER WILL I MARRY|THE NEW WORLD|New York New York|Nice work if you can get it|Night song|THE NIGHT THEY INVENTED CHAMPAGNE|Nine to five|NO OTHER LOVE|NOBODY'S HEART|NOTHING IS TOO WONDERFUL TO BE TRUE|Of thee I sing|Oh Lady be good|Oh what a beautiful mornin'|Oklahoma|Ol' man river|OLD DEUTERONOMY|Old devil moon|On a clear day (you can see forever)|On broadway|On my own|On the street where you live|Once in a lifetime|Once in love with Amy|Once upon a time|One|ONE BOY (GIRL)|ONE DAY MORE|One hand one heart|ONE MORE BEAUTIFUL SONG|One night in Bangkok|One song glory|THE ORIGIN OF LOVE|Our language of love|OUT OF THIS WORLD|Over the rainbow|PAPA WON'T YOU DANCE WITH ME|Part of your world|THE PARTY'S OVER|People|People will say we're in love|The phantom of the opera|Popular|PREPARE YE (THE WAY OF THE LORD)|A PRETTY GIRL IS LIKE A MELODY|Pretty women|PROMISES PROMISES|Pulled|PUSH DE BUTTON|Put on a happy face|Puttin' on the ritz|The rain in Spain|Real live girl|Real Wild Child|Rhapsody in blue|RHODE ISLAND IS FAMOUS FOR YOU|RIDIN' HIGH|Right hand man|RIVER IN THE RAIN|ROCK A BYE YOUR BABY WITH A DIXIE MELODY|'S wonderful|SABBATH PRAYER|Satin doll|SAY IT WITH MUSIC|Seasons of love|SECOND HAND ROSE|See you later Alligator / Haley Bill|Seeing is believing|Seize the day|Send in the clowns|September song|Serenade (aus The student prince) / Romberg Sigmund|Seventy six trombones|SHAKALAKA BABY (BOMBAY DREAMS)|Shall we dance|She loves me|SHE (HE) TOUCHED ME|She's got a way|Sherry|A SHINE ON YOUR SHOES|SHOW ME|SHOW OFF|SHUFFLE OFF TO BUFFALO|SIDE BY SIDE BY SIDE|SING FOR YOUR SUPPER|Singin' in the rain|SIT DOWN YOU'RE ROCKIN' THE BOAT|Sixteen going on seventeen|A sleepin' bee|SMALL WORLD|Smoke gets in your eyes|So far away|So in love|Softly as in a morning sunrise|Some enchanted evening|Some other time|Somebody loves me|Somebody somewhere|SOMEONE ELSE'S STORY|Someone like you|SOMEONE NICE LIKE YOU|Someone to watch over me|Something wonderful|Somewhere|The song is you|THE SONG THAT GOES LIKE THIS|SOON|SOON IT'S GONNA RAIN|Sophisticated lady|The sound of music|Speak low|Spring is here|SPRINGTIME FOR HITLER|STANDING ON THE CORNER|Starlight express|STARS AND THE MOON|STEAM HEAT|STEPSISTERS' LAMENT|Stick it to the man|STILL HURTING|STOUTHEARTED MEN|STRANGE MUSIC|Stranger in paradise|Strike up the band|Suddenly Seymour|SUGAR DADDY|Summer nights|Summertime|Sunday|Sunrise sunset (aus Fiddler on the roof)|Supercalifragilisticexpialidcious|Superstar (Jesus Christ Superstar)|The surrey with the fringe on top|Swanee|The sweetest sounds|Take a chance on me / Abba|Take that look off your face|Taking a chance on love|Tea for two|Tell me on a sunday|TEN CENTS A DANCE|TEN MINUTES AGO|Thank heaven for little girls|That face|THERE ARE WORSE THINGS I COULD DO|THERE IS NOTHIN' LIKE A DAME|There's a boat dat's leavin' soon for New York|There's a fine fine line|THERE'S A SMALL HOTEL|There's no business like show business|They all laughed|THEY CALL THE WIND MARIA|THEY DIDN'T BELIEVE ME|They say it's wonderful|THEY'RE PLAYING MY SONG|Think of me|THIS CAN'T BE LOVE|This is the moment|This nearly was mine|THOROUGHLY MODERN MILLIE|THOU SWELL|'TIL TOMORROW|Till there was you|Together wherever we go|Tomorrow|Tonight|Too close for comfort|TOO DARN HOT|TRADITION|Try to remember|TWO LOST SOULS|Under the sea|Unusual way (in a very unusual way)|Uptown girl|THE VARSITY DRAG|WAIT TILL YOU SEE HER|WAITIN' FOR THE LIGHT TO SHINE|Walk like a man|WE'RE IN THE MONEY (THE GOLD DIGGERS' SONG)|Well did you evah|WHAT DID I HAVE THAT I DON'T HAVE|What I did for love|What kind of fool am I|WHAT'LL I DO|WHAT'S THE USE OF WOND'RIN'|Whatever Lola wants (Lola gets)|WHEN DID I FALL IN LOVE|When I grow up (aus Matilda)|WHEN I'M NOT NEAR THE GIRL I LOVE|WHEN MY BABY SMILES AT ME|Where is love|Where or when|Whispering|WHO (AUS SUNNY)|Who can I turn to (when nobody needs me)|WHO CARES (SO LONG AS YOU CARE FOR ME)|Who will buy|WHO WILL LOVE ME AS I AM|Whoa Mama|A whole new world|WHY CAN'T YOU BEHAVE|Why Did I Choose You|WHY GOD WHY|Why Shouldn't I|WHY WAS I BORN|WIG IN A BOX|Will you love me tomorrow (Will you still love me tomorrow)|WILLKOMMEN (CABARET)|The winner takes it all / Abba|Wish you were here|Wishing you were somehow here again|WITH A LITTLE BIT OF LUCK|WITH A SONG IN MY HEART|With one look|Without you|A wonderful day like today|A wonderful guy|Wouldn't it be loverly|Written in the stars / John Elton|Wunderbar|YA GOT TROUBLE|Yesterdays|YOU ARE BEAUTIFUL (FLOWER DRUM SONG)|YOU ARE MY LUCKY STAR|YOU ARE WOMAN I AM MAN|YOU BETTER GO NOW|YOU CAN ALWAYS COUNT ON ME|YOU DO SOMETHING TO ME|You learn to live without|You must love me|YOU TOOK ADVANTAGE OF ME|YOU WALK WITH ME|You were meant for me|You'll be back|You'll be in my heart|You'll never walk alone|YOU'RE AN OLD SMOOTHIE|You're getting to be a habit with me|You're in the Band|I wonder why (you're just in love)|You're never fully dressed without a smile|YOU'RE THE CREAM IN MY COFFEE|YOU'RE THE TOP|You've got a friend|Young and foolish|Younger than springtime- Shop: Notenbuch
- Price: 48.00 EUR excl. shipping
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Ghost of your Charms
Die Kanadier machen einen Crossover aus Folk-Rock & Pop a la Mumford & Sons. Produziert von Chris Stringer (Timber Timbre, Ohbijou).After establishing themselves as one of the most exciting folk-rock acts in Canada with their self-titled 2011 debut, this latest effort finds the Toronto, ON quartet swinging for the fences. With their high-energy, acoustic sound, New Country Rehab certainly possess all the tools to achieve a Mumford & Sons-like crossover into pop, which producer Chris Stringer is conscious of. Ghost of Your Charms pulses with the anticipation of reaching moments in each song where performer and listener firmly connect, and there are plenty throughout. The emphasis on song-craft over virtuosity remains NCR s greatest strength, considering the abilities of all four members, particularly frontman/fiddler John Showman and guitarist James Robertson. They flawlessly switch gears from the arena-rousing Lizzy Dying of a Broken Heart to the dark blues of Rollin and the easy-flowing Home To You. Juxtaposed covers of country classics Image of Me and Too Many Parties and Too Many Pals are effective, but sound tacked on. The original material on Ghost of Your Charms is fine on its own, showing how well New Country Rehab continue to carve out their niche as a band that deserve to be included in any folk revival conversation. TRACKS: 1. Empty Room Blues 2. Luxury Motel 3. Back In Time 4. Lizzy Dying of a Broken Heart 5. Rollin 6. Home To You 7. Lost Highway 8. The Bank and The Army 9. Too Many Parties and Too Many Pals 10. Midnight Cargo 11. Image of Me- Shop: odax
- Price: 16.56 EUR excl. shipping
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Türeschletze - Fritz Widmer gwidmet
«Und plötzlich ist man siebzig ... Diese Hommage ist von Leuten, die mit ihren Stimmen und ihrer Musik und ihren Arrangements gewandter sind als ich.» Fritz WidmerTitelConi Allemann, Josefine / Dodo Hug, Velolied / Duo Hinterletscht, Märzeglöggli / Dänu Extrem, Di nöie Stimme / Tobias Jundt, Lied vom Fabriggarbeiter / Markus Heiniger, A der Muur / Dänu Brüggemann, Schyrenne / Martin Hauzenberger, Matroselied / Musique Simili, Tanzliedli / Bettina Schelker, Morge / La Folia, Lied für d Ching / Crusius & Deutsch, Warum grad gäng numen i / SINGtonic, Sonett / Ruedi Stuber, Amerikabrief / Corin Curschellas, Antwort vor Mary / Andreas Käppeli, vom Ha und vom Sy / Fürschi, Türeschletze / Schön & Grob, Füürwehr vo Oberglunggewil / Voxtasy, Schwümm / Christoph Mächler, Sundig / Gusti Pollak, Lue die Böim / Franz Hohler, s wird langsam spät / Tinu Heiniger, Bärgme Hannes / Red Shamrock, Fiddler- Shop: odax
- Price: 27.51 EUR excl. shipping
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Subject to Change
Res Publica's story is short and sweet. They have been together for almost two years now and have been making socially inspired music ever since. Since forming, they have gone on a national tour and played shows with bands such as Thriving Ivory, Lights, My Favorite Highway, Dirty American, The Elms, Larry McCray, Soul Dub, The Outer Vibe, and The Hard Lessons. They recently took 1st place in the Lansing Red Cross Battle of the Bands and 2nd place in Lansing's 2009 Common Ground Music Festival Contest and are currently being featured on two TV commercials - one in Austin, TX for Music Entertainment Television and another on WHOV television in mid-Michigan. Their 2009 tour included stops in Austin, Dallas, Chicago, St. Louis, Arlington and Kansas State playing such venues as Austin's Mohawk, Dallas' Prophet Bar, Flint's Machine Shop, and Six Flags throughout the midwest and Texas. The biggest thing that sets Res Publica apart from other bands would be their care for the community and their social activity and awareness. The name, Res Publica, is Latin term meaning 'a matter of public concern. So far this year they have raised over $1200 for Genocide prevention in Sudan. Res Publica is also working with the Boston-based organization, The Uganda's Women's Efforts to Save Ophans, and locally with The American Red Cross of Mid-Michigan, St. Vincent's Home for Children and The American Cancer Society's Relay for Life. Another thing that sets Res Publica apart is their fresh sound and positive message. They integrate a variety of genres to create a sound that is uniquely theirs. Instrumentation Connor Ralph: lead vocals, guitar Peter Nelson: drum kit, trombone, keyboard, vocals Sean Stynes: lead guitar, violin Spencer Ralph: bass, vocals Royce Phillips: alto saxophone, flute Anthony Stanco: trumpet • CONNOR RALPH, (vocals/guitar) studies voice with Richard Fracker, area chair of vocal arts at Michigan State University, and formerly with the Metropolitan Opera. Connor also has been the lead in his high school musicals all four years of high school, most recently featured as Tevye in 'Fiddler on the Roof' and the title role in 'The Wiz'. Connor has performance experience in a wide range of genres and hopes to sing opera some day. Connor's ties to Africa, and subsequent humanitarian efforts, are rooted in the friendships and experiences he gained while on an extended baseball mission trip there in 2007. He is also lead singer and drummer in a blues band that was showcased on Beale St. as part of the International Blues Challenge in January 2010. He plays trumpet, French horn, drums, guitar and piano. • SEAN STYNES, (lead guitar) has played viola for nine years, receiving one ratings at S & E and Orchestra Festival all four years of high school. He will be minoring in performance guitar at Western Michigan University. He also plays harmonica, mandolin, ukulele, piano, drums and violin. • PETER NELSON, (drummer) is a seasoned musician having played with many of Michigan's top performers including Ritmo, La Familia, Phredley, the Scott Gwinnel Jazz Orchestra, and The Bebop Spartans to name a few. He spent two summers during high school in western Europe with the Blue Lake International Jazz Orchestra directed by Trombonist David Jensen and Miami Trumpeter James Olcott. Now a student in the jazz studies program at Michigan State, Peter also enjoys an active arranging career and has appeared as a guest clinician for different jazz and Afro-Cuban music festivals in Michigan and Ohio. He plays percussion, trombone and keyboard. • SPENCER RALPH,(bass) has played violin since second grade and was recognized as one of the finest up and coming violinists at the 2008 state solo ensemble. Spencer studies bass with Lansing Symphony Chair Ed Fedewa and voice with acclaimed tenor and MSU vocal arts faculty member Joshua Baum. He also plays upright bass, saxophone and drums. Spencer was recently showcased on Beale St. in Memphis as part of the International Blues Challenge. He is also known for wearing outrageous outfits to his gigs. • ROYCE PHILLIPS, (saxophonist and flutist) started studying privately at the age of 12 beginning his studies with Lev Deneman and moving on to study with Principal Saxophonist Don Fabian. He has won many competitions from S & E to all-state competitions. He is currently dual majoring in Jazz Studies and Saxophone Performance at Michigan State University, working with saxophone colossus Wess Anderson and pedagogical genius Diego Rivera. • ANTHONY STANCO, (trumpeter) a rising talent in today's music scene. His playing is diverse and his compositions are influenced by many different musical genres. Now with the MSU Jazz Program, Anthony spent two years performing and teaching in New York City while studying at the prestigious Manhattan School of Music. He has played with the Detroit Symphony Civic Orchestra and Civic Jazz Orchestra under the direction of Marcus Belgrave and Rodney Whitaker. He also spent two summers on a full scholarship to attend the Stanford Jazz Residency Program where he performed in the top jazz combo and studied with jazz greats Jimmy Heath and Lee Konitz. 'The band had started. And...They sizzled. Afro-Carribean influences on a firm rock foundation. Tight rhythms. And lead vocalist Connor Ralph was channeling Jim Morrison esctatically.' ~ Austin American Stateman's social columnist Michael Barnes on Res Publica's July 8th performance at the Mohawk 'Last night was the biggest crowd on the square and Res Publica was amazing!' ~ American Red Cross PR Coordinator Allison Bono on Res Publica's July 16th performance at Lansing's Blues on the Square Res Publica is sponsored by Arizona Beverage Co.- Shop: odax
- Price: 26.65 EUR excl. shipping
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Martha's Dragon
CANTIGA has delighted visitors to Renaissance Festivals across North America with their magical music for almost 30 years. The word CANTIGA means 'song' in the language of Alfonso X, the 13th century Spanish king whose royal court was a haven for Christian, Muslim, and Jewish musicians. We are dedicated to the spirit of musical improvisation which has flourished in such cultural crossroads throughout history and continues to be celebrated in today's Global Village. 'I must say you've outdone yourselves with 'Martha's Dragon.' Every CD by Cantiga and the NWRB has simply captivated me! And the delight grows with each listening.' Walt Haake WDVR FM, Sergeantsville, NJ 'Their music is fresh enough to listen to in any setting, yet it gives that warm, old world feeling of times gone by...of loves lost and gained...of celebrations...of the taming of dragons! Martha's Dragon is history and freshness all wrapped into one beautiful musical package! Bravo!-' Overall Rating - 10 out of 10 Jen Lush, Midwestbands.com, 7/31/05 ............... Notes for the tunes on 'Martha's Dragon': 1. CANTIGA 108 This cantiga, a 13th century song from Alfonso X's 'Cantiga's de Santa Maria' tells a bizarre story involving Merlin the Magician, a Jewish wise man and Santa Maria. 2. MARTHA'S DRAGON St. Martha is known for taming, not for slaying her dragon. This tune was written by Bob Bielefeld in the early 1990's. 3. ANDALUZ A medieval Andalusian melody brought to light by Julián Ribera y Tarragó (1858-1934). 4. SKILLYWIDDEN Part of our legacy from Cantiga fiddler Malcolm Smith (1951-1996), this tune began life as a playful response to too many choruses of 'It's a Long, Long Way from Clare to Here', and morphed into our favorite jam tune. 5. VALLE DE LO ALTO We first heard this melody performed by the Andean band Pachacamac and were delighted to discover that it was written by Conrado 'Charry' Garcia, our newest member. Charry wrote this tune in Chile in the 1980's. Valle de lo Alto means 'High Valley'. 6. WHITE PETTICOAT A LA TURK Mark became fixated on odd time signatures after borrowing Bob's book of Bulgarian tunes, and an innocent Irish jig in 6/8 slipped into 7! 7. BOUREES These two bourées were published by German composer Michael Praetorius in his collection of French court and country dance music 'Terpsichore' (1612). 8. SPAGNOLETTA A well-known ancient air also published in 'Terpsichore'. We dedicate this dance to the Court Dancers of Scarborough Faire. 9. BRANLE DE BOURGOGNE This 16th century French dance tune by Adrian Le Roy alternates four and six-measure phrases. Mark discovered it on a recording of Early Music from the '70s. 10. ERES AGUEDA GLORIOSA We learned this Spanish Renaissance melody for Jeff Baldwin of the Texas Renaissance Festival, who chose it for his production 'Masque of the Conquistadors'. This song is a serenade of love to the beautiful Agueda, who appears to her suitor as radiant as an angel in the midst of her nine sisters. 11. FISCHIETTANDO A tarantella, popular with whistling Sicilianos. The fischietto is the Italian version of the penny-whistle. Fischiettando means 'whistling'. 12. ARGEERS This perky little tune is from John Playford's 'The English Dancing Master', in print from 1651 to 1728. ............... The Members of Cantiga are: Martha Gay, Harp Mark Caudill, Violin Bob Bielefeld, Wood Flute, Fife Conrado Garcia, Charango, Percussion (Birimbao, Caxixi, Semilla, Triangle), Toyos (bass pan-pipes) Max Dyer, Cello Also featured on this album, special guest artist Jamal Mohamed, Percussion: Doumbeks (Middle Eastern Goblet drums), Djembe (West African Goblet drum) Riq (Egyptian tambourine), Mazhar (Egyptian Frame drum). ............... Original Cover painting for Martha's Dragon by illustrator Richard Hull. ............... A Review from Ted Young, New York: 'For those not familiar with their work, Cantiga brings together music from all over medieval and renaissance Europe. Cantiga¹s fourth CD continues to preserve their enchanting sound while bringing us new and exciting songs. Conrado Garcia, Cantiga¹s newest member, and guest star, Jamal Mohamed, add a new dimension to the group with their subtle additions of charango, toyos, doumbek, and more. As with their past works, 'Martha¹s Dragon' is full of lively, upbeat music from long ago played with amazing skill. The title track comes to life with a vibrant bass and rhythm. Conrado¹s beautiful Andean composition, Valle de lo Alto, is combined with Cantiga¹s style creating an inspirational fusion. And White Petticoat a là Turk is a traditional Irish jig performed in 7/8 giving it a Turkish flare and providing another example of Cantiga¹s remarkable creativity. I would highly suggest treating yourself to these twelve lovely songs,especially if this is your first Cantiga CD. And if you don¹t own a CD player, it is worth buying it just for the stunning cover art.' Reviewer: Ted Young, who enjoys Cantiga performances each summer at the Sterling Renaissance Faire in Oswego New York.- Shop: odax
- Price: 24.83 EUR excl. shipping
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Fiddling Thomsons, Music for Both Hands
Lively tunes in styles from England, Hungary, Ireland, USA, Scotland, Germany, Canada, and Tex/Mex. The Fiddling Thomsons, Brennish and his father Ryan, have been involved together with fiddling, dance, and music since Brennish was an infant. Ryan is a right handed former northeastern USA Fiddle champion who taught himself how to play violin all over again left handed after he suffered a disability involving his right shoulder. As Ryan was relearning how to play the violin he often brought Brennish to his various performances along with a blanket for Brennish to sleep on as evenings drew late. At home he would often play his violin next to Brennish's crib. One day, at 18 months of age, Brennish unexpectedly grabbed the violin bow from his father's hand and began drawing it across the violin strings in a slow deliberate manner. As he learned to talk he began asking for a violin to play. When Brennish turned 2 his father bought him a tiny 1/32 sized violin and taught him to play the country fiddle tune - Boil Them Cabbages Down. As Brennish got older he began performing with his dad at various events including concerts, dances, and at teaching workshops. At 13 years of age Brennish and his dad won the Twin Fiddle award at Lowell National Historical Park, in Lowell, Massachussetts, USA. On this album, at age 14, Brennish plays fiddle/violin, French Canadian wooden spoons, seed pod percussion, frotoire, (zydeco rub board) and beatbox vocals. His Dad plays fiddle/violin, banjo, accordion, pennywhistle, cajun triangle, wooden flute, and piano/keyboard. In order for the two of them alone to play all of these different instruments, Ryan and Brennish first recorded each of 18 different tunes as a duet using two of their instruments. After that they recorded additional tracks which included the other instruments. Each tune on this album was learned in the traditional way, by ear, from the playing of other musicians.: 1. Scottish - Lord MacDonald's Reel, "Leather Britches," 2:11 Ryan and Brennish play this lively reel here as an unaccompanied twin fiddle duet. Lord Macdonald's Reel is the Scottish name, and Leather Britches is the name often used in the southern mountains of the USA. They play the tune for square and contra dances, or as an instrumental piece during a bluegrass performance. 2. French Canadian set - Gaspe, La Bastringue, Pays de Haut, 5:02 French folk music is popular in New England and these tunes serve well for traditional contra dances and French quadrilles. This medley of Quebecois tunes (from the Canadian province of Quebec) was first recorded as a twin fiddle duet. Brennish added wooden spoons and vocals, and his dad added piano and wooden flute. 3. Irish - Egan's, Rattlin Bog, (Kerry polkas) 2:40 Brennish plays fiddle and his dad plays pennywhistle on this set of fast polkas often used for Irish set dancing. 4. Hungarian - Friss Czardas, "Fast Dance," 2:46 Brennish learned this gypsy tune on his violin and then taught it to his dad. They recorded it as a fiddle and banjo duet and then Ryan added on a piano part. 5. Swedish - Gärdebylåten, a Ganglat "Walking Tune," 2:56 This tune is commonly used as a processional march for weddings. Ryan and Brennish recorded it with twin fiddles and then Ryan added a piano accompaniment. 6. USA - Kitchen Gal, a southern square dance tune, 2:10 The Thomsons first recorded this as a twin fiddle duet and then Ryan added on old time clawhammer style banjo. 7. Irish - Connaughtman's, My Darling Asleep, Morrison's, jigs, 4:38 Ryan and Brennish recorded this Irish jig medley as a twin fiddle duet. Brennish then added wooden spoons and his dad added pennywhistle, flute, and piano. 8. English - None Such, dance tune from the 1600's, 1:43 The Thomsons first recorded this ancient English country dance tune as a twin fiddle piece. Ryan then added keyboard and Brennish added beatbox vocals as percussion. The 1600's meet the 21st century. 9. USA - Rag Time Annie, Bluegrass, 2:12 The Thomsons recorded this hot tune first with twin fiddles and then Ryan added piano. It's a staple of old time southern square dancing and an essential tune in the repertoire of country and bluegrass fiddlers. 10. Canadian - Ookpik "Eskimo" Waltz, 3:06 Ryan learned bits and pieces of this beautiful tune by ear in Idaho from other fiddlers in the 1970's. He assembled and customized it in his own fashion and style of playing. He discovered 30 years later that the original composer was a musician from British Columbia named Frankie Rodgers. Brennish learned it from hearing his dad play it, and they often perform it together in concerts and for dances. They recorded it first with twin fiddles and then Ryan added piano. 11. Irish - Trip to Durrow, a reel, 3:42 Ryan learned this tune at Irish pub sessions and contra dances. Brennish heard his dad play it, liked it, and then quickly learned it by ear. They recorded it with twin fiddles and then Ryan added the piano part. 12. French cajun - Bayou Two Step, 3:04 Ryan learned this tune from cajun fiddler Michael Doucet. Brennish picked it up from his dad. The Thomsons first recorded it as twin fiddles playing similar versions of the melody. Brennish added a third fiddle part playing a low rhythm accompaniment along with frotoire for percussion rhythm. Ryan added a cajun triangle. 13. Scottish - The Mason's Apron, a reel, 2:17 Ryan learned this tune from fiddler Aly Bain, and Brennish learned it from his dad. Ryan and Brennish first recorded this fast and lively reel with twin fiddles and then Ryan added piano. 14. Tex/Mex polka - Sean's Squeezebox, by Ryan Thomson, 1:25 Ryan composed this Texas/Mexican style tune on keyboard accordion and named it in honor of his nephew Sean Thomson, whom he had given a small accordion as a gift. Brennish learned it on fiddle and they have recorded it here as a fiddle and accordion duet. Brennish added percussion using a dual set of south sea islands seed pods as shakers. 15. USA - Soldier's Joy, a southern square dance tune, 2:11 Ryan Thomson originally learned this old time mountain tune on banjo and then transfered it to fiddle. Brennish learned it from hearing his dad play it on fiddle. On this track Brennish plays fiddle while his dad plays clawhammer banjo. 16. German - Huntsman's Chorus, 2:14 Ryan learned this tune from the Canterbury Country Dance Orchestra. This folk dance tune has a melody similar to an excerpt from Carl Maria Von Weber's famous opera - Der Freischutz. Von Weber called it the 'Hunter's Chorus,' ('Jagerchor,' in German) and it pertains to the joy of hunting. Ryan and Brennish play it often for folk dancers. They recorded it with twin fiddles and then Ryan added piano. 17. French cajun - Lake Arthur Stomp, 3:13 Ryan learned this cajun two step from the Balfa Brothers cajun band. On this recording the Thomsons started with twin fiddles. Ryan fiddles the melody while Brennish plays a second fiddle as accompaniment. Brennish then added frotoire, and his dad added cajun triangle. 18. USA - Dickson County Blues, a Tennessee fiddle tune, 2:37 Ryan learned this melody by ear from another fiddler many years ago and then shaped it into his own style. That fiddler had learned it from an old 78 disc record of a recording of fiddler Arthur Smith. Brennish picked it up from hearing his dad play it. They play it here on unaccompanied twin fiddles. The Thomsons are available to travel anywhere to perform and lead educational workshops in the styles of music that they play. They reside in New England, USA, and can be contacted through their web site at captainfiddle.com.- Shop: odax
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In Spite of the Storm
"In Spite of the Storm" New album out now in North America "Another typically thoughtful and thought-provoking excursion from a band still hungry for tunes - and, belatedly, for songs. The intimacy of Séamus Begley's voice and his freewheeling tunes knit new patterns into Téada's mix." - Siobhan Long, Irish Times "One of the outstanding releases in recent memory." - Daniel Neely, Irish Echo Sligo, Ireland (3 February 2014) "Ainneoin na stoirme" (In spite of the storm), the fifth album from one of Irish traditional music's leading young groups Téada (TAY-da), is out now in North America on the Gael Linn label. The album was released in Ireland in September as part of the prestigious Irish label's 60th anniversary celebrations. It is available at teada.com. Featuring a mix of rare older tunes juxtaposed with a range of more recent compositions, In Spite of the Storm provides a fascinating collaboration of generations, influences, and interpretations. The album marks a major departure for Téada with the addition of vocals from renowned singer Séamus Begley, 2013's Traditional Singer of the Year (Irish TV TG4) and member of a famous musical family in Co. Kerry. Begley's legendary vocals bring a wealth of reflective moments, including the late Marty Robbin's song "Saddle Tramp," alongside bracing instrumental selections which see Téada at their best. Founded by Sligo fiddler Oisín Mac Diarmada in 2001, Téada's five young instrumentalists are driven by the timeless, expressive force of music inherited from previous generations of musicians. Irish Music Magazine describes them "at the cutting edge of the next generation of Irish musicians...with a fierce familiarity with the old ways." "Ireland has been greatly transformed since the fever of materialism...readjustments have been...deeply felt. But as our late Nobel Laureate Seamus Heaney said: 'We are not simply a credit rating or an economy but a history and a culture.' Our music, songs, language and culture have deep roots, they will withstand any storm." - Téada, from the liner notes Inlay Notes 1. Reels: Dinny O'Brien's (comp. Paddy O'Brien) / The Sweetheart Reel / Paddy Kenny's (03:56) Prolific Tipperary composer and accordionist, Paddy O'Brien, composed the first tune in memory of his father. The second reel features in Petrie's Complete Irish Music under the title 'Temple Hill. A Cork Reel', but without the 3rd part with which it is typically played today. The final tune was sourced from fiddler Paddy Ryan during a Scoil Éigse workshop in Sligo in 1990, with Paddy himself learning the tune from Ballinameen, Co. Roscommon fiddler, Paddy Kenny. 2. Song: An Spailpín Fánach (02:52) A popular song emanating from 18th-century Ireland, which Séamus learned while at school from influential teacher Caoimhín Ó Cinnéide. The melody is similar to that found in 'The Girl I Left Behind M'", a popular folk song and military march in the United States. The term 'spailpín' refers to a labourer hired for a job of temporary duration, such as potato digging. 3. Slides: Deálaí's No. 1 & 2 / The Peeler and the Goat (02:45) Séamus sourced the first two tunes from Dún Chaoin accordion-player, Muiris Ó Dálaigh (Deálaí). The closing tune is a slide version of a popular 19th century song, the melody of which was published in O'Neill's "Music of Ireland" (1903). 4. Reels: The Reel with the Birl / Carraigín Ruadh (comp. Brendan Tonra) / Ryan's Rant (03:14) The selection begins with a version of Drowsy Maggie associated with Clare concertina player, Elizabeth Crotty. Mayo/Sligo fiddler Brendan Tonra, long-time resident in Boston, composed the tune that follows. The set finishes with a version of a tune recorded by fiddle Tommy Potts on the album "The Liffey Banks" and subsequently by James Kelly/Paddy O'Brien/Daithí Sproule on "Traditional Music of Ireland". 5. Song: Pé in Éirinn Í (03:53) Another song which Séamus heard initially from Caoimhín Ó Cinnéide, before sourcing the lyrics from the publication 'Abair Amhrán'. Another song which Séamus heard initially from Caoimhín Ó Cinnéide, sourcing the lyrics from the publication 'Abair Amhrán'. The song originates from an Aisling of same title written by Tipperary poet Liam Dall Ó hIfearnáin (c.1720 - c.1803). 6. Jigs/Slip Jig: The Jig of the Dead / I Have a House of My Own with a Chimney Built on the Top of It (comp. Junior Crehan) / Paddy Breen's / The Bird's Call (comp. James Kelly) (04:13) The first tune was recorded a number of years ago by Belfast flute-players Harry Bradley and Michael Clarkson. In the inlay notes to their "The Pleasures of Hope" album, mention is made that according to flute-player Séamus Tansey, the tune "was employed for an unusual funeral rite performed in the countryside around his native Gurteen". During the waking process, a number of hardy dancers would lift the body of the deceased and dance it around the room for one last time, usually to the backdrop of this tune. The second and fourth tunes are compositions of fiddlers Junior Crehan and James Kelly respectively, while Paddy Breen's comes from the playing of Michael Tubridy, appearing in "Ceol Rince na hÉireann 3". 7. Song: Saddle Tramp (comp. Marty Robbins) (02:44) A song from famous American Country & Western singer/songwriter, Marty Robbins, released in 1966. 8. Slow Reel / Barndances: Gone for His Tea / Joe Derrane's (comp. James Kelly) / All About Weaving (comp. Charlie Lennon) (04:32) The first tune is a reel, though in this instance played at a slower tempo, sourced from "Ceol Rince na hÉireann 3", and contributed by flute-player Michael Tubridy. Fiddler James Kelly is the composer of the barndance which follows, a tune inspired by the music of Irish-American accordion legend Joe Derrane. The set concludes with a barndance composed by Charlie Lennon, recorded here at a brisker tempo, which featured on Frankie Gavin's "Frankie Goes to Town" album. 9. Jigs: Brísdín Bréide / The Thatched Cabin (comp. Junior Crehan) / Morning Sunday (comp. Charlie Lennon) (04:01) The first tune is a version of a jig that appears in "Tunes of the Munster Pipers" (1998), featuring tunes collected by Canon James Goodman during the 1860s. The remaining two tunes are compositions of noted fiddlers, the first from Clareman Junior Crehan and the second from Leitrim fiddler and piano-player, Charlie Lennon. 10. Song/Waltz: Ar a mBóithrín Buí / Tell me Now (comp. Damien Connolly) (03:43) Séamus initially heard this song played as a waltz by the great Paddy O'Brien during a Comhaltas event in Roscrea in 1968. Years later he came across the words in an old song book. The song concludes with a newly-composed waltz from Clare musician Damien Connolly, who now resides in Connecticut, and has been composing some wonderful tunes over the past few years. 11. Reels: James Murray's (comp. James Murray) / Porthole of the Kelp (comp. Bobby Casey) / The Watchmaker / The Spinning Wheel (04:26) The first tune was composed by Sligo flute-player James Murray from the townland of Ogham, Tubbercurry, while the second is a composition of noted Clare fiddler Bobby Casey. The set continues with a tune that appeared under the title 'Neils Gowan's Second Wife' in "The Gunn Book", a mid-19th century manuscript collection compiled by Fermanagh fiddler John Gunn. Concluding the set is a version of the reel 'Miss McDonald's' which appeared in O'Neill's "Music Of Ireland" (1903).- Shop: odax
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Galileo
Fiddler on the Roof s Topol and a cast of British theatrical aristocracy (including Sir John Gielgud, Patrick Magee, and Tom Conti) recreate the troubled life and anxious times of 17th-century physicist and astronomer Galileo Galilei. Under the direction of Joseph Losey, who originated the American stage version in 1947, The AFT s Galileo focuses Bertolt Brecht s characteristic mosaic of theatricality and immediacy into a keenly cinematic drama that pits public responsibility against private doubt. Neither coward nor hero, Brecht s Galileo reveals the troubling human side of the struggle between science, government and religion, a conflict that is perhaps more relevant than ever. Special Features: Interview with Topol / Interview with Edie Landau / Ely Landau: In Front of the Camera, a promotional film for the American Film Theatre / Gallery of trailers for the American Film Theatre / English SDH subtitles for the deaf and hard-of-hearing.- Shop: odax
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Banks of the Little Auplaine
THE BAND: Based in Minneapolis, founded officially in the summer of 2009, the members of Julie Johnson & the No-Accounts, who share a connection to the music program at Augsburg College, have been collaborating for several years. Julie Johnson has played with groups as varied as the Minnesota Chorale and the Texas blues singer Dede Priest, while Doug Otto (of Doug Otto & The Getaways) and Drew Druckrey (of The Jason Dixon Line), have also played together in bands such as The North Country Bandits. THE ALBUM: The original songs and versions of traditional Upper Midwestern tunes on The Banks of The Little Auplaine (written or arranged primarily by Julie Johnson, but developed by the band) straddle a line between song and composition, popular and chamber music. Influenced by many artists, including Gillian Welch, Astor Piazzolla, Patty Griffin, Heitor Villa-Lobos, Bela Bartok, and Robert Johnson, the band has struggled to define the music they make. Thomas Mann in The Magic Mountain comes the closest, in his description of those pieces that "fell between the two categories" of "the lofty and conscious creation of individual artists" and "simple folk songs ... in that they were products of an intellectual art, and at the same time sprang from all that was profoundest and most reverent in the feeling and genius of a people-artificial folk-songs, one might call them, if the word artificial need not be taken to cast a slur on the genuineness of their inspiration.' While the band started out playing the Delta blues tunes and traditional Southern standards that drew them to roots music-artists like Leadbelly, Howlin' Wolf, and Skip James-here they focus on soulful music from the Upper Midwest. They hope to be a part of finding and interpreting their own region's melodic, rhythmic, and thematic folk tradition and history. THE SONGS: Bob Dylan wrote the original Winterlude in 1970 for his album New Morning, but it's hard to find anyone who's ever heard of this unexpectedly sweet and light tune. A jaunty arrangement and an incongruous bass clarinet play up the charm of that surprise. The Removed. Based on characteristics of the French Canadian folk tune "Le Petite Rocher," this song's open, crystal-like harmonies speak to the landscape of Julie Johnson's childhood in Lake of the Woods County, Minnesota: the stark beauty of it's flatness, it's long blue-and-white winters. Originally written for two flutes, this version for flute and resonator guitar captures the effect Johnson originally intended. Writing this piece led to her deep interest in the folk tradition of the Upper Midwest. Arkan, a dance tune popular among the Ukranian Hutsul (from southwestern Ukraine), is often heard at the Ukranian Heritage Festival in Northeast Minneapolis, an area historically populated by Eastern European immigrants. Natalie Nowytski, of the Ukranian Village Band, introduced Johnson to the tune, who arranged it in a tango/bolero style, exploring the percussive possibilities of the mandolin, acoustic guitar, and bass flute. Found in Franz Lee Rickaby's Ballads and Songs of the Shanty-Boy, a collection of lumberjack songs from Minnesota, Michigan and Wisconsin that were popular in 1870-1900, the Golden Age of American lumbering, the haunting The Little Auplaine speaks to the dangers of the Upper Midwest's early industries. One of the only shanty-boy songs whose original authorship is known (W.N. Allen, also known as "Shan T. Boy," who wrote it sometime in the 1870s), Johnson's arrangement uses an altered version sung to Rickaby by M.C. Dean of Virginia, MN. Allen's version is in a major key, includes differences in the melody, and spells the title "The Little Eau Pleine." Laura Ingalls Wilder, author of the eight Little House books, which tell her family's story of living on the land in 1870-1889, is perhaps the most famous pioneer of the Upper Midwest. This version of the hymn The Home of the Soul, as sung by her mother Caroline, is found in The Laura Ingalls Wilder Songbook and referred to in the most harrowing book of Ingalls' series, The Long Winter. Snowed in in Dakota Territory during one of the harshest winters on record, near starvation, the family listens to the song with hope and dread: "The hymn blended with the wailing of the winds outside as Ma sat in her rocking chair and softly sang about the beautiful land where no storms ever beat." A traditional Métis jig includes both European (French, Scotch, and/or Irish) and Native influences, it's up-tempo, lively, and made for dancing. The Métis (a term at times loosely, at others strictly defined, here it is used to describe those of Native-Canadian or American-and European descent who trace their roots to the Upper Midwest or Canada) commonly included extra and irregular beats in jigs to challenge the quickness of a dancer's feet. Red River Jig is one of the most popular Métis fiddle tunes from the mid to late 1700's. Also found in Rickaby's collection and also sung by logger M.C. Dean, The Cumberland's Crew, though it describes an event that occurred far south (the sinking of the Union ship Cumberland off of Newport News, VA in 1862), was, according to Dean, "a great favorite among the boys." Johnson worked for a fraught and lonely mood with a bass flute solo followed by tight and often dissonant three-part harmonies. The shanty-boy worked alone, and, unlike the tunes sung by many other laborers, shanty-boy songs were not often accompaniment for group work. But in the evenings, when lumberjacks came together in camp, storytellers and singers were highly prized. Using extended techniques, the solo flute piece The Panther asks listeners to expand their ideas of what the flute can be and do. Johnson features the influence of Ojibwe music in this piece that drives aggressively forward like a chase. Minnesota Finnish communities often include Jos voisin laulaa (If I Could Sing) in celebrations of the festival of Midsummer (Juhannus). Joyce E. Hakala, in The Rowan Tree: The Lifework of Marjorie Edgar, Girl Scout Pioneer and Folklorist, includes the song and describes Edgar's work of collecting folk music, tales, proverbs and traditions from Finnish people on the Minnesota Iron Range. This song was sung for Edgar in Ely in 1930 and in Duluth in 1931, by various singers. Johnson's arrangement seeks to capture the enchanting mood of many Finnish folk songs. This version of Gary's Polka was collected by LeRoy Larson, head of the Minnesota Scandinavian Ensemble, and is a composite version of those played by Calmer Brenna, a Norwegian fiddler from Middle River, MN, and Bill Sherburne of Spring Grove. While the lazy beginning of Johnson's version was inspired by an old cowboy movie, the flute and clarinet runs in the second half play with both polka and jazz. Cover Art: The Banks of The Little Auplaine by T.J. Malaske Band Photos by Christine Rooney CD recorded at Wild Sound Recording Studio in Minneapolis, MN, and designed & manufactured by Noiseland Industries, Minneapolis, MN.- Shop: odax
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